Eggleston, William. Untitled. 1984.
scene. Further, following my earlier logic, Eggleston’s images are also emblematic of his
visuality of his reality. So, the emotionality and depth one gets in a Goldin image was possibly
absent from the beginning and all that he wishes to present is something beautiful and shallow.
Goldin's approach to photography is much less concerned with formalities. It is necessary that
the camera lives with her in a specific way and the ideal display of her massive collection of
photos (700-800 at a time) is a forty-five minute slideshow. This dense archive was delivered in
a time-based manner to force viewers to experience the unfolding of narrative and reject, or
depart from, the sensationalized art-museum form of viewing. Her images themselves are also a
rejection of the “correct” or worshipped image. She said that she does not “worship photographs