Stephen Shore is a pioneering photographer and influential teacher
What Shore had in fact precipitated was a bottleneck of historical photographic practices. He melded the medium’s capacity for seemingly infinite factuality to his own age’s preoccupation with the detritus of Pop art and culture. He crashed photography’s hallowed black and white preciousness with throwaway prints of subject matter that many considered unworthy of monumentalizing, much less wasting film on. If this wasn’t the exact birth of the snapshot aesthetic, it was certainly one of its earliest and most salient appropriations within a formalized artistic context, and its critics, then as now, continue to be appalled. It was a benchmark.
photo essay | Postcard | Photograph
Influential upon future generations yet symptomatic of its own time, the material is likewise deeply referential to its forebears: its eclectic span is a rebus in the Rauschenberg sense, and a roadmap, both literally and metaphorically. There are frequent nods to Eugene Atget and Walker Evans, as well as Warhol and Ed Ruscha, but Shore’s contemporaries are also included. The presence of Bernd and Hilla Becher is felt throughout, and in a wry mode of disclosure, Shore concludes the new book version of the series with a portrait of William Eggleston that makes plain the wider allegiance to that photographer that arises in so many other images. To see the whole however is to know that it is definitively a work by Stephen Shore, imbued as it is with his particular sensitivity. As a spectacularization of the banal, it reads like Pop, but is too clearly warm-blooded to be limited by that label.
A curated cross-section of photo-based books and magazines, this year’s Focus: Photography has expanded, and includes: J&L Books (Pennsylvania); Archive of Modern Conflict (UK);Dashwood Books (New York); Mörel Books (UK); and TBW Books (California): Edition Patrick Frey (Switzerland) and more.
Masters of Photography: Stephen Shore
He shares a preference for the obvious - taking color and as it were saturating it with reality - with other artists belonging to the "second generation of color photographers," which emerged at the beginning of the 1970s.
Stephen Shore: The Gardens At Giverny: A View of …
The woman in the picture is Ginger Shore, Stephen Shore’s wife. Here’s how Michael Kimmelman from The New York Times commented the photo in a piece he wrote back in 2007. He was then reviewing an exhibition held at the International Center of Photography (in New York) titled :
Pioneering color photographer Shore ..
It’s nice to meet you. Before getting into the new book, I wanted to ask you about an earlier experience. I understand that you sold your first photograph at the age of fourteen, to Edward Steichen, at the Museum of Modern Art. Firstly, why was Steichen looking at a fourteen-year-old kid’s photographs, and what was the photograph that he bought?
Stephen Shore: Uncommon Places | MoMA Design Store
Precisely against the background of the large-sized reproductions that have become common in international photography in recent years, it is well worth emphasizing the advantages of the contact print, as Shore uses it.
Photography 1: Context and Narrative
There are a few pictures that look genuinely inchoate, their formal logic obscure. But in Tampa Mr. Shore photographed a young woman (his future wife, Ginger) standing, her back to the camera, soaking wet, in the pool of the Causeway Inn, the far edge of the pool making a diagonal line parallel to the shiny handrail in the foreground, locking the composition down. Sunlight creates a chicken wire of reflections in the turquoise water.