Roman Nvmerals:

Screen Shot 2018-09-18 at 1.39.51 PMVOL. LXIX
Los Angeles, CA, February 4, 1969

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64 pages, 60 plates on Mohawk Superfine, perfect-bound, 6×8.3″

“In 1969 I was interested in how I could reduce the presence of visual conventions in my work. I wanted to get at something that felt more like an unmediated experience. I tried several approaches. One was to use conceptual frameworks that would eliminate some of my subjective decision-making. But, I approached “Los Angeles, CA, February 4, 1969” differently. By using virtually every picture I made that day, I was aiming at a kind of visual stream-of-consciousness series that challenged conventions of framing.” —Stephen Shore 2018


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Aperture presents:

Stephen Shore: Stereographs

NEW YORK, 1974

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In 1974, Stephen Shore purchased a Stereo Realist— a camera that created stereographic color transparencies, resulting in images that could be viewed in 3-D. Similar to nineteenth-century experimentation in stereo cards and the recently popularized View-Master toys, these images offer a simulacrum of three-dimensional space via the two-dimensional image. The thirty images presented exclusively in this limited-edition stereograph are the result of Shore’s engagement with the puzzle of how to most effectively translate the real world into a successful “3-D” image given the particulars of the technology. “I was interested in seeking out situations in which the camera was doing something different from how our eyes see things: reflections, windows, a shadow on a chain-link fence, a rug that seems to float off the ground — each scenario created this amazing sense of space.” Fifteen of the resulting images were shown in a 1975 exhibition at Light Gallery. This set of thirty images has only been seen publicly once before, at Shore’s 2017–18 MoMA survey.

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Artsy Presents:

My Novel Was Shaped by the Unforgettable
Way These Artists Saw America

By Randy Kennedy



“…Eventually, I began to inhabit specific pictures fully as settings, both in homage to Shore and because doing so grounded me more deeply in reality—and history—than half-remembered scraps of my own. A motel room where my character falls ill is—down to the Japanese wallpaper and gold brocade bedspread—the one rented and photographed by Shore in Room 316, Howard Johnson’s, Battle Creek, Michigan, July 6, 1973 (1973)…”

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SaveArtSpace presents:


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Have your art on billboards curated by world renowned photographer Stephen Shore.

Open Call Ends October 3, 2018

Learn more and submit at:

Hasselblad Presents:

X1D: A Truely Modern Camera
With Stephen Shore


Watch Stephen Shore talk about shooting with a Hasselblad X1D for
his most recent series of photographs.

To watch the video:
To see the new work:

PDN Photo Anual Presents:

PDN Photo Annual announces best photo book 2018:

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In this unique retrospective, 15 photographers, curators, authors and cultural figures discuss their ten top image selections from a rarely seen cache of Shore’s photography created between 1973 and 1981.

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Phaidon Presents:

Another look at Stephen Shore’s look
at Israel

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As the modern state turns 70, we look back at Stephen Shore’s take on this country of contradictions

For more information visit:

The MET: Artists on Artwork

Artists on Artworks: Stephen Shore

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This program has been rescheduled to Friday, April 27 at 6:30 pm.

See The Met collection through artists’ eyes. Join photographer Stephen Shore as he shares his perspective on the work of William Eggleston.

Note: Space is limited; advance registration is required.

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The New Criterion presents:

Gallery Chronicle

On “Stephen Shore” at the Museum of Modern Art


By James Panero

“For the current generation, no one has faced the challenge of creating a photography of itself quite like Stephen Shore. This photographer who came of age in the 1970s, and has tracked the medium’s radical evolution to the present day, is now the subject of an extensive and enthralling survey at New York’s Museum of Modern Art.

Stephen Shore is a textbook photographer. Which is to say, his photographs could illustrate a textbook on the medium of photography. Born in New York in 1947, his earliest work was in the darkroom, at the far end of the photographic process, developing his family’s Hawkeye Brownie negatives when he was six. He sold his first photograph to moma when he was fourteen, and had his first survey show at the Metropolitan Museum in his early twenties. Carried by a youthful curiosity and an autodidact’s sensibility, through an extensive body of work Shore has illuminated the wondrous “how” a picture is made as much as the “what” being taken.”

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The Brooklyn Rail presents:


with Tom McGlynn
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Rail: I can recall that in the ’70s there was an efflorescence of American scene-type imagery, which roughly correlated with the 1976 Bicentennial aura that enveloped the US at the time. Images by yourself and “Photo-Realist” painters such as Ralph Goings and Robert Bechtle tended to subjectify the American car as cultural signifier, of commodity, of mobility, in relative sculptural ensembles, et cetera, that inserted themselves into both the objective landscape and the subjective imagination of the country. In some ways this was anticipated much earlier by American cinema. Newer aspects of a specific type of American road picturesque were codified by William Jenkins and his famous exhibition, New Topographics: Photographs of a Man–Altered Landscape (1975-76) at the George Eastman House. What was your own identification with, or separation from, this ostensible movement at the time? In his introduction to the catalogue Jenkins defines the common denominator of that show as problem of style and stylistic anonymity—an alleged “absence of style.” Did you agree with his sentiment at the time about the anonymity of style? And what do you think about it now?

Shore: I think when Jenkins talks about “styleless-ness” it’s what I’m referring to as “transparency,” but do I really believe it’s styleless: No. And what I mean is this: I think there could be two kinds of style in a picture: one that feels imposed on a picture—maybe we’ll call it stylized—and the other is an expression of an artist’s temperament. Nicholas Nixon and I can take pictures that seem style-less but no one would have any problem telling them apart, because in fact they have a style. What they have is the voice of the artist. But it doesn’t feel stylized, it doesn’t feel like the subject matter has been shoved into a stylistic box. Regarding your previous reference to the concurrence of similar imagery in photorealist painting at the time, I think I was less influenced by them than we both had similar roots. For example, Walker Evans—I forget if it was Ralph Goings or Richard Estes who, I read an interview long ago, talked about the major influences on himself, and it was Walker Evans—and I would say Evans was the major influence on me too.

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