The Tate Modern presents:
Featuring 72 photographs from Stephen Shore’s iconic American Surfaces series
Curated by Ann Coxon and Shoair Mavlian
Presented in the George Economou Gallery, and on view until the fall of 2018, this display includes a variety of responses to the modern city from artists around the world, ranging from explorations of the built environment to close-up images recording the minutiae of daily life.
Since the nineteenth century, the city has been a rich source of inspiration for artists, providing a subject matter that reflects the attractions, realities and complexities of urban life. The artworks here date from the 1970s right up to the present day, commenting in various ways on the cities in which the artists themselves have lived and worked.
In particular, the artists reveal aspects of the city that would not be considered part of a traditional overview. Considering characteristics of urban living such as displacement and migration, sub-culture and community, utopian plans for an ideal city, or power and political uprising, they uncover the hidden stories that fall outside of the tourist guidebooks and A-Z maps.
Featuring cities from Shanghai, China, to Ghardaïa, Algeria, and Cairo, Egypt to Los Angeles, the United States, the display shows how artists make parallels and explore differences between the cities in which they find themselves.
Living Cities is presented in The George Economou Gallery
BLAVATNIK BUILDING LEVEL 4 WEST
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Coming this fall from the Museum of Modern Art:
S t e p h e n S h o r e
Edited with text by Quentin Bajac.
Text by David Campany, Kristen Gaylord, Martino Stierli.
Organized into 60 thematic sections, this magisterial volume provides a complete overview of Shore’s career—from the early portraits of Warhol’s Factory to his latest Instagram images.
“One of the most influential photographers of our time, Stephen Shore has often been categorized as one of a group of artists of the 1970s who captured American popular culture in straightforward, unglamorous color images. While this is true, it is only part of the story: Shore has worked with many forms of photography, switching from cheap automatic cameras to large format in the 1970s, pioneering the use of color film before returning to black and white in the 1990s, and, in the 2000s, taking up the opportunities offered by digital photography, digital printing and social media.
Published to accompany the first comprehensive survey of Stephen Shore’s work in the US, this catalog reflects the full range of his contribution, including the gelatin silver prints he made as a teenager (and sold to The Museum of Modern Art); his photographs of the scene at Andy Warhol’s Factory, in New York; the color images he made during cross-country road trips in the 1970s; his recent explorations of Israel, the West Bank and Ukraine; and his current work on digital platforms, including Instagram.
This book offers a fresh, kaleidoscopic vision of the artist’s extensive career, presenting more than 400 reproductions arranged in a thematic framework, each grouping accompanied by a short but wide-ranging essay. This unique encyclopedia-style format makes visible the artist’s versatility of technique and the diversity of his output, reflecting his singular vision and uncompromising pursuit of photography’s possibilities.”
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The Museum of Modern Art presents:
S t e p h e n S h o r e
November 19, 2017–
Organized by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator,
with Kristen Gaylord, Beaumont and Nancy Newhall Curatorial Fellow,
Department of Photography.
Stephen Shore encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms.
One of the most significant photographers of our time, Stephen Shore (American, b. 1947) has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, switching from cheap automatic cameras to large-format cameras in the 1970s, pioneering the use of color before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media.
The artist’s first survey in New York to include his entire career, this exhibition will both allow for a fuller understanding of Shore’s work, and demonstrate his singular vision—defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humor, and visual casualness—and uncompromising pursuit of photography’s possibilities.
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Musee Magazine :
Factory: Andy Warhol by Stephen Shore
By Erica McGrath
“The images in Factory: Andy Warhol have me lusting to be part of a history I can never be. They are heavily nostalgic of that 60’s culture Shore was apart of; Sterling Morrison of The Velvet Underground, the band founded by Warhol, states in Factory: Andy Warhol that Shore’s images capture, “The moments of frenzied activity mixed with pensive calm, I like that. It was not a riotous, noisy place. It was usually pretty quiet. The noise happened later”. Shore was accepted and fit in comfortably with the cast of characters that circled in and out The Factory. The people who surrounded him on a daily basis included Edie Sedgwick, Lou Reed, John Cale, Nico, Yoko Ono, and of course Warhol himself. Edmund Hennessy, a regular Factory affiliate, affirms the mutual feelings shared by everyone about Shore documenting The Factory, “We were never nervous around Stephen, nor were we bothered by his camera…his photographs perfectly capture the galvanic life at the Factory; they are intensely evocative…in one of the pictures I have a radiant grin on my face. I look at it once in a while and wonder if I will ever be that happy again”…’
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Stephen Shore Captures America in a
The legendary photographer reflects on color, his career, and his obsession with Instagram
BY MEREDITH MENDELSOHN
PORTRAIT BY GRANT CORNETT
July 5, 2017
“Stephen Shore’s road trips through 1970s America yielded such spellbinding photos of seemingly ordinary sights that those images now serve as a kind of crystalline collective memory of that wood-paneled, Formica-clad, avocado-green era. But Shore, one of the most influential and imitated photographers alive today, isn’t prone to nostalgia, preferring to steer a conversation toward his more recent adventures in the medium. “I’ll use a high-end digital camera for editorial projects,” he says, “but really what I’ve been doing for the past three years is Instagramming with my phone.” By nine o’clock one morning this past spring, when I arrive at his uptown Manhattan apartment, he’s already been photographing the banalities of the day with his iPhone 7. “I have dogs,” he says, as deadpan as one of his photos. “I take them on walks and I take pictures.” ‘
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The Paris Review presents:
by Lynne Tillman
These photographs are, ostensibly, different: a blue, shuttered used-clothing store; a blue car parked on a street and a bank in the background; twenty blue Adirondack chairs scattered on a spacious green lawn; and, a blue-and-white-striped restaurant facade.
In each but the photograph with twenty chairs, windows figure inside the frame. The bank and car have windows; both storefronts do. But none is there to see through, as if transparent, none is what a photograph once was called, a window into the world. Instead, the windows are covered, partially blocked, or opaque.
Looking at the used-clothing store, I can imagine a story for it:
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How Stephen Shore Taught America to See
In 1982, when Stephen Shore published Uncommon Places, his landmark book of photographs of 1970s America, he distilled nearly a decade of sprawling, cross-country travels into just 61 lucid, unsentimental, full-color pictures. On the surface they were, in fact, common places, town squares and parking lots and billboards and motels, but Shore’s camera sought the subtle strangeness and unraveling at the edge of the familiar. This was the aftermath of the raw, romantic, rough-and-tumble, Beat-era ride of Robert Frank’s The Americans. The parking lot was the fulfilled goal of car culture aspirations; the billboard depicting a majestic mountain scene mimicked the very landscape whose view it obstructed (U.S. 97, South of Klamath Falls, Oregon). “I wanted to ask myself,” Shore writes in Stephen Shore: Selected Works, 1973–1981, a new book that collects mostly unseen pictures from his monumental project: “‘What does seeing look like?’”
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Aperture Foundation presents
For the next few days I’m taking over the Instagram feed of Aperture: @aperturefdn
They’ve just released my new book, Stephen Shore: Selected Works, 1973-1981
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Dashwood Books presents:
Selected Works, 1973-1981
by Stephen Shore
Tuesday, Jun 13, 2017 6:00 PM – 8:00 PM
Over the past five years Shore scanned hundreds of negatives from his seminal project “Uncommon Places” shot between 1973 and 1981. For this book an international group of fifteen photographers, curators, authors, and cultural figures were invited to select ten images apiece from this rarely seen cache of images and reproduce their selections as individual chapters or portfolios. Each portfolio offers an idiosyncratic and revealing commentary on why this body of work continues to astound; how it has impacted the work of new generations of photography and the medium at large; and proposes new insight on Shore’s unique vision of America as transmuted in this totemic series. Contributors include Wes Anderson, Paul Graham, An-My Lê, Hans Ulrich Obrist, Richard Prince, Ed Ruscha, Taryn Simon, Thomas Struth.
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The La Brea Matrix presents:
The La Brea Matrix Project
Montevideo Centro de Fotografia
We invite you this Sunday at 19 at the opening of the exhibition ” an image that’s moving. La Brea Matrix. Photobook Museum Curator, researcher and founder of the German Photobookmuseum Markus Schaden.
La Brea Matrix is an exhibition that investigates the circulation of this image, essentially through photobooks, and its influence on the contemporary photography. A picture whose movement the installed as a powerful generator matrix of content.
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