GARAGE – VICE presents

The Five New York Exhibitions We’re Most Looking Forward To This Winter

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Overlapping with Shore’s triumphant MoMA retrospective, 303 will this month present their sixth solo show by the influential photographer, whose mastery of an offbeat (and peculiarly American) aesthetic, and continued pursuit of new image-making and distribution technologies, have kept him center stage. Shot exclusively with the Hasselblad X1D, a digital camera that combines a touchscreen interface with ultra-high resolution, Shore’s new large-scale shots have an even more prosaic aesthetic than usual, focusing on street detritus to evocative effect.

DETAILS
Stephen Shore
303 Gallery
January 11–February 17

To read the full article:
www.garage.vice.com

 

AVA360 presents:

Stephen Shore
AT THE MUSEUM

EPISODE 8

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Photographer Stephen Shore visits an in-progress installation of his first full career survey exhibition in New York. Chief Curator of Photography Quentin Bajac asks Shore’s opinion on finishing touches of the show.  See what it takes to run a modern museum in our new documentary series, “At the Museum.”

To see the full episode:
www.news.ava360.com

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303 Gallery announces:

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303 Gallery is pleased to announce our sixth exhibition of new work by Stephen Shore.

Always curious to investigate new forms of image-making, Shore has enthusiastically embraced and adapted to the era of digital photography. His series of print-on-demand books from the early 2000s created elliptical narratives from seemingly offhand snaps of casual events, and used the genre of travel photography to both critique and construct history. The advent of the iPhone has allowed Shore to continue his cataloguing of the everyday through his Instagram feed. In early 2017, Shore discovered a new tool: the Hasselblad X1D, a digital camera using an iPhone-like touchscreen interface, but with a resolution equal to or even greater than what he was able to achieve with his typical 8×10 view camera setup.

The photographs in his exhibition at 303 Gallery are shot exclusively with the X1D, and focus on a new kind of landscape, as found in arrangements of natural phenomena and street detritus to create distinctly happenstance harmonies. Whether capturing a boulder peeking out of a sea of rippling water or deflated balloons loitering outside an exhaust grate, Shore’s keen eye for color, composition and light reveals the strange cosmic congruity of seemingly foreign and unrelated elements. In Shore’s New York, a stray branch floating on a sidewalk under a wall of navy blue bricks seems to suggest an entirely hidden world of phenomena; while a cigarette, a straw, and a leaf balanced on untended asphalt has the expressionist power of an early Kandinsky. Discovering his new camera’s ability to bring these intimate details into macro focus and print them into sharp, large-scale photographs, the intuitive and resolute constancy of Shore’s search for pictorial possibilities is obvious. An experimenter with a firm grasp of formality, Shore has produced work over the past fifty years that is a benchmark of photography’s potential.

For more information:
www.303gallery.com

 

Lens Culture presents:

Artifacts from the Now:
Stephen Shore’s MoMA Retrospective

 

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Exhibition review by Lev Feigin

“For American photography, one of the most important explorers of the ordinary came of age during this artistic era: Stephen Shore. His commanding ten-room retrospective, now on view at the Museum of Modern Art in New York, presents hundreds of images of the commonplace captured by the photographer over the course of more than fifty years. The survey follows the chronological trajectory of Shore’s career, beginning with his apprenticeship at Warhol’s Factory in the mid-60s and ending with his recent trips to Ukraine and Israel. Each room is dedicated to a different creative phase of the artist, who considers a photograph “a problem to be solved.”

Curated by MoMA’s Quentin Bajac, the exhibition grounds Shore’s work in the artistic movements of the milieu that impacted the young photographer while he worked at the Factory. In the first rooms, the survey presents over thirty of Shore’s black and whites of the Factory’s habitués, from Lou Reed and Nico to Marcel Duchamp, as well as Shore’s experimental serial images from the late ’60s, which take a sledgehammer to the conventions of art photography.”

To read the full review:
www.lensculture.com

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L’Oeil de la Photographie presents:

Stephen Shore exhibition at MoMA:
Lingering among Treasures

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HUGO FORTIN
DECEMBER 13, 2017

“There are names in the history of photography which function as markers of a school of thought, and Stephen Shore is one of them. We know only too well his contribution as a pioneer of color photography and a poet of the banal. Often, when concerning major photographers, monographic exhibitions confuse biographic account and historiographic narrative. It is difficult to take a new look at work when it has been so digested, copied, interpreted, and put through the mill by critique and analysis. The exhibition Stephen Shore at the Museum of Modern Art in New York seems to have avoided this pitfall, and its curator, Quentin Bajac, has succeeded beautifully in sponging off the cliché from the work of Stephen Shore just as we though it was almost fossilized.”

To read the full review:
www.loeildelaphotographie.com

 

The New Yorker presents:

Stephen Shore’s Offbeat Sublimities

An immersive and staggeringly charming retrospective of the photographer’s work showcases his easeful acceptance of the world.

By Peter Schjeldahl

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“Stephen Shore, the subject of an immersive and staggeringly charming retrospective at the Museum of Modern Art, is my favorite American photographer of the past half century. This is not purely a judgment of quality. Shore has peers in a generation that, in the nineteen-seventies, stormed to eminence with color film, which art photographers had long disdained, and, often, with a detached scrutiny of suburban sprawl, woebegone towns, touristed nature, cars (always cars), and other familiar and banal, accidentally beautiful, cross-country phenomena. The closest to Shore, in a cohort that includes Joel Meyerowitz, Joel Sternfeld, and Richard Misrach, is his friend William Eggleston, the raffish Southern aristocrat who has made pictures unbeatably intense and iconic: epiphanies triggered by the hues and textures of a stranded tricycle, say, or of a faded billboard in a scrubby field. While similarly alert to offbeat sublimities, Shore is a New Yorker more receptive than marauding in attitude. I fancy that Eggleston is the cavalier Mephistopheles of American color photography, and Shore the discreet angel Gabriel.”

To read the full article:
www.newyorker.com

MoMA presents:

American Surfaces
and the Photobook

In conjunction with the exhibition Stephen Shore:

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The Museum of Modern Art
Through March 18, 2018

Over the last 20 years, the photobook has become recognized as a dynamic medium for publishing, collecting, and curating. Today more and more photographers conceive of their projects in book form. Even as digital media alter the way we consume photographs, the physicality and tactility of the book continue to captivate artists and readers. Advancements in contemporary bookmaking, such as print-on-demand technology, have made publishing more accessible and exciting than ever. At the same time, collecting and exhibiting photobooks are still relatively new practices, making the photobook fertile ground for exploration and discovery.In conjunction with the exhibition Stephen Shore, this installation features seminal photobooks of the past century drawn from the collection of the MoMA Library, with an emphasis on the achievements of Shore and other artists who have focused on the American landscape. The works presented range from passionate pleas for social justice and environmental protection to cool, objective, and form-driven perspectives on the landscape. Some books describe life in major cities. Others were born out of long road trips, walks in the countryside, and travels through transitional spaces and borderlands. A broad range of image-making techniques were used to create these works, from the collodion process, invented in the mid-19th century, to Google Street View. As photographers continue to be inspired by Shore and the American landscape, new approaches—and photobooks—are sure to follow.

Organized by Philip Parente, Library Collections Coordinator.

For more information, visit:
www.moma.org

Strand Book Store Inc. presents:

An Evening with Stephen Shore

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An Evening with Legendary Photographer Stephen Shore

Strand Book Store Inc
828 Broadway
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Tuesday, December 5th, 2017
7:30PM – 8:30PM

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For more details,
or to purchase tickets:

www.strandbooks.com

New York Times presents:

Stephen Shore’s MoMA Survey Shows a Restless Reformer as a Master of Photography

By JASON FARAGO

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“In the art world of the 1960s and 1970s, the photograph came to have a multiplicity of functions: it could document a performance (as in the art of Carolee Schneemann), advocate a social message (Danny Lyon), underpin a conceptual practice (Sol LeWitt), or relate a fictional narrative (Eleanor Antin). And today, now that cameras are ubiquitous and cloud-compatible, we often expect photography to serve as a tool for other efforts. But a photograph can still — we forget sometimes — have no function than to be itself.

That autonomous virtue comes through loud and clear at the Museum of Modern Art’s retrospective of Stephen Shore’s work: a sprawling, demanding exhibition that sticks up for photography as a discipline in its own right. Mr. Shore, who emerged in the 1970s alongside William Eggleston, Joel Sternfeld and other pioneers of color photography, has spent decades shooting landscapes and highways, motel rooms and diner breakfasts, with an unaffected mastery and subtle humor. Not staged, not lit, not cropped, not retouched, his photographs are feats of dispassionate representation, and yet their attentiveness and exactitude make them far, far more than snapshots.”

To read the full review:
www.nytimes.com

GARAGE – VICE presents

Is Stephen Shore the Most Influential Photographer of the 20th Century?

SAUL ANTON
Nov 20 2017, 8:45am

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“Stephen Shore might be considered something of a test case, at least to judge from his magnificent current retrospective at the Museum of Modern Art. He’s a pioneer of photography’s vernacular forms and practices, the informal snapshot, the postcard, and the print-on-demand book. And because his career arc spans the heyday of art photography in the 1960s and ’70s to today, moving through MoMA’s chronologically installed show felt a little like following the development of the medium itself over the past half-century. Now 70, Shore has over 103,000 Instagram followers, a number that at least feels comparable to the circulation of all the photography and art magazines in America.”

To read the full review:
www.garage.vice.com

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