L’Oeil de la Photographie presents:
Stephen Shore exhibition at MoMA:
Lingering among Treasures
“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.”
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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
“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.”
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and the Photobook
In conjunction with the exhibition Stephen Shore:
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:
Strand Book Store Inc. presents:
An Evening with Stephen Shore
An Evening with Legendary Photographer Stephen Shore
7:30PM – 8:30PM
or to purchase tickets:
New York Times presents:
Stephen Shore’s MoMA Survey Shows a Restless Reformer as a Master of Photography
“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.”
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GARAGE – VICE presents
Is Stephen Shore the Most Influential Photographer of the 20th Century?
“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.”
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MoMA Live presents:
Stephen Shore in Conversation :
Join us for a conversation with MoMA Chief Curator of Photography Quentin Bajac and artist Stephen Shore on the opening of the exhibition, “Stephen Shore,” moderated by MoMA Senior Deputy Director of Curatorial Affairs, Peter Reed.
One of the most significant photographers of our time, Stephen Shore 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, and this exhibition 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.
Watch the conversation here:
AI-AP: DART Design Arts Daily presents
Stephen Shore at MoMA
By Peggy Roalf
“Stephen Shore, the American photographer whose spare, elemental, constructed images have informed the work of so many who have followed, is the subject of a major retrospective opening this week at the Museum of Modern Art. The expansive show, curated by Quentin Bajac, with Kristen Gaylord, occupies the entirety of the newly renovated third floor photography galleries, and presents a chronological view of this protean artist’s extraordinary career. Above: © Stephen Shore. Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975. The Museum of Modern Art, New York. Acquired through the generosity of Thomas and Susan Dunn.
Starting with Shore’s early black-and-white photographs of people and events engaged with Andy Warhol and his Factory (1961-1967), it covers the major sequences and series of Shore’s career, along with previously unknown work and unpublished series. His embrace of ordinary subjects, from dusty Texas towns to shopping malls and gas stations, has created a misperception of what his work is about, and this exhibition has been organized with a view towards correcting this.”
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Photograph Magazine presents:
Stephen Shore: “Pop” Artist
By Tim Davis
“Stephen Shore is misunderstood. That’s a strange claim to make about someone with an enormous career retrospective at the Museum of Modern Art (opening November 19), enough books and exhibitions to fill a warehouse of CVs, and a clear vantage point atop an entire medium’s pantheon. But I think it’s true, and worth discussing. We live in the Age of Like. There was a Summer of Love, a Me Generation and now we have the Age of Like. You express your opinion by assenting that you like something, bestowing your brief blessings like a priest sprinkling holy water. If I were in charge of Instagram, say, I’d replace the Like option with Why I Like, so every pale naked assent would get dressed in explanation. And if you look at Shore’s Instagram, I’m certain most of those explanations would miss the point.”
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T Magazine Presents
On Stephen Shore, and Looking for America
Nov. 9, 2017
“Later this month, the 70-year-old photographer Stephen Shore will have his most comprehensive retrospective yet at the Museum of Modern Art in New York City. On view will be hundreds of Shore’s photographs, from his early black-and-whites taken when he was a teenager, around the time he sold his first photos to MoMA’s then-photography-director Edward Steichen, to his cross-country color photographs collected in the 1982 book “Uncommon Places.” In his obsessive and restless chronicling of the ordinary and mundane, Shore has single-handedly created a visual vocabulary that defines the iconography of America — beautiful, haunting images that evoke more than just a time and a place, but lives lived, desires lost and dreams unfulfilled. We selected four quintessentially American writers to create short fictions based on four of Shore’s most iconic photographs, all of which will appear in the show — and another author, Annie Proulx, to discuss an image of Shore’s that made a lasting impression on her.”
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