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:  www.youtube.com
To see the new work: www.303gallery.com

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.

For more information visit:

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.

For more information visit:

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.”

To read the full article:


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.

To read the full article:

artobserved presents:


A review by D. Creahan

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“For as much as Shore is invested in the image itself, these are works pulling at the threads of modern man, works interested in man’s slow but steady embedding into the fabric of the world around him.  As writers argue that man has entered a new era, the anthropocene, where our varied pieces of physical evidence and impacts on the environment are entering the geological record, Shore takes a moment to examine the points of crossover, the moments when a cast-off bag or discarded cigarette begins its slow fade into the earth, and into its physical archive.”

To read the full review:

The New York Review of Books presents:

Stephen Shore, Seer of the Everyday

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by Gideon Jacobs

“Shore has had a half-century-long preoccupation with the difference between the way we see the world when we move through it, and the way we see it in images. His hope, he has often said, is to make photographs that look “natural.” For Shore, this means an erasure of mediation, a lightening of his hand in the creation of an image. Writer Lynne Tillman called it Shore’s attempt at “willed objectivity.” Photographer Joel Sternfeld described it as Shore’s “Zen-like, awakened unconsciousness.” Shore simply says he wants his photographs to “feel like seeing.”’

To read more:

MoMA Presents:

Stephen Shore | HOW TO SEE the photographer with Stephen Shore

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“Whenever I find I repeat myself, I look ahead in a new direction.” — Stephen Shore Photographer Stephen Shore wants his pictures to feel as natural as speaking. In this gallery tour, Shore reflects on his six-decade long career—from his early work taking pictures in Andy Warhol’s Factory to road trips across America.

To watch:

4Columns Presents:

Stephen Shore

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Unmade beds, Warhol’s Factory, the open road: the Museum of Modern Art hosts a retrospective of the prolific photographer.

by Lynne Tillman

“Retrospectives can be strange events for artists. Some don’t want one, fearing it might prematurely close the book on their work. At seventy, Stephen Shore is adding pages to his—Instagram and iPhone pictures. His need for discovery, novel experiences, drives his work—him, really. His concentration on a subject is intense, single-minded, like his spending three years fly-fishing. It is easier to understand the pursuit of pictures than fly-fishing, from my point of view.”

To read the full article:

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