Stephen Shore: Survey

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Product Details
Price
$65.00  $60.45
Publisher
Aperture
Publish Date
Pages
300
Dimensions
12.4 X 1.4 X 10.0 inches | 4.9 pounds
Language
English
Type
Hardcover
EAN/UPC
9781597113090

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About the Author
Sandra S. Phillips is a writer, editor, and curator emerita of photography at the San Francisco Museum of Modern Art. During her nearly thirty-year tenure at SFMOMA, Phillips curated numerous influential exhibitions, including Police Pictures: The Photograph as Evidence (1997), the first exhibition to examine historical and contemporary photographs taken as evidence; Daido Moriyama: Stray Dog (1999), the first museum exhibition to survey the work of this important postwar Japanese photographer; Ansel Adams at 100 (2001), organized with John Szarkowski; and Diane Arbus: Revelations (2003), the first complete showing of Arbus's legendary photographs and writings. Phillips's most recent publication is American Geography: Photographs of Land Use from 1840 to the Present (2021).
At age fourteen, Stephen Shore had his work purchased by Edward Steichen for the Museum of Modern Art, New York. At seventeen, Shore was a regular at Andy Warhol s Factory, producing an important photographic document of the scene, and in 1971, at the age of twenty-three, he became the first living photographer since Alfred Stieglitz forty years earlier to have a solo show at the Metropolitan Museum of Art. He has had numerous one-man shows, including those at the Museum of Modern Art, New York; George Eastman House, Rochester; Kunsthalle Dusseldorf; Hammer Museum, Los Angeles; Jeu de Paume, Paris; and Art Institute of Chicago. He has received two NEA grants and a Guggenheim Foundation grant. Since 1982 he has been director of the photography program at Bard College, Annandale-on-Hudson, New York, where he is the Susan Weber Professor in the Arts.
Sandra S. Phillips was the longtime senior curator of photography at the San Francisco Museum of Modern Art.
Horacio Fernández (editor) is a photo-historian, curator, and author of numerous catalogs and books, including Fotografía Pública: Photography in Print 1919-1939 (1999). He has been a senior lecturer at the Facultad de Bellas Artes de Cuenca, Spain, since 1988. Between 2004 and 2006, he was general curator of PhotoEspaña, the international festival that takes place in Madrid every year.
David Campany is one of the best-known and most accessible writers on photography. His books include A Handful of Dust (2015), The Open Road (Aperture, 2014), Walker Evans: The Magazine Work (2013), Jeff Wall: Picture for Women (2011), Photography and Cinema (2008), and Art and Photography (2003). His essays have appeared in numerous books and he contributes regularly to Aperture, Frieze, Photoworks, and Oxford Art Journal.
At age fourteen, Stephen Shore had his work purchased by Edward Steichen for the Museum of Modern Art, New York. At seventeen, Shore was a regular at Andy Warhol's Factory, producing an important photographic document of the scene, and in 1971, at the age of twenty-three, he became the first living photographer since Alfred Stieglitz forty years earlier to have a solo show at the Metropolitan Museum of Art. He has had numerous one-man shows, including those at the Museum of Modern Art, New York; George Eastman House, Rochester; Kunsthalle Düsseldorf; Hammer Museum, Los Angeles; Jeu de Paume, Paris; and Art Institute of Chicago. He has received two NEA grants and a Guggenheim Foundation grant. Since 1982 he has been director of the photography program at Bard College, Annandale-on-Hudson, New York, where he is the Susan Weber Professor in the Arts.
Reviews
This substaintial catalogue, published by Fondación Mapfre/Aperture, is-surpisingly-the first to explore Shore's remarkable life and career in depth. The selection of 250 images spans six decades and includes his rarely exhibited black-and-white work: New York street pictures, including a gritty bunch from the mid-'60s and a more stately one from 2002; nature studies in Essex County, New york, taken in 1990; and a portrait from Luzzara, Italy, taken in 1993. There are chapters highlighting his familiar style in color with a view camera-Ukraine and Arizona landscapes-as well as one on his embrace of digital print-on-demand technology.--Richard B Woodward "Bookforum "
An exploration of Stephen Shore's groundbreaking photography split into three parts, Survey dissects the complex ideas behind Shore's deceptively straight-forward images.--Phil Bicker "TIME Lightbox "
This substaintial catalogue, published by Fondacion Mapfre/Aperture, is--surpisingly--the first to explore Shore's remarkable life and career in depth. The selection of 250 images spans six decades and includes his rarely exhibited black-and-white work: New York street pictures, including a gritty bunch from the mid-'60s and a more stately one from 2002; nature studies in Essex County, New york, taken in 1990; and a portrait from Luzzara, Italy, taken in 1993. There are chapters highlighting his familiar style in color with a view camera--Ukraine and Arizona landscapes--as well as one on his embrace of digital print-on-demand technology.--Richard B Woodward "Bookforum "

This substantial catalogue, published by Fundacion Mapfre/Aperture, is surpisingly the first to explore Shore's remarkable life and career in depth. The selection of 250 images spans six decades and includes his rarely exhibited black-and-white work: New York street pictures, including a gritty bunch from the mid-'60s and a more stately one from 2002; nature studies in Essex County, New york, taken in 1990; and a portrait from Luzzara, Italy, taken in 1993. There are chapters highlighting his familiar style in color with a view camera Ukraine and Arizona landscapes as well as one on his embrace of digital print-on-demand technology. But the bulk of the plates and writings here are devoted, rightfully, to the 70's, when Shore completed two exceptional projects, American Surfaces and Uncommon Places. It is hard to imagine them as products of the same artist, so antithetical do they seem in how they are organized and in what subjects they memorialize. "Bookforum"

An exploration of Stephen Shore's groundbreaking photography split into three parts, Survey dissects the complex ideas behind Shore's deceptively straight-forward images. "TIME" Lightbox

Shore revolutionized photography with his colleagues with color, an aesthetic shift that mirrored Warhol s fascination with industrial/mechanical processes and the serial reproduction of images. "Time"

Stephen Shore was part of a remarkable generation that reinvented the medium, subordinating the excessive beauty of color film to a formal discipline "The New York Times"

Shore used seemingly unimportant elements of the landscape lampposts, fences, blank walls and sidewalks to frame back alleys and gasoline strips, imbuing them with a kind of wistful poetry. "The New York TImes" "
This substantial catalogue, published by Fundacion Mapfre/Aperture, is-suprisingly-the frist to explore Shore's remarkable life adn career in depth. The selection of 250 images spans six decades and includes his rarely exhibited black-and-white work: New York street pictures, including a gritty bunch from the mid-'60s and a more stately one from 200; nature studies in Essex County, New York, taken in 1990; and a portrait from Luzzara, Italy, taken in 1993. There are chapters highlighting his familiar style in color with a view camera-Ukraine and Arizona landscapes-as well as one of his embrace of digital print on demand technology. But the bulk of the plates and writings here are devoted, rightfully, to the 70's, when Shore completed two exceptional projects, "American Surfaces" and "Uncommon Places." It is hard to imagine them as products of the same artist, so antithetical do they seem in how they are organised and in what subjects they memorialize.--Richard B. Woodward "Bookforum "