Stephen Shore (b. 1947) is a true artistic innovator whose work has opened up new frontiers for contemporary photography. His photographs of American scenes unveil the exceptional beauty to be found in the everyday. As one of the first art photographers to work in color, Shore pioneered such contemporary genres as the diaristic snapshot (later taken up by Nan Goldin and Wolfgang Tillmans) and the monumentalized landscape (as later practiced by Becher-school photographers Thomas Struth and Andreas Gursky). This monograph offers the first complete examination of Shore's long and storied career, from his residency at Warhol's Factory to his experiments in conceptual photography; from his landmark series AMERICAN SURFACES to his continued exploration of emerging techniques. Shore's high-key portraits of America's chromatic landscape can be found in the permanent collections of major museums all over the world.

Stephen Shore (Contemporary Artists)

Arts & Photography

STEPHEN SHORE

Joel Sternfeld

Michael Fried

Christy Lange

Individual Artists

Phaidon Press

Lors de la préparation de Uncommon Places, Shore a également emporté avec lui un appareil photo 35mm Leica. Contrepoids bienvenu à l’appareil photo grand format lourd et fastidieux qu’il utilisait habituellement, le Leica a permis à Shore de photographier d’une manière instinctive et directe - qualités qui lui ont plu de prime abord dans l’univers photographique dès l’adolescence. Shore a abordé la photographie grand format de la même manière, en cherchant à reproduire la sensation immédiate de ses images 35mm. En découvrant ces photographies des années plus tard, Shore a été frappé par l’étrangeté qui s’en dégageait : la différence entre les rapports de forme était proche de ce qui sépare deux touches musicales. Ces photographies Leica décrivent une Amérique à la fois familière et typique, révélant un monde au-delà du cadre. Transparencies regroupe ces diapositives inédites de Kodachrome, qui présentent une vision originale de ce moment charnière de l’histoire photographique et sont le reflet de l’approche novatrice de Shore en matière de sujet et de couleur.

Transparencies: Small Camera Works 1971-1979

MACK BOOKS

En 1977, Stephen Shore a parcouru l'État de New York, la Pennsylvanie et l'est de l'Ohio - une région en plein déclin industriel qui serait finalement connue sous le nom de Rust Bel. Shore a rencontré des métallurgistes qui avaient été mis au chômage par la fermeture d'usines et photographié leur monde soudainement fragile: usines désertes, bars solitaires, rues commerçantes en déclin et maisons joliment décorées. À travers ces images, on voit une Amérique centrale prospère vaciller sur le précipice d'un déclin désastreux. L'espoir et le désespoir se cachent sans cesse derrière les surfaces des devantures de magasin, les intérieurs domestiques et les expressions tendues de ceux qui affrontent la caméra de vision 4x5 de Shore. Initialement commandée comme un reportage photographique prolongé pour Fortune Magazine dans la veine de Walker Evans, l'enquête multiforme de Shore n'a gagné en importance politique que dans les années qui ont suivi. Les sujets de Shore - y compris les travailleurs, les dirigeants syndicaux et les membres de la famille - avaient voté pour Jimmy Carter l’année précédant sa visite; à présent, il les trouva déçus du nouveau président, condamné à laisser derrière lui le parti démocrate et à devenir les «démocrates Reagan». À travers des images toujours captivantes de l'un des maîtres reconnus du monde, Steel Town offre un portrait immersif d'un temps et d'un lieu dont la signification pour nous est de plus en plus urgente. Avec un essai récemment commandé par Jane Kramer, correspondante européenne du New Yorker. Le travail de Stephen Shore a été largement publié et exposé au cours des 45 dernières années. À 23 ans, il est le premier photographe vivant à avoir une exposition personnelle au Metropolitan Museum of Art de New York depuis Alfred Stieglitz, 40 ans plus tôt. Plus de 25 livres ont été publiés sur les photographies de Stephen Shore, dont Uncommon Places: The Complete Works et American Surfaces; des œuvres qui sont aujourd'hui considérées comme des jalons importants de l'histoire de la photographie. Shore est représenté par 303 Gallery (New York) et Sprüth Magers (Londres et Berlin). Jane Kramer est rédactrice au New Yorker depuis 1964 et a écrit un long métrage régulier, «Lettre de l'Europe», depuis 1981. Kramer a publié plus de dix livres, dont plusieurs ont remporté des prix.

STEEL TOWN

‘Although the dream is a very strange phenomenon and an inexplicable mystery, far more inexplicable is the mystery and aspect our minds confer on certain objects and aspects of life.’ Giorgio de Chirico Stephen Shore’s Modern Instances: The Craft of Photography is an experimental new memoir from one of the world’s most prolific artists ― an impressionistic scrapbook that documents the rich and surprising touchstones that make up over half a century of ground-breaking work. With essays, photographs, stories, and excerpts that draw on Shore’s decades of teaching, this is an essential handbook for anyone interested in learning more about mastering one’s craft and the distinct threads that come together to inform a creative voice. As much as offering meditation on the influences of a single artist, Modern Instances proposes a new way of thinking about the world around us, in which even the smallest moment can become a source of boundless inspiration ― if only we pay attention.

MODERN INSTANCES: The Craft of Photography

Photography & Video

Topographies: Aerial Surveys of the American Landscape presents the latest body of work from Stephen Shore: a series of photographs shot by drone from 2020 onwards, which reveal in arresting detail the interplay of natural and man-made landscapes in Montana, North Carolina, New York, and beyond. In this new body of work, Shore revisits the original ambitions of the renowned 1975 exhibition ‘New Topographics’, using a new aerial viewpoint to consider afresh the concerns of the movement – the objective, the commonplace, and the relationship of the natural and man-made in the American landscape – reflecting on how these can be applied in the twenty-first century. As much as exploring the formal possibilities of the aerial photo- graph, Topographies also displays a glorious dedication to detail and surprise, in which the slightest bend of a river or turn of a shadow uncovers the textures and colours of America’s urban and suburban landscapes, all investigated with Shore’s signature rigour. With an essay by Richard Woodward

Topographies: Aerial Surveys of the American Landscape

Since 2002, Sze Tsung Leong has been photographing the dramatic changes that are transforming the cities of China, revealing a process that begins with the destruction of traditional neighborhoods and ends in the mass construction of new urban environments. He travels with a large-format view camera, visiting cities including Beijing, Shanghai, Chongqing, Nanjing, Pingyao and Xiamen, and the resulting highly detailed images portray the immense scale of the upheaval and of the contradictions created by its uncertain and fluctuating environment. Traditional buildings in the process of being demolished are juxtaposed against the glass walls that are about to replace them; seemingly abandoned buildings on the verge of destruction, or in the midst of construction, reveal clues of habitation; historic areas survive as a result of neglect and isolation rather than intent; and obscured in the midst of expansive, culturally ambivalent spaces, small Chinese script on indistinct signs serves as the only hint that these environments are in China. Collectively, the photographs in History Images capture the erasure and subsequent absence of history, and the moment of anticipation for the new future to unfold; it is an urban reality caught in the tenuous period after the end of one history and at the beginning of another.

Sze Tsung Leong: History Images

Norman Bryson

Sze Tsung Leong

Steidl

Photographer Stephen Shores extensive travels across the United States, document the banal scenes and objects he encounters along the way. This series was made on a single day in 2013, when Shore revisited a small Arizona town he had first seen in 1972. As part of Doug Aitkens Station to Station project, in which invited artists, writers, performers and filmmakers rode a train from New York to California, stopping at various points to stage happenings, Shore decided to photograph Winslow and make a slideshow at the next stop; a visual improvisation. His portrait of the sun-baked town is bleak, with boarded-up buildings, abandoned objects and lifeless streets.

Winslow Arizona: Stephen Shore

Amana

Beyond the Wall Personal Experiences with Autism and Asperger Syndrome

Autism Asperger Publishing Co.

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Books by STEPHEN SHORE