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.
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Lynne Tillman is a novelist, short story writer, and critic. Her fiction includes the novels Haunted Houses, Motion Sickness, Cast in Doubt, and No Lease on Life, a finalist for the National Book Critics Circle Award in fiction. Tillman's art and literary criticism has been published in Artforum, Frieze, Aperture, Nest, the Village Voice, The Guardian, Bomb, and The New York Times Book Review. She has written stories for the artists' books and catalogues of a variety of contemporary artists, including Kiki Smith, Juan Munoz, Jessica Stockholder, Barbara Kruger, Roni Horn, and Vik Muniz. Her most recent story collection, This Is Not It, appeared in 2002. Tillman's new novel, American Genius, A Comedy, will be published in October by Soft Skull Press.
This survey of photographer Shore's images juxtaposes some of his precociously early work as part of Andy Warhol's Factory with the now classic color photographs of American life from the '70s and Shore's most recent black-and-white pictures. The book is organized into four sections, each focusing on a different set of images. Art historian Fried's disorganized interview with the artist kicks things off with a selection of images from Shore's two career-making books, Uncommon Places and American Surfaces. Critic Lange's wordy overview of Shore's artistic progression examines images from the same periods as the books. Photographer Sternfeld contributes an in-depth analysis of one photograph, taken in 1974, of a street in a small town in Massachusetts. The book closes with images selected by Shore himself, alongside his own writing and extracts from texts that he admires, including a paragraph about Chinese poets, who accept the world exactly as they find it in all its terms, and with profound simplicity therein find sufficient solace. It's a shame that Shore's section isn't longer, as that line perhaps explains his exceptional body of work more completely than any of the learned musings that precede it. (June)
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Softcover. Condition: Good. First Edition. Stephen Shore's photographs of ordinary America have had an extraordinary impact. Shore spent the 1970s crisscrossing the continent to assemble his two best known bodies of work. American Surfaces and Uncommon Places These photographs focused on the minutiae of modern life, unveiling the exceptional beauty to be found in banality and, in the process, pioneering the two most important photographic idioms of the past thirty years the diaristic snapshot (later taken up by such artists as Nan Goldin and Wolfgang Tillmans) and the monumentalized landscape (as practiced by such photographers as Thomas Struth and Andreas Gursky) Shore was also one of the first art photographers to work in colour, capturing the sky blues, mustard yellows and avocado greens of a nation whose chromatic enthusiasm occasionally outstripped its taste.Less well known are Shore's earlier works While still in high school in the mid-1960s he undertook a three-year project shooting Andy Warhol's legendary studio, the Factory, at its creative peak, featuring a revolving cast of characters that included the Velvet Underground, Nico, Edie Sedgwick and of course Warhol himself Soon afterward, inspired by the intellectually fertile late-1950s New York art scene, Shore produced a body of conceptual work seldom exhibited but fully engaged with the revolutionary ideas shaking the foundations of modern art. These works are fascinating not only for their contribution to the redefinition of the art object but also for the way they prefigured much of Shore's work to fallow, including American Surfaces and Uncommon Places.Since the 1970s Shore has continued to expand his repertoire, moving effortlessly between black and white and colour, landscape and portraiture, large format and small in so doing, he has proven himself to be one of contemporary art's most vital photographers As fellow photographer Joel Sternfeld writes in the Focus section, 'What may ultimately be at stake in his pictures is the pure condition of sight itself.' Seller Inventory # SONG0714846627
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