CulBeat Express
2017.10.25 12:55
MoMA 스티븐 쇼어 사진전(11/19-5/28)
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Stephen Shore
November 19, 2017–May 28, 2018
Museum of Modern Art
NEW YORK, October 25, 2017—The Museum of Modern Art presents the most
comprehensive exhibition ever organized of photographer Stephen Shore’s work, on view
from November 19, 2017, until May 28, 2018. The exhibition tracks the artist’s work
chronologically, from the gelatin silver prints he made as a teenager to his current work with
digital platforms. The first New York survey of Shore's work in 10 years, this exhibition
establishes the artist’s full oeuvre in the context of his time—from his days at Andy Warhol’s
Factory through the rise of American color photography and the transition to large-scale
digital photography—and argues for his singular vision and uncompromising pursuit of
photography’s possibilities. The exhibition will include hundreds of photographic works along
with additional materials including books, ephemera, and objects. Stephen Shore is organized
by Quentin Bajac, The Joel and Anne Ehrenkranz Chief Curator of Photography, with Kristen
Gaylord, Beaumont and Nancy Newhall Curatorial Fellow, Department of Photography,
MoMA.
Born in 1947, Shore spearheaded the New Color Photography movement in the United States
in the 1970s, and became a major catalyst in the renewal of documentary photography in the
late 1990s, both in the US and Europe, blending the tradition of American photographers
such as Walker Evans with influences from various artistic movements, including Pop,
Conceptualism, and even Photo-Realism. Shore’s images seem to achieve perfect neutrality,
in both subject matter and approach. His approach cannot be reduced to a style but is best
summed up with a few principles from which he has seldom deviated: the search for maximum
clarity, the absence of retouching and reframing, and respect for natural light. Above all, he
exercises discipline, limiting his shots as much as possible—one shot of a subject, and very
little editing afterward.
Shore started developing negatives from his parents when he was only six, received his first
camera when he was nine, and sold prints to Edward Steichen, then director of MoMA’s
Department of Photography, at the age of 14. In the early 1960s Shore became interested in
film, both narrative and experimental, and he showed his short film Elevator in 1965 at the
Film-Makers’ Cinematheque, where he first met Andy Warhol. That spring, he dropped out of
high school and started photographing at Warhol’s studio, The Factory, initially on an almost
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daily basis, then more sporadically, until 1967. Elevator has been restored by conservators
and will be screened in the exhibition for the first time since the 1960s.
In 1969, Shore used serial black-and-white projects to deconstruct the medium and rebuild it
on a more detached, intellectual foundation. In these works, many shot in Amarillo, Texas,
with his friend Michael Marsh as his main model, Shore was striving to free himself from
certain photographic conventions: the concept of photography as the art of creating isolated
and “significant” images, and the related cult of the “decisive moment”; perfect framing; and
the expressive subjectivity of the photographer. The principle of multiplicity prevails in
Shore’s work of that period—series, suites, and sequences that resist all narrative temptation.
In their attempt to eliminate subjectivity, these series are related to a number of Conceptual
photographic works by other artists of the same period.
In November 1971 Shore curated an exhibition called All the Meat You Can Eat at the 98
Greene Street Loft. Embracing a century of photography, the show was composed largely of
found images collected by Shore and two friends, Weston Naef, then a curator at The
Metropolitan Museum of Art, and Michael Marsh. It also included images by Shore, such as
shots taken with a Mick-a-Matic camera and color photos that would serve as the basis for the
postcards in his series Greetings from Amarillo, “Tall in Texas.” Stephen Shore will include a
reconstructed version of this display, using material from Shore’s archives—some that was
originally in the exhibition and some that has been selected by Shore for this installation.
In the early 1970s Shore turned to color photography, a format that at that time was still
largely overlooked by art photographers. In March 1972, he started taking snapshots of his
daily life, embarking in June and July of the same year on a road trip to the southern US. For
two months he photographed his everyday life in an almost systematic way—unremarkable
buildings, main streets, highway intersections, hotel rooms, television screens, people’s
faces, toilet seats, unmade beds, a variety of ornamental details, plates of food, shop
windows, inscriptions, and commercial signs. In September and October 1972, images from
the series were shown at Light Gallery in New York under the title American Surfaces. The
MoMA display of this work echoes that initial presentation, in which the small Kodacolor prints
were attached directly to the wall, unframed, in a grid of three rows.
Begun in 1973 and completed almost 10 years later, Shore’s next project, Uncommon Places,
inhabits the same world and deals with the same themes as American Surfaces. Yet because
of Shore’s move from a handheld 35mm camera to a large-format one, Uncommon Places
features fewer details and close-ups and a more detached approach. Appearing in the context
of accelerated change in the national landscape, especially in areas of suburban sprawl, it
betrays a more contemplative reading of individual images. Before being published as a book
in 1982, the series was exhibited both in the US and abroad, especially in Germany, making
Shore one of the most prominent figures of the American New Color movement. Though he is
best known for his large-format work of this period, Shore was at the same time
experimenting with other photographic formats. The exhibition will include a selection of
stereo images he made in 1974 that were never published, and have not been exhibited since
1975.
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While working on what would become Uncommon Places, Shore began to accept
photographic commissions, not only for editorial work but also for institutions and
companies. If some of these commissions seem quite distant from Uncommon Places, most
of them still show some affinity with the series in their attention to architecture and
exploration of “Americanness.” He took photographs focusing on contemporary vernacular
architecture that the architects Robert Venturi and Denise Scott Brown used in their 1976
exhibition Signs of Life: Symbols in the American City. This exhibition will feature some of the
original, gridded transparencies from Signs of Life that incorporate images by Shore and other
photographers, not seen since 1976. Finally, some commissions he did for magazines
alternate between urban landscapes, portraits, and architectural details in a direct extension
of Uncommon Places. Shore would include a number of commissioned photographs in his
personal body of work, showing how porous the borders were between the two groups of
images, and Stephen Shore will include examples both of the photographs in context in books
and periodicals, and of others that were not subsequently published.
Starting in the late 1970s, Shore gradually abandoned urban and suburban areas and turned
to the natural landscape, a subject he would concentrate on almost exclusively during the
next decade. These included the landscapes of Montana (1982–83), where he settled with his
wife in 1980, Texas (1983–88), and the Hudson Valley (1984–86), where he moved in 1982,
but also more international locations: the Highlands of Scotland (1988); Yucatán, in Mexico
(1990); and finally the Po Valley, with a series in Luzzara, Italy (1993). This period
corresponds also to a reduced public visibility of his photographic work, marked by fewer
exhibitions, publications, and commissions.
In the early 2000s Shore began experimenting with digital tools and technologies that had
only recently become available. Between 2003 and 2010, he made dozens of print-ondemand
books, which were each printed in limited editions of 20 copies, making them similar
to artist’s books. But the ease of production, speed of execution, democratic nature of the
technique used, and modesty of the finished product are in direct line with the snapshots of
American Surfaces and the immediacy of Polaroid images. In the choice of subjects and
approaches, the series of books seems both literally and figuratively to be a mini-version of
Shore’s entire oeuvre, blending and reworking the themes that have always been important to
him—an exhaustive exploration of a particular subject or place, a penchant for the vernacular,
an interest in sequence, a tendency toward autobiography, a search for a kind of immediacy,
and a dry sense of humor—while still retaining its autonomy and specificity. A few years later
he created Winslow, Arizona in a single day in 2013. The precise temporal duration of the
series—one day from sunrise to sunset—links it to some of Shore’s print-on-demand books,
but it takes on a new performance-based dimension. Over 180 of the pictures Shore took that
day were presented, unedited and in the order in which they were shot, in a slide show,
projected on a drive-in screen in Barstow, California, a few days after he took them.
In 1996 and 1997 Shore, who had always been fascinated by archaeology, undertook
photographic projects around excavation sites in Israel and Italy, shooting solely in black and
white. Within the archaeological remains of these vanished cities, Shore was especially
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interested in the human dimension, both domestic and secular, seen in bones, pottery, and
vestiges of dwellings and shops. Then, between September of 2009 and the spring of 2011,
Shore returned to the region five times, photographing throughout the entire territory from
north to south, or From Galilee to the Negev, as he titled the book he published of a selection
of his photographs in Israel and the West Bank. As indicated by the title and structure of the
book, with chapters organized geographically, the project was guided by a topographical
exploration. It mixes various temporalities—which are echoed by the diversity of the images—
bringing together the “short term” of people and events with and the “long term” of the
landscape and planet.
The photographs Shore took in Ukraine in the summer of 2012 and the fall of 2013 have as
their subject the country’s Jewish community, specifically survivors of the Holocaust who are
assisted today by the Survivor Mitzvah Project. Following three years of photographing
primarily in Israel, the series provided Shore with the opportunity to continue working with
subjects related to his Jewish roots. In a break from his norm, Shore structured the Ukraine
series around the human figure. Survivors in Ukraine, the book of photographs he published in
2015, provides accounts of 22 survivors, all more than 80 years old, through a wide range of
images: close-ups, busts, and full-length portraits; fragmentary portraits of hands, arms, and
legs; views of dwellings and interiors; and still-life details of meals, belongings, and memorials
to departed family members.
In the summer of 2014 Shore decided to devote most of his photographic activity to
Instagram, where he posts images almost every day. While he continues to take on
commissions, the bulk of his personal production over the past three years has been through
the social networking app; he considers this output his current “work.” With Instagram Shore
has reestablished a rapid, instantaneous practice, one that requires him to be on constant
alert. It also presents a new, dual aesthetic challenge for Shore in the square format and the
small size of the image. These constraints encourage a simplification of the picture, making it
more a “notation” than a constructed image. Tablets will be stationed within a gallery of the
exhibition, allowing viewers to scroll through Shore’s Instagram feed, which will feature new
images as Shore continues to post them.
