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Stephen Shore: Survey
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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 " 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-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 " 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" "

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