“Whenever I find I repeat myself, I look ahead in a new direction.” — Stephen Shore Photographer Stephen Shore wants his pictures to feel as natural as speaking. In this gallery tour, Shore reflects on his six-decade long career—from his early work taking pictures in Andy Warhol’s Factory to road trips across America. “Stephen Shore” […]
“It is not just the stitched building that become hidden, but also the remnants of architecture that in turn become strange shrines populating a city-disused and unserviceable pieces of utilitarian function that have not been ordered into exile…”
“As the project jumps backwards and forwards in time, and geographically, from one city to the next, the sequence returns again and again to Los Angeles”
“The main issue, which arises quickly, is that too many of the works appear to rest too comfortably on the visual laurels of their specific influences rather than becoming definably hers. For example…”
“While photographic techniques and mysteries are patiently explained, the paintings present are left simply to be. Everywhere one sees photographers paying homage to painters, nowhere the reverse. A fact which speaks inadvertent volumes.”
“It is an aesthetic examination of the material of everyday life that barely impinges on representational issues and I love that about it.”
“What interested me from the beginning was the theatrical dimension of all these events, the spectacle of destruction, the context where it took place, and the possibility of considering the explosion as an alienating element within the landscape.”
“Photography is many terrible things, but one thing it is great for is fascination. It harnesses the possibility for playing out in a different way giving the child a look into adult possibility, while also reminding the adult what it was like to look at the world with young and/or un-jaded eyes.”
“From my sociological perspective I don’t believe in true science, because science always serves a greater goal”
“The images are works of art. They exist in art historical categories and they evade an inherent use of death as either a procedural epistemology or body shock tactic”
“For me, almost every home is the image of a person”
“I think of the USA as an adolescent country with a made up history and in a constant tantrum to make itself the most important place in the world. I wanted this work to be anti-documentary, if that is even possible, and to stress that things are simple, complicated, entwined and conflicted at the same time”