Posts Tagged ‘Lookout Hotel Ogunquit

24
Jul
22

Exhibition: ‘In Focus: Sound’ at the J. Paul Getty Museum, Los Angeles

Exhibition dates: 28th June – 2nd October 2022

Curator: Karen Hellman, assistant curator in the Department of Photographs.

 

 

Maker unknown (American) 'Phonograph Demonstration' about 1900-1905

 

Maker unknown (American)
Phonograph Demonstration
about 1900-1905
Gelatin silver print
27 × 37.1cm (10 5/8 × 14 5/8 in)
Getty Museum

 

 

“Sometimes theory leads to an over determination. Something is gained but at a price. Finding images that evoke a sound can only be saved by paying the higher price of remembering how images look when their sound is removed.”

~ Ian Lobb

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From my knowledge of photography, I have added further images that I can hear … but not in the exhibition that I know of. You may like to recall other photographs that you could include in the exhibition.

Dr Marcus Bunyan

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Many thankx to the J. Paul Getty Museum for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

 

Though photographs are silent, photographers have long conjured sound in their images. Whether depicting crowded urban spaces, musicians performing, people engaged in conversations, or even more abstract depictions of sound, the pictures in this exhibition show photography’s power to communicate beyond the visual. The images date from the 19th century to the recent past, and in each, the audible plays as much of a role as the visual. As you look at these photographs, you are invited to imagine what you might “hear” as well.

Text from the J. Paul Getty Museum website

 

 

Florence Henri (American, 1893-1982) 'Columbia Records' 1931

 

Florence Henri (American, 1893-1982)
Columbia Records
1931
Gelatin silver print
24.8 × 39.1cm (9 3/4 × 15 3/8 in)
Getty Museum
© Martini & Ronchetti, courtesy Archives Florence Henri

 

Gjon Mili (American born Albania, 1904-1984) 'Tap Dancer, September 29, 1949' 1949

 

Gjon Mili (American born Albania, 1904-1984)
Tap Dancer, September 29, 1949
1949
Gelatin silver print
33.8 × 26cm (13 5/16 × 10 1/4 in)
Getty Museum
© Gjon Mili / The LIFE Picture Collection / Shutterstock

 

 

Photographs may be silent, but photographers have long conjured sound in their images.

Whether depicting crowded urban spaces, musicians performing, or people engaged in conversation, the pictures in this exhibition prove photography’s power to communicate beyond the visual.

Drawn from Getty’s permanent collection, In Focus: Sound, on view June 28 through September 2, 2022, unites two sensory perceptions – sight and sound – in photographs that record the visual while also imitating the audible.

“Photography and sound have more in common than one might expect,” says Karen Hellman, curator of the exhibition. “Photographs can evoke a sensory perception that they cannot actually depict. Looking at photographs while thinking about sound could provide a new way of viewing and appreciating photography.”

The 19th century saw a keen scientific and philosophical interest in reproducing ephemeral phenomena. This led to the development of the photograph as well as the phonograph. This interlinked history perhaps explains photography’s connection to sound and why photographers, even subconsciously, have endeavoured to picture it. In each image in this exhibition, which date from the 19th century to the recent past, the audible plays as much of a role as the visual.

This exhibition includes works by known and lesser-known makers from the 19th century to the recent past, including Julia Margaret Cameron, Walker Evans, Man Ray, Graciela Iturbide, Marco Breuer, Naoya Hatakeyama, and Christian Marclay.

In Focus: Sound will be on view June 28 through September 2, 2022, at the Getty Center.

Text from the J. Paul Getty Museum website

 

Naoya Hatakeyama (Japanese, b. 1958) 'Blast #0608' 1995

 

Naoya Hatakeyama (Japanese, b. 1958)
Blast #0608
1995
Chromogenic print
Getty Museum
Gift of James N. and Susan A. Phillips
© Naoya Hatakeyama

 

Man Ray (American, 1890-1976) 'Record' 1933

 

Man Ray (American, 1890-1976)
Record
1933
Gelatin silver print
28.9 × 22.5cm (11 3/8 × 8 7/8 in)
Getty Museum
© Man Ray Trust ARS-ADAGP

 

Albert Harlingue (French,1879-1963) 'Abbot Rousselot's Collection of Tuning Forks' about 1924

 

Albert Harlingue (French,1879-1963)
Abbot Rousselot’s Collection of Tuning Forks
about 1924
Gelatin silver print
17.9 × 12.7cm (7 1/16 × 5 in)
Getty Museum

 

Julia Margaret Cameron (British born India,1815-1879) 'The Echo' 1868

 

Julia Margaret Cameron (British born India,1815-1879)
The Echo
1868
Albumen silver print
27.1 × 22.7cm (10 11/16 × 8 15/16 in)
Getty Museum

 

Milton Rogovin (American,1909-2011) 'Storefront Churches' 1958-1961

 

Milton Rogovin (American,1909-2011)
Storefront Churches
1958-1961
Gelatin silver print
12.5 × 12cm (4 15/16 × 4 3/4 in.)
Getty Museum
Gift of Dr. John V. and Laura M. Knaus
© Milton Rogovin

 

Carrie Mae Weems (American, b. 1953) 'Untitled (Musical Score of "God Bless the Child")' 1995

 

Carrie Mae Weems (American, b. 1953)
Untitled (Musical Score of “God Bless the Child”)
1995
From the series From Here I Saw What Happened and I Cried
Chromogenic print with sandblasted musical notations on frame glass
45.6 × 45.6cm (17 15/16 × 17 15/16 in)
Getty Museum
Gift of Mary and Dan Solomon in honour of Weston Naef
© Carrie Mae Weems

 

Will Connell (American, 1898-1961) 'Sound' 1936

 

Will Connell (American, 1898-1961)
Sound
1936
Gelatin silver print
34.2 × 26.7cm (13 7/16 × 10 1/2 in)
Getty Museum
Gift of Trish and Jan de Bont
© Will Connell

 

Lisette Model (American born Austria, 1901-1983) '[Singer, Sammy's Bar, New York]' about 1940-1944

 

Lisette Model (American born Austria, 1901-1983)
[Singer, Sammy’s Bar, New York]
about 1940-1944
Gelatin silver print
Getty Museum
© Estate of Lisette Model, courtesy of Baudoin Lebon/Keitelman

 

 

“Bowery old-timers claim her voice has had no match for power and ferocity since Maggie Cline used to stun with “Knock ‘Em Down McCloskey”.”

The uncredited text, referring to this photograph of the bar singer known as “Tillie,” accompanied a group of Lisette Model’s photographs made at Sammy’s Bar that were reproduced in the September 1994 Harper’s Bazaar magazine. Taken from below and at a slight diagonal angle, the image captures the vitality and vibrancy of the performer belting it out on the stage at Sammy’s, a local favourite in the Bowery district of New York, also visited by photographers Weegee and Diane Arbus. The angle from which the photograph was made also emphasises the gleaming microphone, which seem to rise up to meet the challenge of projecting Tillie’s already powerful voice.

Text from the J. Paul Getty app

 

Ralph Eugene Meatyard (American, 1925-1972) 'Untitled ("Motion-Sound" Landscape)' Negative 1969

 

Ralph Eugene Meatyard (American, 1925-1972)
Untitled (“Motion-Sound” Landscape)
Negative 1969, printed 1974
Gelatin silver print
Gift of Weston J. and Mary M. Naef
©  Estate of Ralph Eugene Meatyard

 

Christian Marclay (American-Swiss, b. 1955) 'Untitled (Death)' 2020

 

Christian Marclay (American-Swiss, b. 1955)
Untitled (Death)
2020
Chromogenic print
Courtesy of the artist, and Fraenkel Gallery, San Francisco
© Christian Marclay

 

 

Further images that I can hear … but not in the exhibition that I know of

Tracey Moffatt (Australian, b. 1960) 'The Movie Star (David Gulpilil)' 1985

 

Tracey Moffatt (Australian, b. 1960)
The Movie Star (David Gulpilil)
1985
Type C photograph on paper
Image: 50.7 x 77.3cm
Frame: 74.5 x 99.0cm
Gift of the artist 1998. Donated through the Australian Government’s Cultural Gifts Program
Courtesy of the artist and Roslyn Oxley9 Gallery, Sydney
© Tracey Moffatt

 

Marion Kalter (Austrian, b. 1951) 'John Cage chez Dorothea Tanning, Paris' 1979

 

Marion Kalter (Austrian, b. 1951)
John Cage chez Dorothea Tanning, Paris

 

Larry Fink (American, b. 1941) 'Studio 54' 1977

 

Larry Fink (American, b. 1941)
Studio 54, New York City
May 1977
Silver gelatin print

 

Alfred Stieglitz (American, 1864-1946) 'Songs of the Sky' 1924

 

Alfred Stieglitz (American, 1864-1946)
Songs of the Sky
1924
Gelatin silver print

 

 

Alfred Stieglitz (American, 1864-1946)
Songs of the Sky
1924
Gelatin silver print

 

Eva Besnyö (Dutch, 1910-2003) 'Boy With Cello, Balaton, Hungary' 1931

 

Eva Besnyö (Dutch, 1910-2003)
Boy With Cello, Balaton, Hungary
1931
Gelatin silver print
42.5 x 39.2cm (16.7 x 15.4 in)

 

Arnold Newman (American, 1918-2006) 'Igor Stravinsky' 1945

 

Arnold Newman (American, 1918-2006)
Igor Stravinsky
1945
Gelatin silver contact sheet

 

Santu Mofokeng (South African, b. 1956) 'Opening Song, Hand Clapping and Bells' 1986

 

Santu Mofokeng (South African, b. 1956)
Opening Song, Hand Clapping and Bells
1986
From the series Train Church
Gelatin silver print
Image: 19 x 28.5cm

 

Minor White (American, 1908-1976) 'The Sound of One Hand Clapping, Pultneyville, New York' 1957

 

Minor White (American, 1908-1976)
The Sound of One Hand Clapping, Pultneyville, New York
1957
Gelatin silver print
24.4 x 25.1cm (9 5/8 x 9 7/8 in.)
Purchased in part with funds provided by Daniel Greenberg, Susan Steinhauser, and the Greenberg Foundation
Reproduced with permission of the Minor White Archive, Princeton University Art Museum
© Trustees of Princeton University

 

Eugène Atget (French, 1857-1927) 'Street diversions (or B organ)' 1898-99

 

Eugène Atget (French, 1857-1927)
Street diversions (or B organ)
1898-1899
Albumen print

 

Walker Evans. 'Church Organ and Pews' 1936

 

Walker Evans (Walker Evans, 1903-1975)
Church Organ and Pews
1936
Gelatin silver print

 

Robert Frank. 'Bar, Las Vegas' 1955-56

 

Robert Frank (Swiss-American, 1924-2019)
Bar, Las Vegas
1955-1956
Gelatin silver print

 

Robert Frank (Swiss-American, 1924-2019) 'Political Rally, Chicago' 1956

 

Robert Frank (Swiss-American, 1924-2019)
Political Rally, Chicago
1956
Gelatin silver print
35.1 x 23.7cm (13 13/16 x 9 5/16 in)

 

André Kertész (Hungarian, 1894-1985) 'Cellist' 1916

 

André Kertész (Hungarian, 1894-1985)
Cellist
1916
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Violoniste ambulant, Abony' (Traveling violinist, Abony) 1921

 

André Kertész (Hungarian, 1894-1985)
Violoniste ambulant, Abony
Traveling violinist, Abony
1921
Gelatin silver print

 

André Kertész (Hungarian, 1894-1985) 'Eiffel Tower, Summer Storm' 1927

 

André Kertész (Hungarian, 1894-1985)
Eiffel Tower, Summer Storm
1927
Gelatin silver print

 

Platt D Babbitt. 'Niagara Falls from the American side' whole plate daguerreotype c.1855

 

Platt D Babbitt (American, 1822-1879)
Niagara Falls from the American side
c. 1855
Whole plate daguerreotype

 

Platt D. Babbitt. '[Scene at Niagara Falls]' c. 1855

 

Platt D Babbitt (American, 1822-1879)
[Scene at Niagara Falls]
c. 1855
Daguerreotype

 

Platt D. Babbitt. 'Niagara Falls', c. 1860

 

Platt D Babbitt (American, 1822-1879)
Niagara Falls
c. 1860
Daguerreotype

 

Henri Huet (French, 1927-1971)/AP ''Life' magazine photographer Larry Burrows (far left) struggles through elephant grass and the rotor wash of an American evacuation helicopter as he helps GIs carry a wounded soldier on a stretcher from the jungle to the chopper in Mimot, Cambodia' 4 May 1970

 

Henri Huet (French, 1927-1971)/AP
‘Life’ magazine photographer Larry Burrows (far left) struggles through elephant grass and the rotor wash of an American evacuation helicopter as he helps GIs carry a wounded soldier on a stretcher from the jungle to the chopper in Mimot, Cambodia
4 May 1970
Gelatin silver print

 

Henri Huet, French (1927-1971) 'The body of an American paratrooper killed in action in the jungle near the Cambodian border is raised up to an evacuation helicopter, Vietnam' 1966

 

Henri Huet (French, 1927-1971)
The body of an American paratrooper killed in action in the jungle near the Cambodian border is raised up to an evacuation helicopter, Vietnam
1966
Gelatin silver print

 

James Barnor (Ghanian, b. 1929) 'E. K. Nyame, the legendary Ghanaian musician, photographed for a record cover, Accra' c. 1975

 

James Barnor (Ghanian, b. 1929)
E. K. Nyame, the legendary Ghanaian musician, photographed for a record cover, Accra
c. 1975
Gelatin silver print

 

 

Roger Scott (Australian, b. 1944)
Ghost train
1972
Gelatin silver print

 

Diane Arbus. ‘The House of Horrors’ 1961

 

Diane Arbus (American, 1923-1971)
The House of Horrors
1961
Gelatin silver print

 

Diane Arbus (American, 1923-1971) 'A child crying, N.J.' 1967

 

Diane Arbus (American, 1923-1971)
A child crying, N.J.
1967
Gelatin silver print

 

Stephen Shore (American, b. 1947) 'Lookout Hotel, Ogunquit, Maine, July 16, 1974'

 

Stephen Shore (American, b. 1947)
Lookout Hotel, Ogunquit, Maine, July 16, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

Gordon Parks (American, 1912-2006) 'Shooting Victim in Cook County Morgue, Chicago, Illinois' 1957

 

Gordon Parks (American, 1912-2006)
Shooting Victim in Cook County Morgue, Chicago, Illinois
1957
Pigmented inkjet print, printed 2019
11 7/8 × 17 15/16″ (30.1 × 45.6cm)
The Museum of Modern Art, New York
The Family of Man Fund
© 2021 Gordon Parks Foundation

 

Robert H. Jackson (American, born 1934) 'FATAL BULLET HITS OSWALD. Jack Ruby fires bullet point blank into the body of Lee Harvey Oswald at Dallas Police Station. Oswald grimaces in agony' November 24, 1963

 

Robert H. Jackson (American, born 1934)
FATAL BULLET HITS OSWALD. Jack Ruby fires bullet point blank into the body of Lee Harvey Oswald at Dallas Police Station. Oswald grimaces in agony
November 24, 1963

 

Robert H. Jackson (American, b. 1934) 'Jack Ruby (52) shoots Lee Harvey Oswald (24) 24 November 1963' 1963

 

Robert H. Jackson (American, b. 1934)
Jack Ruby (52) shoots Lee Harvey Oswald (24)
24 November 1963

 

 

Originally published in the Dallas Times Herald, November 25, 1963. Cropped from the source image to the portion that was published in 1963. Winner of the 1964 Pulitzer Prize for Photography.

 

Unknown photographer. 'Survivors of the atomic bomb attack of Nagasaki walk through the destruction as fire rages in the background Aug. 9 1945'

 

Unknown photographer
Survivors of the atomic bomb attack of Nagasaki walk through the destruction as fire rages in the background Aug. 9 1945
1945

 

John Williams (1933- 2016) 'Open Air Shower, Bronte Beach' 1964

 

John Williams (Australian, 1933-2016)
Open Air Shower, Bronte Beach
1964
Gelatin silver print

 

Dorothea Lange (American, 1895-1965) 'Man Stepping from Cable Car, San Francisco' 1956

 

Dorothea Lange (American, 1895-1965)
Man Stepping from Cable Car, San Francisco
1956
Gelatin silver print

 

Ansel Adams (American, 1902-1984) 'Upper Yosemite Fall' 1946

 

Ansel Adams (American, 1902-1984)
Upper Yosemite Fall
1946
Gelatin silver print

 

Ansel Adams (American, 1902-1984) 'Nevada Fall Profile' 1946

 

Ansel Adams (American, 1902-1984)
Nevada Fall Profile
1946
Gelatin silver print

 

 

Kaho Yu (Australian)
Untitled from the series Infinitesimal Residual Vibration of An Unknown Sound
2009-2011

 

 

Kaho Yu (Australian)
Untitled from the series Infinitesimal Residual Vibration of An Unknown Sound
2009-2011

 

 

The photographs in this series were taken during a period when I was feeling existentially bored. Instead of distracting myself with activities and accumulating new sensations, I decided to “look” at boredom, to study, and perhaps to understand it. The most natural strategy was to observe the immediate environments where my daily activities take place – train stations, cubicles, copy machines room, etc. I carried a medium format camera on a tripod and spent the odd hours wandering alone through those familiar spaces.

My “study” did not lead me to any revelation or answer. Instead, I found myself spending a lot of time waiting in a long silence, between the opening and the closing of the camera shutter.

Charles Babbage, a scientist in 1837, postulated that every voice and sound, once imparted on the air particles, does not dissipate but remains in the diffused movements of all the particles in the atmosphere. Thus, there might one day come a person equipped with the right mathematical knowledge of these motions who will be able to capture the infinitesimal vibrations and to trace back to their ultimate source.

Taking a long exposure, letting the light slowly accumulate an image on the celluloid surface, to me, is not unlike a sound seeker searching in the air particles, for the tiny residual movements that have been conveyed through the history of mankind, from the beginning of time.

Kaho Yu artist statement

 

… i listen to the wind that obliterates my traces

 

 

 

… i listen to the wind that obliterates my traces brings together a collection of early photographs related to music, a group of 78rpm recordings, and short excerpts from various literary sources that are contemporary with the sound and images. It is a somewhat intuitive gathering, culled from artist Steve Roden’s collection of thousands of vernacular photographs related to music, sound, and listening. The subjects range from the PT Barnum-esque Professor McRea – “Ontario’s Musical Wonder” (pictured with his complex sculptural one man band contraption) – to anonymous African-American guitar players and images of early phonographs. The images range from professional portraits to ethereal, accidental, double exposures – and include a range of photographic print processes, such as tintypes, ambrotypes, cdvs, cabinet cards, real photo postcards, albumen prints, and turn-of-the-century snapshots.

The two CDs display a variety of recordings, including one-off amateur recordings, regular commercial releases, and early sound effects records. there is no narrative structure to the book, but the collision of literary quotes (Hamsun, Lagarkvist, Wordsworth, Nabokov, etc.). Recordings and images conspire towards a consistent mood that is anchored by the book’s title, which binds such disparate things as an early recording of an American cowboy ballad, a poem by a Swedish Nobel laureate, a recording of crickets created artificially, and an image of an itinerant anonymous woman sitting in a field, playing a guitar. The book also contains an essay by Roden.

Text from the Dust to Digital website Nd [Online] Cited 23/07/2022. Published by Dust-to-Digital, 2011. The book is out of stock but available on Abe.com website.

 

'... i listen to the wind that obliterates my traces' book cover (2011)

 

… i listen to the wind that obliterates my traces book cover (2011)

 

 

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20
May
18

Exhibition: ‘Stephen Shore’ at The Museum of Modern Art (MoMA), New York

Exhibition dates: 19th November, 2017 – 28th May, 2018

Stephen Shore is organised 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.

 

 

Stephen Shore (American, b. 1947) 'West 9th Avenue, Amarillo, Texas, October 2, 1974'

 

Stephen Shore (American, b. 1947)
West 9th Avenue, Amarillo, Texas, October 2, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The truth in the detail of day-to-day life

1970s colour photography is the key period in the work of Stephen Shore. These classical, formal colour photographs capture “mundane aspects of American popular culture in straightforward, unglamorous images.” They are what made him famous. They are, historically, conceptually and emotionally, his most effective means of communication as an artist.

American Surfaces and Uncommon Places made Shore “one of the most prominent figures of the American New Color movement,” showing colour just as colour.

I know that is a strange thing to say, but Shore was showing the world in a different light… and he was using an aesthetic based on the straight forward use of colour. Colour is just there, part of the form of the image. Of course there are insightful subjective judgements about what to photograph in American surburbia, but this subjectivity and the use of colour within it is subsumed into the song that Shore was composing. It all comes back to music. Here’s a Mozart tune, this is his aesthetic, for eternity.

I remember seeing two vintage Stephen Shore chromogenic colour prints from 1976 where the colours were still true and had not faded in the exhibition American Dreams: 20th century photography from George Eastman House at Bendigo Art Gallery. This was incredible experience – seeing vintage prints from one of the masters of colour photography; noticing that they are not full of contrast like a lot of today’s colour photographs – more like a subtle Panavision or Technicolor film from the early 1960s. Rich, subtle, beautiful hues with the photograph containing this amazing presence, projected through the construction of the image and the physicality of the print.

Shore has a fantastic eye and his colour photographs are beautifully resolved. The subjectivity is not pushed, because his song was in tune, and he just sang it. Like his contemporaries, Wiliam EgglestonRichard Misrach and Joel Meyerwitz, there are some artists who just know how to play the tune.

Dr Marcus Bunyan

.
Many thankx to MoMA for allowing me to publish the photographs in posting. Please click on the photographs for a larger version of the image.

 

Stephen Shore encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms. One of the most significant photographers of our time, Stephen Shore (American, b. 1947) has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, switching from cheap automatic cameras to large-format cameras in the 1970s, pioneering the use of colour before returning to black and white in the 1990s, and in the 2000s taking up the opportunities of digital photography, digital printing, and social media.

The artist’s first survey in New York to include his entire career, this exhibition will both allow for a fuller understanding of Shore’s work, and demonstrate his singular vision – defined by an interest in daily life, a taste for serial and often systematic approaches, a strong intellectual underpinning, a restrained style, sly humour, and visual casualness – and uncompromising pursuit of photography’s possibilities.

 

 

 

Stephen Shore | MoMA LIVE

Join us for a conversation with MoMA Chief Curator of Photography Quentin Bajac and artist Stephen Shore on the opening of the exhibition, “Stephen Shore,” moderated by MoMA Senior Deputy Director of Curatorial Affairs, Peter Reed.

One of the most significant photographers of our time, Stephen Shore has often been considered alongside other artists who rose to prominence in the 1970s by capturing the mundane aspects of American popular culture in straightforward, unglamorous images. But Shore has worked with many forms of photography, and this exhibition encompasses the entirety of the artist’s work of the last five decades, during which he has conducted a continual, restless interrogation of image making, from the gelatin silver prints he made as a teenager to his current engagement with digital platforms.

 

Stephen Shore (American, b. 1947) 'New York, New York' 1964

 

Stephen Shore (American, b. 1947)
New York, New York
1964
Gelatin silver print
9 1/8 × 13 1/2 in. (23.2 × 34.3cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) '1:35 a.m., in Chinatown Restaurant, New York, New York' 1965-67

 

Stephen Shore (American, b. 1947)
1:35 a.m., in Chinatown Restaurant, New York, New York
1965-67
Gelatin silver print, printed c. 1995
9 × 13 1/2 in. (22.9 × 34.3cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Kanab, Utah, June 1972'

 

Stephen Shore (American, b. 1947)
Kanab, Utah, June 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8 in. (7.8 × 11.7cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Amarillo, Texas, July 1972'

 

Stephen Shore (American, b. 1947)
Amarillo, Texas, July 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8 in. (7.8 × 11.7cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Washington, D.C., November 1972'

 

Stephen Shore (American, b. 1947)
Washington, D.C., November 1972
1972
Chromogenic colour print, printed 2017
3 1/16 × 4 5/8 in. (7.8 × 11.7cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Second Street, Ashland, Wisconsin, July 9, 1973'

 

Stephen Shore (American, b. 1947)
Second Street, Ashland, Wisconsin, July 9, 1973
1973. Chromogenic colour print, printed 2017
17 × 21 3/4 in. (43.2 × 55.2cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 97, South of Klamath Falls, Oregon, July 21, 1973'

 

Stephen Shore (American, b. 1947)
U.S. 97, South of Klamath Falls, Oregon, July 21, 1973
1973
Chromogenic colour print, printed 2002
17 3/4 x 21 15/16 in. (45.1 x 55.7cm)
The Museum of Modern Art, New York. The Photography Council Fund
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Breakfast, Trail's End Restaurant, Kanab, Utah, August 10, 1973'

 

Stephen Shore (American, b. 1947)
Breakfast, Trail’s End Restaurant, Kanab, Utah, August 10, 1973
1973
Chromogenic colour print
16 7/8 × 21 1/4 in. (42.8 × 54cm)
The Museum of Modern Art, New York. Purchase
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'West Third Street, Parkersburg, West Virginia, May 16, 1974'

 

Stephen Shore (American, b. 1947)
West Third Street, Parkersburg, West Virginia, May 16, 1974
1974
Chromogenic colour print
8 × 10 1/2 in. (20.3 × 26.7cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Lookout Hotel, Ogunquit, Maine, July 16, 1974'

 

Stephen Shore (American, b. 1947)
Lookout Hotel, Ogunquit, Maine, July 16, 1974
1974
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of an anonymous donor
© 2017 Stephen Shore

 

 

The Museum of Modern Art presents the most comprehensive exhibition ever organised 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. Stephen Shore 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 colour 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 organised 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 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 colour 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 colour 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.

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-on-demand 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 humour – 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 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 organised 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.

Press release from MoMA

 

Stephen Shore (American, b. 1947) 'Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975'

 

Stephen Shore (American, b. 1947)
Beverly Boulevard and La Brea Avenue, Los Angeles, California, June 21, 1975
1975
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'U.S. 93, Wikieup, Arizona, December 14, 1976'

 

Stephen Shore (American, b. 1947)
U.S. 93, Wikieup, Arizona, December 14, 1976
1976
Chromogenic colour print, printed 2013
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Acquired through the generosity of Thomas and Susan Dunn
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Giverny, France, 1977'

 

Stephen Shore (American, b. 1947)
Giverny, France, 1977
1977
Chromogenic colour print
7 11/16 x 9 5/8 in. (19.5 x 24.5cm)
The Museum of Modern Art, New York
Gift of the Estate of Lila Acheson Wallace
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Graig Nettles, Fort Lauderdale, Florida, March 1, 1978'

 

Stephen Shore (American, b. 1947)
Graig Nettles, Fort Lauderdale, Florida, March 1, 1978
1978
Chromogenic colour print
7 11/16 x 9 11/16 in. (19.5 x 24.6cm)
The Museum of Modern Art, New York
Acquired with matching funds from Blanchette Hooker Rockefeller and the National Endowment for the Arts, 1978
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Merced River, Yosemite National Park, California, August 13, 1979'

 

Stephen Shore (American, b. 1947)
Merced River, Yosemite National Park, California, August 13, 1979
1979
Chromogenic colour print, printed 2013
35 7/8 x 44 15/16 in. (91.2 x 114.2cm)
The Museum of Modern Art, New York. Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Gallatin County, Montana, August 2, 1983'

 

Stephen Shore (American, b. 1947)
Gallatin County, Montana, August 2, 1983
1983
Chromogenic colour print, printed 2017
36 × 45 in. (91.4 × 114.3cm)
Courtesy the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'County of Sutherland, Scotland, 1988'

 

Stephen Shore (American, b. 1947)
County of Sutherland, Scotland, 1988
1988
Chromogenic colour print
35 1/2 × 45 1/2 in. (90.2 × 115.6cm)
The Museum of Modern Art, New York
Gift of Susan and Arthur Fleischer, Jr.
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Sderot, Israel, September 14, 2009'

 

Stephen Shore (American, b. 1947)
Sderot, Israel, September 14, 2009
2009. Chromogenic colour print
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Peqi'in, Israel, September 22, 2009'

 

Stephen Shore (American, b. 1947)
Peqi’in, Israel, September 22, 2009
2009. Chromogenic colour print
17 × 21 3/4 in. (43.2 × 55.2cm)
The Museum of Modern Art, New York
Gift of the artist
© 2017 Stephen Shore

 

Stephen Shore (American, b. 1947) 'Uman, Cherkaska Province, Ukraine, July 22, 2012'

 

Stephen Shore (American, b. 1947)
Uman, Cherkaska Province, Ukraine, July 22, 2012
2012
Chromogenic colour print, printed 2017
16 × 20 in. (40.6 × 50.8cm)
Courtesy the artist
© 2017 Stephen Shore

 

 

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Dr Marcus Bunyan

Dr Marcus Bunyan is an Australian artist and writer. His art work explores the boundaries of identity and place. He writes Art Blart, an art and cultural memory archive, which posts mainly photography exhibitions from around the world. He holds a Doctor of Philosophy from RMIT University, Melbourne, a Master of Arts (Fine Art Photography) from RMIT University, and a Master of Art Curatorship from the University of Melbourne.

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