Tag: Stephen Shore

Stephen Shore, Selected works 1973-1981 – The Eye of Photography

Over the past five years, American landscape master Stephen Shore has scanned hundreds of negatives shot between 1973 and 1981. In this fantastic volume, Aperture has invited an international group of fifteen photographers, curators, authors, and cultural figures to select ten images apiece from this rarely seen cache of images and write a commentary.

Link:
http://www.loeildelaphotographie.com/en/2017/06/26/article/159957544/stephen-shore-selected-works-1973-1981/

12 Photographers Turn Their Lens on Israel in ‘This Place’ – Feature Shoot

For a land so deeply entrenched with history and conflict, Israel is not an easy subject to approach in a photography project, especially from a single standpoint. Born out of an idea by Frédéric Brenner, a French photographer who has long explored Jewish

Worth a look: The Shooting Gallery – videos about photographers

The Shooting Gallery, a tumblr featuring videos about photographers. The videos are divided into two categories: photographers talking and photographers shooting. There are 14 pages of archives to the blog, in which you’ll find videos about the likes of Richard Prince, Donald Weber, Henri Cartier-Bresson, Jeff Mermelstein, Stephen Shore, Terry Richardson, Juergen Teller, Cindy Sherman, Ryan McGinley, William Eggleston (including this ridiculous interview on the Today Show), and many others.

Link:
http://www.dvafoto.com/2011/06/worth-a-look-the-shooting-gallery-videos-about-photographers/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed:+dvafoto-posts

Vice Magazine – STEPHEN SHORE

Vice Magazine – STEPHEN SHORE:

If Stephen Shore were known just for the iconic photos he shot as a teenager at Warhol’s original Silver Factory, he’d probably still get a place in the history of photography. But galvanized by a road trip from Manhattan to Amarillo, Texas, in 1972, Shore went on to pioneer the use of color in fine-art photography. Over the intervening years, his photos have also documented America and Americans in a way that presaged the straight-on deadpan vibe of much current image-making—this includes streetscapes and architecture shot to reveal them as abandoned film sets, and cryptic vérité portraits of people he meets.