istari3d
Stephen Shore - South of Klamath Falls, Oregon
Stephen Shore
U.S. 97, South of Klamath Falls, Oegon July 21, 1973
h: 20 x w: 24 in / h: 50.8 x w: 61 cm
Stephen Shore (born 1947 in New York City) is an American photographer known for his deadpan images of banal scenes and objects in the United States, and for his pioneering use of color in art photography.
Stephen Shore was interested in photography from an early age. Self-taught, he received a photographic darkroom kit at age six. He began to use a 35mm camera three years later and made his first color photographs. At ten he received a copy of Walker Evans's book, American Photographs, which influenced him greatly. His career began at the early age of fourteen, when he made the precocious move of presenting his photographs to Edward Steichen, then curator of photography at the Museum of Modern Art (MoMA). Recognizing Shore's talent, Steichen bought three of his works. At age seventeen, Shore met Andy Warhol and began to frequent Warhol's studio, the Factory, photographing Warhol and the creative people that surrounded him. In 1971, at the age of 24, Shore became the second living photographer to have a solo exhibition at the Metropolitan Museum of Art.[1]
Shore then embarked on a series of cross-country trips, making "on the road" photographs of American and Canadian landscapes. In 1972, he made the journey from Manhattan to Amarillo, Texas that provoked his interest in colour photography. Viewing the streets and towns he passed through, he conceived the idea to photograph them in color, first using 35mm and then an 8x10" view camera. In 1974 an NEA endowment funded further work, followed in 1975 by a Guggenheim grant and in 1976 a color show at MoMA, NY. His 1982 book, Uncommon Places was a bible for the new color photographers because, alongside William Eggleston, his work proved that a color photograph, like a painting or even a black and white photograph, could be considered a work of art. Many artists, including Nan Goldin, Andreas Gursky, Martin Parr, Joel Sternfeld , and Thomas Struth, have acknowledged his influence on their work.
Books of his photographs include Uncommon Places; Uncommon Places: 50 Unpublished Photographs; Essex County; The Gardens at Giverny; Stephen Shore: Photographs 1973 - 1993; and The Velvet Years, Andy Warhol's Factory, 1965 - 1967. In 1998, Johns Hopkins University Press published The Nature of Photographs, a book he wrote about how photographs function visually (reprinted in an expanded edition by Phaidon Press). Most recently, Aperture has published Uncommon Places: The Complete Work and Phaidon has published American Surfaces.
SOURCE: en.wikipedia.org/wiki/Stephen_Shore
I find this photo to be quite fascinating. I really enjoy how the billboard appears to be part of the physical landscape. The mountain (Mt.Hood?) looks as if it should be there - fixed to the hillside. The colors in the billboard also work well with the colors of the sky and deep background. Without text, the billboard almost seems as if it is senselessly blocking the view of the landscape - which I would guess is what Shore is emphasizing - the ironic nature of a textless billboard off to the side of the road. I have to wonder if the billboard was that way when Shore came across it, or if he actually blocked out the text seeing the perfect shot. My guess is that he came across it, as is. This photo makes me want to hit the road and do a bit of traveling.
Stephen Shore - South of Klamath Falls, Oregon
Stephen Shore
U.S. 97, South of Klamath Falls, Oegon July 21, 1973
h: 20 x w: 24 in / h: 50.8 x w: 61 cm
Stephen Shore (born 1947 in New York City) is an American photographer known for his deadpan images of banal scenes and objects in the United States, and for his pioneering use of color in art photography.
Stephen Shore was interested in photography from an early age. Self-taught, he received a photographic darkroom kit at age six. He began to use a 35mm camera three years later and made his first color photographs. At ten he received a copy of Walker Evans's book, American Photographs, which influenced him greatly. His career began at the early age of fourteen, when he made the precocious move of presenting his photographs to Edward Steichen, then curator of photography at the Museum of Modern Art (MoMA). Recognizing Shore's talent, Steichen bought three of his works. At age seventeen, Shore met Andy Warhol and began to frequent Warhol's studio, the Factory, photographing Warhol and the creative people that surrounded him. In 1971, at the age of 24, Shore became the second living photographer to have a solo exhibition at the Metropolitan Museum of Art.[1]
Shore then embarked on a series of cross-country trips, making "on the road" photographs of American and Canadian landscapes. In 1972, he made the journey from Manhattan to Amarillo, Texas that provoked his interest in colour photography. Viewing the streets and towns he passed through, he conceived the idea to photograph them in color, first using 35mm and then an 8x10" view camera. In 1974 an NEA endowment funded further work, followed in 1975 by a Guggenheim grant and in 1976 a color show at MoMA, NY. His 1982 book, Uncommon Places was a bible for the new color photographers because, alongside William Eggleston, his work proved that a color photograph, like a painting or even a black and white photograph, could be considered a work of art. Many artists, including Nan Goldin, Andreas Gursky, Martin Parr, Joel Sternfeld , and Thomas Struth, have acknowledged his influence on their work.
Books of his photographs include Uncommon Places; Uncommon Places: 50 Unpublished Photographs; Essex County; The Gardens at Giverny; Stephen Shore: Photographs 1973 - 1993; and The Velvet Years, Andy Warhol's Factory, 1965 - 1967. In 1998, Johns Hopkins University Press published The Nature of Photographs, a book he wrote about how photographs function visually (reprinted in an expanded edition by Phaidon Press). Most recently, Aperture has published Uncommon Places: The Complete Work and Phaidon has published American Surfaces.
SOURCE: en.wikipedia.org/wiki/Stephen_Shore
I find this photo to be quite fascinating. I really enjoy how the billboard appears to be part of the physical landscape. The mountain (Mt.Hood?) looks as if it should be there - fixed to the hillside. The colors in the billboard also work well with the colors of the sky and deep background. Without text, the billboard almost seems as if it is senselessly blocking the view of the landscape - which I would guess is what Shore is emphasizing - the ironic nature of a textless billboard off to the side of the road. I have to wonder if the billboard was that way when Shore came across it, or if he actually blocked out the text seeing the perfect shot. My guess is that he came across it, as is. This photo makes me want to hit the road and do a bit of traveling.