Shore’s images often have the appearance of snapshots (and, unlike William Eggleston, he doesn’t mind the term), yet they are anything but. ![]() Shore’s shadow, and the shadows of other onlookers, fall across the foreground, giving an oddly amateur feel. The first image is a photograph of a photograph being taken: a man with his back to Shore’s camera instructs a school football team where to look as he takes their group portrait, one hand in the air, the other poised at the shutter of his camera. They remind us that he was always a conceptualist at heart, but one who (like the great American traditionalists before him) saw the world in black and white. ![]() In this context, it is doubly fascinating to wander through the Stephen Shore retrospective in Espace Van Gogh in Arles, France, where the first rooms are devoted to work that predated his controversial embrace of colour. Ginger Shore, West Palm Beach, Florida, 14 November 1977.
0 Comments
Leave a Reply. |