Top 24 Stephen Shore Quotes of All time - Quotes.Pub

Here you will find all the famous Stephen Shore quotes. There are more than 24 quotes in our Stephen Shore quotes collection. We have collected all of them and made stunning posters out of those quotes so you can use Stephen Shore quotes wallpapers and images to share on the various social media platforms. You can download the quotes posters in various different sizes for free.

I think most serious photographers understand that there’s this large gap between the world and how the world looks through a photograph.

I do what feels natural, but I can’t say I haven’t thought about it...

Back in the 70s it cost 15-20$ a shot for the film, the processing, and the contact sheet, now it’s twice that.

As not a native, I have the advantage of not seeing scenes habitually. I can see things fresh.

I meet young artists and it becomes clear that with some the main motivation is getting a show in Chelsea. It strikes me that this is very different to the way it was for me, which was that I wanted to understand photography and the world and myself.

I wanted to make pictures that felt natural, that felt like seeing, that didn’t feel like taking something in the world and making a piece of art out of it.

There’s something essentially fictive about a photograph. That doesn’t mean that if you understand that, and you understand how the world is transformed by the camera, that you can’t use the limitations or the transformation to have an observation that is a very subtle perception of the world.

I had a creative hot streak in the 1940s and since then I’ve been pot boiling.

I realize that as I get more experience as I get older, my perception changes and that feeds the photograph.

I know that people think of my work from the ’70s as American, but I’ve been going to other places for a long time.

I was photographing every meal I ate, every person I met, every waiter or waitress who served me, every bed I slept in, every toilet I used.

I don’t have to have a single point of emphasis in the picture. It can be complex, because it’s so detailed that the viewer can take time and read it, and look at something here, and look at something there, and they can pay attention to a lot more.

I discovered that this camera was the technical means in photography of communicating what the world looks like in a state of heightened awareness. And it’s that awareness of really looking at the everyday world with clear and focused attention that I’m interested in.

Why can’t a photograph be all four things at once? -be an art object; be a document, what ever that means exactly, but deal with content; be a formalist exploration; and operate on some, metaphor is not the right word but, resonant level...

A lot of the photography I’m doing and thinking about is directed at Instagram.

A photograph has edges the world does not.

I think I misunderstood Instagram and just thought it was people photographing their friends, and discovered there were a number of people, a number of artists, who were taking it very seriously and doing very imaginative work with Instagram as the medium.

I’ve been the head of the photography program at Bard College for over 30 years, and I take that as seriously as I do my photography. My time is devoted to that too.

With a painting, you’re taking basic building blocks and making something that’s more complex than what you started with. It is a synthetic process. A photograph does the opposite: It takes the world, and puts an order on it, simplifies it.

I’m always interested in finding new aesthetic problems to deal with and challenge myself, even if the aesthetic problem is one of content.

Photographers have to impose order, bring structure to what they photograph. It is inevitable. A photograph without structure is like a sentence without grammar-it is incomprehensible, even inconceivable.

To see something spectacular and recognise it as a photographic possibility is not making a very big leap. But to see something ordinary, something you’d see every day, and recognize it as a photographic possibility – that is what I am interested in.

The context in which a photograph is seen affects the meaning the viewer draws from it.

If you’ve met one person with autism, you’ve met one person with autism.