Once again, we have the pleasure of taking a virtual tour of exhibitions in Madrid by the photographic hand of our correspondent Elena Pastor; on this occasion, she takes us on a visit to the Stephen Shore exhibition at the Mapfre Foundation.
Stephen Shore (born New York, 1947) can be counted among the photographers whose influence has been most visible and significant in the past three decades. The new approach that defines his contribution to the photographic idiom has continued to arouse the interest of different generations of artists, and he continues to be a key reference for young photographers today. As a result, Shore’s work is also particularly valuable for an understanding of the current photographic scene and for an analysis of the bases of some of the hegemonic photographic practices of the past few years.
In his ongoing questioning of the factors involved in the mediation undertaken by the camera and the modalities and genres of photographic language, Shore has deliberately avoided adapting himself to pre-established formulas. In fact, he has transcended the new conventions that his own work contributed to generating, giving rise to projects that are extremely diverse in formal terms.
Equally important is the fact that his work embodies the complex operations of exchange and feedback that arose between the world of art and the field of photography from the mid-1960s onwards, a dialectic that has marked the evolution of photographic practice up to the present day.