1986 Fotografia Japanesa Contemporanea; Casa Elizald;
Barcelona, Spain
1989 Aspects of Contemporary Photography; Kawasaki City
Museum; Kawasaki City, Japan
1989 The Hitachi Collection of Contemporary Japanese
Photography; Center for Creative Photography, the Uni-
versity of Arizona; Tucson
1990 The Past and The Present of Photography; The
National Museum of Modern Art; Tokyo, Japan
1992 New Photogaphy 8; Museum of Modern Art; New
York, New York
1992 Wasteland; Fotografie Biennale Rotterdam 3; Rotter-
dam, The Netherlands
1994 Photography and Beyond in Japan; Hara Museum of
Art; Tokyo, Japan
1995 Texture and Touch: Contemporary Japanese Photogra-
phy; The Art Gallery of New South Wales; Sydney,
Australia
1996 Photography and Beyond in Japan; Los Angeles
County Museum of Art, and traveling
2000 Identicazione di un Paesaggio Venezia-Marghera, Fot-
grafia e Transformazioni nella citta’ Contemporanea,
VEGA Parco Scientifico Tecnologico; Marghera-Vene-
zia; Italy
2001 14 Solo shows, Meguro Art Annual 2000; Meguro
Museum of Art; Tokyo, Japan
Selected Works
Tsuru City, Yamanashi Prefecture, Japan, 1989
Yunotani Village, Niigata Prefecture, Japan, 1989
Kashima Town, Fukushima Prefecture, Japan, 1990
Sagara Village, Kumamoto Prefecture, Japan, 1991
Onokami Village, Gunma Prefecture, Japan, 1994
Kiyokawa Village, Kanagawa Prefecture, Japan, 1996
Gibson Dam, Lewis and Clark County, Montana, 1996
Diablo Dam, North Cascade National Park, Washington,
1996
Kingman, Mohave County, Arizona, 1997Further Reading
Enyeart, James. ‘‘Terraces of Splendor and Destiny.’’ In
Photographs by Toshio Shibata. ed. Koka Yamagishi.
Tokyo: Asahi Shimbun Publishing Co., 1992.
Boris, Staci, and Kevin E. Consey,Toshio Shibata, Chicago:
Museum of Contemporary Art, 1997.
Nakamura, Yoshio. ‘‘Landscape Today.’’ InTerra: Photo-
graphs by Toshio Shibata. ed. Koko Yamagishi. Tokyo:
Toshi Shuppan, 1994. 74–79.
Shibata, Toshio. ‘‘Landscapes of Form.’’Apertureno. 125
(Fall 1991) 48–55.STEPHEN SHORE
American
Stephen Shore’s photography is associated with
two trends that took shape during the 1970s: the
New Topographics movement and the growing use
of color among art photographers. Shore’s work,
largely unpopulated landscapes and urbancapes,
combines an interest in formal qualities, a sense of
detachment, the use of color film, and a focus on
commonplace landscapes, often man-made and large-
ly unpopulated.
Born in New York City in 1947, Stephen Shore
took his first photographs at the age of nine. One of
his earliest successful projects was photographing
Andy Warhol and his now legendary workspace,
The Factory, between 1965 and 1967, from which a
group of images were published first in 1968 asAndy
Warholand again in 1995 asThe Velvet Years: War-
hol’s Factory.In 1970, Shore received his only photo-
graphic training at a 10-day workshop given by
Minor White at the Hotchkiss School in Lakeville,
Connecticut. The Metropolitan Museum of Art in
New York awarded Shore his first solo exhibition of
black-and-white photography in 1971. Other than a
1934 exhibition of 23 photographs by Alfred Stieg-
litz, Shore’s 1971 show was the first monographic
exhibition of a living photographer held by the
Metropolitan. The 1970s were marked with many so-
lo and group exhibitions, a Guggenheim Fellowship,
and four National Endowment for the Arts grants.
In 1974, Shore began photographing in color,
after having switched the year before from 35 mm
to a 45 view camera, and by 1974 he was using an
8 10 view camera. While his inclusion in the
groundbreaking group exhibitionNew Topographics
in 1975, which gave the movement its name, and his
use of color photography help define his body of
work in relation to other photographers, Shore’s
distinctive qualities also deserve attention.
New Topographics, a movement defined in an
exhibition by the same name at the George East-
man House International Museum of PhotographySHORE, STEPHEN