Sutter Street and Crestline Road, Fort Worth, Texas, July 2014
Now, clearly the quality is not the same. This is not my intention. Shore used LF cameras and a very precise technique, whereas I am limited to what the GSV car captured on its way past. The newer images are far “better” than the older ones, but then, so what? The quality of the image is part of the GSV trope, together with odd stitching, excessive lens flare and the odd superimposed street name, etc. It’s part of what identifies it. My intentions are more to do with the passage of time, appropriation of an idea within a contemporary photography context and the virtual journey. I.e. they’re similar to what I was working with on the gasoline stations.
I suspect that whether people will “get” what I’ve done here will depend on their familiarity with Shore’s work. Without that appreciation of the original, these re-photographs will perhaps fall a little flat for the viewer. Is there anything “special” about a GSV image the corner of Sutter Street and Crestline Road? Or a nondescript section of the US97 in Oregon (especially now the billboard has gone)? Indeed, was there ever anything “special” about them? Or did Shore make them special through the act of photographing them? Did he transform them into something worth looking at because he chose them? This is something that has always appealed to me, the elevation of the normal, the mundane.
Anyway, here’s a few more that I’ve recreated to date.
US97, South of Klamath Falls, Oregon, October 2013
California 177, Desert Center, California, July 2014
Richland Mall, US 30, Mansfield, Ohio, June 2011