In 1971, at 98 Greene Street Loft, Shore curated All the Meat You Can Eat. It was conceived as a kind of glossary of American images—found photographs, crime scenes, pornographic and other images not hung on gallery walls, then. Shore’s curatorial decisions were inclusive, provocative, and meant to break rules. Not your usual gallery show of art photographs but photography in all its manifestations.
Taking an anthropological and anti-aesthetic approach, Shore chose the pictures, not for their particular value, beauty, but nearly the opposite: they existed in the world that people look at every day. All the Meat You Can Eat proposed the world as composed of images; that the world might only be an image. In advance of many artists and theorists, Shore promulgated the concept of visual culture, the notion that “we live in a glut of images,” and images r us.
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