What I’d call ‘the American traveler photographer mystic’ is a strain of photography originating in Walker Evans, where the face of America is redefined each time someone photographs it in a new way.
‘Ordinary’ America, in this tradition, appears largely to be the subject matter whether by direct portrait, suburban street scene (with telephone wire and car) or contrasts found between haves and have nots. Ironically the audience, generally speaking, could not be further from this apparent ‘common’ world, yet it is amongst this audience and through its media where the identity of America is defined and reflected visually.
If they (our folk outside the photographic sphere) get to see these works at all, would they not be looking at themselves and their pictured environment with perplexity rather than recognition? I suspect, too, that they would be too busy living their ordinariness to waste time on a photograph. Perhaps they won’t even be aware, 20 years from the shutter’s moment of truth, that via a gradual cultural osmosis, photography will have given them a new face and called it America.
Because cultures don’t really model themselves on the photographic image; they develop instead along their own lines of traditions and norms, we may find the public visual map of America, widely differing from its actuality and that the pictorial definition is far more about the photographer (and his following) than the subject and their identity, however noble or ideal the pursuit. Was America ever like Stephen Shore’s vision?
For those of us that aren’t in that world we may really think it is that way, if we don’t carefully notice that the dates say 1973-1979, or when at some point we are shown a differing image by a new generation of photographers. We’ve tired long ago of the often repeated fear claiming that the cameras steal our souls. Perhaps though, it’s really true, in so far as it substitutes reality with a select fake?