Andrew Moore has been working as a large-format color photographer for the past twenty-five years. His projects include works on the theaters of Times Square, commercial interiors of New Orleans, the boulevards of Bucharest, the Byzantine remains of Istanbul, images of Havana and Russia. His prints have been exhibited throughout the United States, and his work is in numerous public and private collections including the International Museum of Photography and Film, the High Museum of Art and the Library of Congress. He has taught photography at Princeton University.
For myself, I am trying to synthesize many of these threads in contemporary photography to approach what might be called "conceptual realism." As an American artist, some of this is rooted in 19th-century American painting and the empiricism of a thinker such as Thoreau, who saw the material world as the final expression of the spiritual, and not merely a stepping-stone to some higher level. As the poet William Carlos Williams once wrote, there are "No ideas but in things". If you look at an early work by the painter George Caleb Bingham, such as "Fur Traders Descending the Missouri"(1845), you can see both the empirical and the visionary qualities harmonized together. So I believe that if contemporary photographers are to cast off the "coldness" of both conceptualism and the typological, they have to keep their eyes on the physical world about them, and at the same time see it as a manifestation of something much larger and mythological.
From a web blog conversation with Jorg Colberg commissioned by American Photo. http://www.jmcolberg.com/weblog/2007/03/aconversationwithandrewmoo.html