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Schorr first came to the attention of the international art world in the late 1980s as a sculptor and conceptual artist. Since then, she has evolved principally as a photographer, exhibiting in many important group exhibitions as well as solo shows in New York and Europe.
Schorr's most recent work has been described as an "obsessive study of masculinity." With high-school wrestlers, young soldiers, and other teens as subjects, Schorr produces narrative images that investigate the uncertainty of adolescent identity.
"If adolescence were show business, then young guys would be Las Vegas," Schorr says by way of introduction to her recent exhibition in New York.
Schorr's frank and compelling portraits document the (often androgynous) construction of gender and its intimate relationship to sexuality. In her more recent photographs, however, she has begun to explore deeper issues of sexual identity such as the pleasures and anxieties of gender performance. This is most obvious in her new film, entitled Tremolo Americana, in which the gender specific identities of an embracing young couple are constantly shifting with each new angle.
Schorr readily refers to her works as autobiographical. "It's about taking self-portraits using someone else's body," she says of her 1995 series "Horst in the Garden."