Photographer Stephen Shore is interested in ordinary scenes of everyday life. In the early 1970s, he was one of the first fine art photographers to work almost exclusively in color when still narrowly defined "fine art" photography as black-and-white, hand-printed images. In his 1971 series “American Surfaces,” Shore drove across the country obsessively snapping color photos of motel rooms, fast food meals, parking lots, and other seemingly unmemorable objects and experiences. A photo-diary of Shore's American roadtrip, the series evoked the works of Walker Evans and Robert Frank and the rigorous, almost obsessed documentation of the ordinary undertaken by such photographers as Bernd and Hilla Becher and Martin Parr.
Photographer Stephen Shore is interested in ordinary scenes of everyday life. In the early 1970s, he was one of the first fine art photographers to work almost exclusively in color when still narrowly defined "fine art" photography as black-and-white, hand-printed images. In his 1971 series “American Surfaces,” Shore drove across the country obsessively snapping color photos of motel rooms, fast food meals, parking lots, and other seemingly unmemorable objects and experiences. A photo-diary of Shore's American roadtrip, the series evoked the works of Walker Evans and Robert Frank and the rigorous, almost obsessed documentation of the ordinary undertaken by such photographers as Bernd and Hilla Becher and Martin Parr.
