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The evolution of Modern Art, brought to you by {name}

Kai Brückner

Une Plymouth dans une station-service Texaco.
Située dans les comtés de Palo Pinto et Parker au Texas, la ville tire son nom des 
puits miniers de la région, qui étaient très populaires au début des années 1900.
A l’instar de William Eggleston ou Lee Friedlander, Shore s’est évertué durant ses 
périples à retranscrire l’esprit présent dans les territoires isolés américains.

Impression numérique couleur avec pelliculage brillant. Lamination de surface à 
chaud.
Ancien exemplaire de montage Misomex (Machine de réplication de films ou fichiers 
CTP -Computer to Plate- pour l’imposition des plaques offset).
Imprimeur SERAG. Medium resolution. Later print.
Format 14,8 x 22 cm, collée sur carte bois 24 x 30 cm.
En très bon état.
Etiquette et annotations au verso.

C’est vers le milieu des années 1970, que Shore commence à parcourir le pays 
en voiture afin de photographier les détails sans importance de la vie quotidienne, 
des scènes de rues, des parkings, des bâtiments de bureau et autres motels croisés 
sur sa route. 
Il s’inspire de projets de documentaires réalisés par Walker Evans et Robert Frank, 
mais en apportant cette touche de calme et sensibilité qui deviendront sa marque 
de fabrique.
Stephen Shore, à l’instar de Ernst Haas, a donné ses lettres de noblesse à la photographie 
couleur à l’époque où cela était considéré comme vulgaire par les milieux artistiques.



Digital print - Press Agency/Newspaper Stamp - 2008

Stephen Shore - Mineral Wells, Texas,  June 1972

Photography

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9 February

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Period

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1970-1980

1990-2000

Subject

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Tatiana Cardellicchio

Ursula van de Bunte

Tessa Posthuma de Boer

Alberto Korda (1928–2001)

Helmut Newton (1920–2004)

Lida Khaykara

Dominik Valvo

Roberto Cavalli

Fabian Kimmel

Mario Giacomelli (1925–2000)

Maurizio Galimberti (1956–)

Stefanie Schneider

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Alessandro Carleschi

Andre Lichtenberg

Claudio Montecucco

Franco Turcati

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Stephen Shore - Mineral Wells, Texas, June 1972

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