...Although the technology to produce color prints was widely available as early as the 1940s, for many years black and white remained the only accepted medium for fine art photography. Serious photographers held color in low esteem, seeing it as the language of the family snapshot, the tourist postcard or the consumer advertisement. Intrigued and inspired to develop a new vocabulary, Shore, Meyerowitz, and Eggleston began to actively explore the medium of color photography in the late 1960s and early 1970s.
Their approach to subject matter was shaped in part by their love of Robert Frank, Walker Evans, and Henri Cartier‐Bresson – artists who wanted to capture the ordinary life of their immediate surroundings. But their sensitivity to color, and desire to shake free from the strong hold of nostalgia that working in black and white entailed, pointed them in new directions, and each photographer used color to explore not the exotic, but the familiar and record its presence in prosaic situations ‐ the American vernacular of gas stations, motels, suburban backyards, diners and small towns. Through their eyes, and the use of color, the banality of the subjects is transcended into compositions of stature and significance...
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