Publisher: San Francisco and New York: Fraenkel Gallery and D.A.P./Distributed Art Publishers, Inc., 2004
Edition: 1st Edition
Condition: Fine / Fine
Item #: 111030
First edition, first printing. Signed by Friedlander. Hardcover. Fine gold linen cloth, with title stamped in black on spine, with dust jacket. Photographs by Lee Friedlander. Essay by James Enyeart. Designed by Katy Homans. Includes a list of plates. 210 pp., with 196 tritone reproductions, beautifully printed by Meridian Printing, Rhode Island from separations made by Thomas Palmer. 12-3/4 x 12 inches.
Lee Friedlander’s work is widely known for transforming our visual understanding of contemporary American culture. Known for passionately embracing all subject matter, Friedlander photographed nearly every facet of American life from the 1950s to the present. From factories in Pennsylvania, to the jazz scene in New Orleans, to the deserts of the Southwest, Friedlander's complex formal visual strategies continue to influence the way we understand, analyze, and experience modern American experience. Friedlander's work continues to influence photographic practice internationally, in part due to the heightened sense of self-awareness that is a trademark of so many of his photographs and in part because of his ability to embrace wide-ranging subject matter, always interpreting it in an elegance that hadn't existed prior to his work.
Fine in Fine dust jacket.
From the publisher: "In Sticks & Stones, Lee Friedlander offers his view of America as seen through its architecture. In 192 square-format pictures shot over the past 15 years, Friedlander has framed the familiar through his own unique way of seeing the world. Whether he's representing modest vernacular buildings or monumental skyscrapers, Friedlander liberates them from our preconceived notions and gives us a new way of looking at our surrounding environment. Shot during the course of countless trips to urban and rural areas across the country, many of them made by car (the driver's window sometimes providing Friedlander with an extra frame), these pictures capture an America as unblemished by romanticized notions of human nature as it is full of quirky human touches. Nevertheless, man's presence is not at stake here; streets, roads, façades, and buildings offer their own visual intrigue, without reference to their makers. And in the end, it is not even the grand buildings themselves that prick our interest, but rather the forgettable architectural elements--the poles, posts, sidewalks, fences, phone booths, alleys, parked cars--that through photographic juxtaposition with all kinds of buildings help us to discover the spirit of an Architectural America."