Publisher: New York and New City, New York: The Eakins Press Foundation and Haywire Press, 1976
Edition: 1st Edition
Condition: As New (from Friedlander's personal archive) / No dust jacket as issued
Item #: 112034
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Special limited edition of 150 signed and numbered copies, plus 15 artist's copies marked A/C, with one loose vintage gelatin silver print "David Thompson and Finnan MacDonald, Idaho, 1974," signed (with hand-written copyright symbol), numbered and dated in black ink on recto in the white border below the image, by Friedlander. Image 6-3/8 x 9-5/8 inches; sheet 11 x 14 inches. The print is enclosed in an archival white overmat enclosure (11-1/2 x 16-5/16 inches) bound to the inside rear cover of the book (print can be removed from an opening at the top of the mat). Edition is housed in a light blue card box, with edition number written in ink on the side.
ABOUT THE BOOK: First edition, first printing. Signed by Friedlander. Hardcover. Dark red and blue-green ledger cloth-covered boards (for the special edition), with title stamped in gilt on quarter black leather spine, post-bound and assembled with removable metal pins (no dust jacket as issued). Photographs by Friedlander. Essay by Leslie George Katz. Designed by Leslie George Katz, Friedlander, and Richard Benson. Cover and typography by Lance Hidy. 170 pp., with 213 plates printed on fine heavy stock uncoated paper by the Meriden Gravure Company, Meriden, Connecticut, from halftone separations made by Richard Benson. Binding by George Wieck, Robert Burlen and Son, Massachusetts. Special binding was designed so that individual sheets could be removed and exhibited. 12 x 17 inches. [Cited in Andrew Roth, ed., The Book of 101 Books: Seminal Photographic Books of the Twentieth Century. (New York: PPP Editions in association with Roth Horowitz LLC, 2001), in Andrew Roth, ed., The Open Book. (Göteborg, Sweden: Hasselblad Center in association with Steidl Verlag, Göttingen, Germany, 2004), and in Martin Parr and Gerry Badger, The Photobook: A History, Volume II. (London and New York: Phaidon, 2006).] [See: Peter Galassi, Friedlander. (New York: MoMA, 2005), "Books, Special Editions, and Portfolios" (pp. 444-459), #8.]
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.
As New (from Friedlander's personal archive).
From the publisher: "In an environment dominated by menacing speed, instability, advertising and television, the American monument plays a meditative role. A grace of intention shines through the oft times awkward alliance of efforts that produced them. They are redeemed by the confidence they express in the worth of the act memorialized. In this album the viewer and the viewed hold each other in balance. A world buried alive in our midst is unearthed to us. The photographer has brought it to us to see."