Publisher: New City, New York: Haywire Press, 1991
Edition: 1st Edition
Condition: As New (from Friedlander's personal archive) / No dust jacket as issued
Item #: 112041
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Special limited edition of 40 signed and numbered copies, plus 5 artist's copies, with ten bound-in vintage gelatin silver prints (plates 1, 14, 15, 17, 24, 28, 33, 53, 69 and 80 in the trade edition book Nudes, 1991, Pantheon Books, New York and Jonathan Cape, London), printed on thesis-weight paper by Friedlander, housed in a black cloth-covered slipcase. Each print is signed in pencil on recto. Copyright stamp in black ink on verso. Images 9-3/4 x 14-3/4 inches, whether horizontal or vertical; sheets 14 x 17 inches. Binding by George Wieck. Half pink leather and corners, with textured paper cutout (black); gold stamped lettering. Designed by Catherine Mills, San Francisco. Unpaginated (44 pp.). 14-5/8 x 17-1/2 inches. [See: Peter Galassi, Friedlander. (New York: MoMA, 2005), "Books, Special Editions, and Portfolios" (pp. 444-459), #27.]
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 1991): "Over the last fifteen years, Friedlander has been working with a number of models to create his own way of seeing and photographing the female nude. Little of this work has ever appeared. The photographs are both highly intimate and coolly detached. The frequently surprising perspectives are balanced by the mundane backdrops of ordinary life, the real domestic interiors of the models... He appears to have taken a primary theme of Western art and re-invented it."