Publisher: San Francisco: Fraenkel Gallery, 2001
Edition: 1st Edition
Condition: As New (from Friedlander's personal archive) / No dust jacket as issued
Item #: 112045
Please inquire. Pricing and availability are subject to change (price is net to all; promotional discounts do not apply).
First edition, first and only printing. Limited edition of 100 copies (this being #9/100), signed and numbered opposite the first page by Friedlander, and contained in a green-tinted acrylic slipcase (only with the Limited Edition). Hardcover. Photographically illustrated laminated paper-covered boards, with crystallographic dual-image tipped in to television-screen portion of the cover photograph; no dust jacket as issued. Housed in a green acrylic slipcase. Photographs by Friedlander. Foreword by Walker Evans. 96 pp. with 34 plates printed by Meridian Printing, East Greenwich, Rhode Island, from duotone separations made by Thomas Palmer. 10 x 10 inches. [Cited in Peter Galassi, Friedlander. (New York: MoMA, 2005), "Books, Special Editions, and Portfolios" (pp. 444-459), limited signed edition of #38.]
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 Fraenkel Gallery: "The Little Screens is a revered and influential body of early work by Lee Friedlander, but it has never before been brought together in its entirety. The book's title refers to the television screens housed in motel rooms and other nondescript rooms of anonymous character spread throughout the country during the 1960s. Each screen vividly transmits images of popular culture icons, political figures, or minor celebrities of the times. The environments are iconographic ghost-filled rooms filled with bland furniture -- rooms without personality, rooms that could be, and are, anywhere and everywhere. The Little Screens and their environments weave a narrative of a peripatetic photographer moving through the landscape of 1960s America, and the melancholy, yet sometimes comic quality of life lived on the road. They provide a look at the 1960s as so many people saw it: beamed into their living rooms. The book's preface was written by the legendary Walker Evans after he saw the photographs in 1963."