Publisher: New York: The Eakins Press Foundation, 1976
Edition: 1st Edition
Condition: As New (from Friedlander's personal archive) / No dust jacket as issued
Item #: 112166
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First edition, first and only printing. Signed by Friedlander. Hardcover. Blue-green cloth-covered boards, with title stamped in black on cover and spine; no dust jacket as issued. 77 pp., with 213 black-and-white reproductions printed by The Meriden Gravure Company. 12 x 17 inches. This first edition was limited to 2000 copies. A special binding was designed so that individual sheets (on fine, heavy-stock paper) could be removed and exhibited. [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).]
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."