Publisher: San Francisco: Fraenkel Gallery, 2012
Edition: 1st Edition
Condition: As New (from Friedlander's personal archive) / No dust jacket as issued
Item #: 112171
Price is net to all; promotional discounts do not apply.
First edition, first printing. Signed in ink on the front free end paper by Friedlander. Hardcover. Photographically illustrated paper-covered boards with varnished title on cover and spine; no dust jacket as issued. Photographs by Lee Friedlander. Includes a list of plates. Designed by Katy Homans. 112 pp., with 103 duotone plates beautifully printed on matt art paper in Rhode Island by Meridian Printing, from separations by Thomas Palmer. 13-1/4 x 9-1/4 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.
As New (from Friedlander's personal archive).
From the publisher: "Lee Friedlander is one of the few artists in any medium to have sustained a body of influential work over five decades. To make the photographs in Mannequin, he returned to the hand-held, 35-mm camera that he used in the earliest decades of his career. Over the past three years, Friedlander has roamed the sidewalks of New York City, Los Angeles and San Francisco, focusing on storefront windows and reflections that conjure marketplace notions of sex, fashion and consumerism, while recalling Atget's surreal photographs of Parisian windows made 100 years earlier. Thoroughly straightforward, their unsettling and radical new compositions suggest photographs that have been torn up and pasted back together again in near-random ways."