Publisher: New Haven, Connecticut: Yale University Art Gallery and Yale University Press, 2015
Edition: 1st Edition
Condition: New / No dust jacket as issued
Item #: 112290
Price is net to all; promotional discounts do not apply.
First edition, first printing. Signed in black ink on the half-title page by Friedlander. Hardcover. Photographically illustrated laminated paper-covered boards, no dust jacket as issued. Photographs by Lee Friedlander. Design by Katy Homans. Duotone separations by Thomas Palmer. 214 pp., with 202 black-and-white reproductions. 9-5/8 x 11 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.
New (from Friedlander's personal archive).
From the publisher: "American photographer Lee Friedlander (born 1934) has had an expansive career, photographing his subjects--from family and friends to political figures and celebrities--in their everyday environments, while simultaneously changing the very landscape of his chosen media. The Human Clay is a new series of six publications to be released over three years, each of which focuses on images of people and features hundreds of photographs, many never before published, chosen and sequenced by the artist himself from his vast archive. In Children, 200 photographs are presented in two sections. The first features images of children that the artist has known: being bathed or fed, laughing or crying with family members, posing with pets or mugging for the camera. The second section presents works from Friedlander’s years of photographing people on the street: children in parades, sitting in cars, or reflected in storefront windows. Taken together, these images offer a picture of America's youth through the eyes of one of the most renowned photographers of his generation."