Publisher: San Francisco: Fraenkel Gallery, 2000
Edition: 1st Edition
Binding: Soft cover
Condition: As New (from Friedlander's personal archive) / No dust jacket as issued
Item #: 112297
Price is net to all; promotional discounts do not apply.
First edition, first printing. Signed by Friedlander. Soft cover. Photographically illustrated stiff wrappers. Photographs by Lee Friedlander. Text by John Szarkowski. Designed by Catherine Mills Design, Seattle. 96 pp. with 77 plates printed by Meridian Printing, Rhode Island from duotone separations made by Richard Benson. 9-1/4 x 9-1/8 inches. This first edition was limited to 3300 total copies, of which 600 hardcover copies were signed and numbered for the limited edition.
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 has documented a lifetime in photographs, creating a thick and diverse body of work which has left an indelible imprint on the medium he helped to fortify. Among his most important subjects - once at the beginning of his career, and now thirty years later - is himself. With the photographic cornerstone of a monograph, Self-Portrait, originally published in 1970, Friedlander created an archetype for self-imaging. Three decades later Friedlander re-acquainted himself with the far side of the camera."