Publisher: New York: Mary Boone Gallery, 2010
Edition: 1st Edition
Condition: New / No dust jacket as issued
Item #: 113627
First edition, first printing. Hardcover. Gray linen cloth-covered boards with tipped-in duotone plate on cover and title stamped in green and silver on cover and spine; no dust jacket as issued. Photographs by Lee Friedlander. Essay by Klaus Kertess. Includes a list of plates. Designed by Katy Homans. Unpaginated (36 pp.), with 25 duotone plates beautifully printed on heavy matte paper by Meridian Printing, from separations made by Thomas Palmer. Printing supervised by Daniel Frank. 12-3/4 x 12 inches. Published on the occasion of an exhibition at Mary Boone Gallery, New York. This first edition was limited to 600 unnumbered copies. Out of print. Scarce.
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 in publisher's shrink-wrap.
From the publisher: "Shot in locations such as Glen Canyon, Death Valley and the Mojave Desert, the black-and-white photographs in this handsomely produced volume locate tangles of foreground brush, craggy mountainscape walls and snowy landscapes festooned with leaves. Friedlander's photographs often suit large-format publication, and this 12 x 12.75-inch monograph, with its linen binding and tipped-on cover image, amply houses their magnificent sense of austere scale and intense detail. In his foreword to the volume, Klaus Kertess writes: 'The heterogeneous organic mesh so often experienced in the foreground of these landscapes imbue forests and mountains with a kind of intimacy and immediacy ordinarily reserved for those actually trekking through the photographed terrain... The muffled silence of the snowbound landscape, the fragile delicacy of the leaves, and the trees almost dissolving in the misty atmosphere envelop the plane in lyrical reverie seldom equaled in painting or photography.'"