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Joel Sternfeld: Stranger Passing [SIGNED]

Publisher: New York: Bulfinch Press / Little, Brown and Company and Melcher Media, Inc., in association with the San Francisco Museum of Modern Art, 2001
Edition: 1st Edition
Binding: Hardcover
ISBN: 0821227521
Condition: Fine / Fine
Item #: 113664



First edition, first printing. Signed in black ink on the title page by Sternfeld. Hardcover. Fine dark gray cloth-covered boards with title stamped in silver on front cover and spine, with photographically illustrated dust jacket. Photographs by Joel Sternfeld. Essays by Ian Frazier and Douglas R. Nickel. 144 pp. with 60 four-color plates and 4 color reference illustrations, printed by Amilcare Pizzi, S.p.A., Milan, Italy. 12 x 13 3/4 inches. Published on the occasion of the 2001 exhibition Stranger Passing: Collected Portraits by Joel Sternfeld at the San Francisco Museum of Modern Art.

Includes a poster for Joel Sternfeld's 2002 lecture at Columbia College Chicago which reproduces the rear cover image from this book.


Fine in Fine dust jacket.


A Mint copy. From the publisher: "Joel Sternfeld first came to international attention in 1987 with the publication of American Prospects, a landmark study of how the social order is revealed through landscape. While harkening back to Walker Evans's austere summation of the 1930s and Robert Frank's despairing view of the 1950s, the pictures in American Prospects set forth a complex field theory. They spoke, in the words of critic Andy Grundberg, of a time when "the land lost its last pretense of innocence," but also "of men and women seeking to accommodate their primal needs to the imperatives of technological society." Stranger Passing expands that study and functions as a companion to American Prospects. In it, the inhabitants come to the foreground as America "sits for its portrait," in the words of Douglas Nickel, curator of photography at the San Francisco Museum of Modern Art... At a moment when individual identity may be reduced to a matter of consumer choice, Sternfeld's clear empathy for his subjects rescues the pictures from a nihilistic viewpoint. Ian Frazier writes, "Often what Sternfeld's photographs describe is endless, shaky potential. The unreadability of what he sees on the surface only enhances the country's mystery. Endlessness of possibility makes for longing; longing is the essential American emotion which these photographs hold."