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Lee Friedlander: The Shadow Knows [SIGNED]

Publisher: Brooklyn, New York: SPQR Editions, 2020
Edition: 1st Edition
Binding: Hardcover
ISBN: 9781576879627
Condition: New / No dust jacket as issued
Item #: 113784



Price is net to all; promotional discounts do not apply.

First edition, first printing. Signed in black ink on the title page by Friedlander. Hardcover. Black glossy printed laminated paper-covered boards; no dust jacket as issued. Photographs by Lee Friedlander. Designed and typeset by Katy Homans. Includes a list of titles. 110 pp., with 101 duotone plates, printed by Meridian Printing, East Greenwich, Rhode Island, from separations by Thomas Palmer. 10-1/4 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 in publisher's shrink-wrap (slit open for signature).


From the publisher: "Named after a line in one of Friedlander’s favorite radio programs, The Shadow Knows contains a series of shadow self portraits, continuing Friedlander’s career-long exploration of his own likeness. From the publisher: “Sometimes Friedlander’s shadow is presented as ominous — imposed over another person, sometimes his wife — lending the impression of sneakiness, desire, or possession. Other times it’s playful, draped over a cactus or a pile of rocks, turning the photographer into a cartoon character with exaggerated boy parts. And sometimes he simply makes himself part of a scene, often where you can make out the camera held up to his eye — the photographer’s version of breaking the fourth wall."