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Lee Friedlander is one of the most important of the 1960s generation of photographers for whom the posture of distinterested objectivity served as a vehicle for passionate personal inquiries. His large body of work he most often produces extended series of pictures on a chosen theme, then publishes them in book form is broad in subject matter and supple and complex in style, and focuses on what he calls Americas social landscape. At the same time, he has pursued a playful dialogue with artistic tradition as though open-eyed curiosity about the world and a sophisticated taste for the wiles of picture-making were one and the same thing. Friedlander, published to accompany the photographers retrospective at The Museum of Modern Art, takes a deep critical look at his abundantly productive career. Including over 750 photographs grouped by series, and an incisive essay by Peter Galassi, this publication is the most comprehensive review of the photographers career to date.
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Customer Reviews
Most Helpful Customer Reviews
Format:Paperback
We can all identify with photographs, yet our knowledge and understanding of photography's qualities often only go as far as appreciating the holiday snapshot, or the birthday boy blowing out candles, or the family pet doing something silly. Yet whether consciously or sub-consiously, we balk at the awkwardness of having someone's face cropped out of the photo by careless framing or we notice subtleties too minute or fleeting to notice in real time, or yet we might notice the possibility of an interpretation not originally intended by the maker of the photograph. These "inconsistencies" or "flaws" of photography all contribute to the uniqueness of the photographic language, and proves not only that a photograph is as capable of altering the reality of whatever is depicted as much as it can make us believe the truth of its contents.
And this, I think, is the territory mined by many great photographers like Garry Winogrand and Harry Callahan, and chief amongst such explorers of the photograph's altered realities, is Lee Friedlander. Friedlander is to photography what Miles Davis is to jazz, a visionary and innovator, amazingly fluent in their chosen languages of expression. Finding validation (and being heavily influenced by) the work of Eugene Atget and Walker Evans before him, Friedlander's subject is the everyday vernacular, yet through his vision we see the banalities of the everyday as we've never seen them before. We know they're there - the distortions in reflections off shop windows, the wild juxtapositions possible in your typical urban environment, but Friedlander presents them to us as products of a finely-tuned photographic vision and a state of heightened awareness. Or as Peter Galassi, MoMA's chief curator of photography describes it in his introductory essay, Friedlander's pictures give you the impression that "the physical world had been broken into fragments and reconstituted under pressure at three times its original density."
So if you are interested in pushing the boundaries of your own photographic vision, I suggest that you study the work of Friedlander post-haste. As prolific a book-maker as he is a photographer, the breadth of his work is incredible, and this book, being a catalogue accompanying a retrospective, is a great starting point to discovering the work of this photographer's photographer.
And this, I think, is the territory mined by many great photographers like Garry Winogrand and Harry Callahan, and chief amongst such explorers of the photograph's altered realities, is Lee Friedlander. Friedlander is to photography what Miles Davis is to jazz, a visionary and innovator, amazingly fluent in their chosen languages of expression. Finding validation (and being heavily influenced by) the work of Eugene Atget and Walker Evans before him, Friedlander's subject is the everyday vernacular, yet through his vision we see the banalities of the everyday as we've never seen them before. We know they're there - the distortions in reflections off shop windows, the wild juxtapositions possible in your typical urban environment, but Friedlander presents them to us as products of a finely-tuned photographic vision and a state of heightened awareness. Or as Peter Galassi, MoMA's chief curator of photography describes it in his introductory essay, Friedlander's pictures give you the impression that "the physical world had been broken into fragments and reconstituted under pressure at three times its original density."
So if you are interested in pushing the boundaries of your own photographic vision, I suggest that you study the work of Friedlander post-haste. As prolific a book-maker as he is a photographer, the breadth of his work is incredible, and this book, being a catalogue accompanying a retrospective, is a great starting point to discovering the work of this photographer's photographer.
1 of 2 people found the following review helpful
Format:Paperback
It's a huge book. Friedlander at his best from the beginning up today. His great b/w.
If you want to know him or you want to have a "complete" work of Friedlander this is your book.
Very recommended
If you want to know him or you want to have a "complete" work of Friedlander this is your book.
Very recommended
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
14 reviews
16 of 16 people found the following review helpful
THE book to own of Friedlander's work
20 Mar 2006
Format:Hardcover|Amazon Verified Purchase
An excellent overview of Lee Friedlander's pioneering career. If you are only peripherally interested in Friedlander and his photography, this is the book to buy. If you are a longtime admirer of his work, this will be the book you will return to again and again.
In addition to a generous display of photographs, the introductory essay (although a bit dense at times) gives insight into Friedlander's motivations and achievements.
Friedlander seems to be a controversial subject on photography forums across the Net. It's interesting to read the opinions of other photographers on these internet forums who think his work is sloppy, unsophisticated, amateurish, etc. Once confronted with this enlightening overview of Friedlander's work, it becomes obvious that what is truly sloppy, unsophisticated and amateurish is the perspective of those espousing these opinions. What evolves is the fact that Friedlander is a treasure.
In addition to a generous display of photographs, the introductory essay (although a bit dense at times) gives insight into Friedlander's motivations and achievements.
Friedlander seems to be a controversial subject on photography forums across the Net. It's interesting to read the opinions of other photographers on these internet forums who think his work is sloppy, unsophisticated, amateurish, etc. Once confronted with this enlightening overview of Friedlander's work, it becomes obvious that what is truly sloppy, unsophisticated and amateurish is the perspective of those espousing these opinions. What evolves is the fact that Friedlander is a treasure.
11 of 11 people found the following review helpful
Splendid Overview of Lee Friedlander's Work
3 July 2005
Format:Hardcover
Without question one of America's great photographers, Lee Friedlander can also be regarded as among the world's most influential photographers. This heavy, massive coffee table-sized book is a collection of every important body of work Lee Friedlander has made since the 1950's, beginning with his early commercial photographs of jazz musicians to his classic "American Monuments" series from the 1970's, to his unique nudes taken over two decades, Sonoran cacti depicted in his classic mid 1990's landscape book "The Desert Seen", and of course his recent body of work. It is the companion volume to the current Lee Friedlander retrospective - the first in over a decade - organized and shown currently at New York City's Museum of Modern Art (MoMA). It contains an excellent critical overview by the exhibition's curator, Peter Galassi, chairperson of MoMA's photography department.
Lee Friedlander first appeared as one of several influential photographers who had a "Snapshot Aesthetic" to their documentary photography (Others include the late Garry Winogrand, William Klein and Joel Meyerowitz, to name but a few.) during the 1950's and 1960's. However, Friedlander's vision has always been unique, drawing upon his love of jazz music for his often spellbinding, distinctive photographic compositions. At first glance a Lee Friedlander image may be poorly composed, but upon further inspection, you can't help but feel impressed by his odd, yet still sensible logic in composing images. If you have a chance to visit New York City before the end of August, then by all means see this exhibition, which contains more than 500 images selected and sequenced by Galassi himself; otherwise, I highly recommend acquiring this splendid book.
Lee Friedlander first appeared as one of several influential photographers who had a "Snapshot Aesthetic" to their documentary photography (Others include the late Garry Winogrand, William Klein and Joel Meyerowitz, to name but a few.) during the 1950's and 1960's. However, Friedlander's vision has always been unique, drawing upon his love of jazz music for his often spellbinding, distinctive photographic compositions. At first glance a Lee Friedlander image may be poorly composed, but upon further inspection, you can't help but feel impressed by his odd, yet still sensible logic in composing images. If you have a chance to visit New York City before the end of August, then by all means see this exhibition, which contains more than 500 images selected and sequenced by Galassi himself; otherwise, I highly recommend acquiring this splendid book.
5 of 5 people found the following review helpful
a major figure
20 July 2006
Format:Hardcover
by its scope, this book, like the photographer who's work it represents, is unique. not just the amount of photos, but the richness of them, their cool intelligence. it is a major volume, by one of the most influential non-color artists of our time. many people either hate or love friedlander's work, and i love it. if you do, just looking at this book a few times will be a great joy. if you're lucky (and rich) enough to buy or own it - what a treat.
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