Search results for ""Author Lee Friedlander""

Traffic signs, sandwich boards and posters: Friedlander’s portrait of words in the world For more than five decades, Lee Friedlander has repeatedly been drawn to the signs that inscribe the American landscape, from hand-lettered ads to storefront windows to massive billboards. Incorporating these markings with precision and sly humor, Friedlander’s photographs record a kind of found poetry of desire and commerce. Focusing on one of the artist’s key motifs, Lee Friedlander: Signs presents a cacophony of wheat-paste posters, Coca-Cola ads, prices for milk, road signs, stop signs, neon lights, movie marquees and graffiti. The book collects 144 photographs made in New York and other places across the US, and features self-portraits, street photographs and work from series including The American Monument and America by Car, among others. Illegible or plainspoken, crude or whimsical, Friedlander’s signs are an unselfconscious portrait of modern life. Lee Friedlander (born 1934) began photographing in 1948. Among his many monographs are Sticks and Stones, Self-Portrait, Letters from the People, Cherry Blossom Time in Japan and At Work, among others. His work was included in the influential 1967 exhibition New Documents at the Museum of Modern Art, New York, curated by John Szarkowski. Among the most important living photographers, Friedlander is in the collections of museums around the world.

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The democracy of the image in the social landscape The saturation of our social landscape by photographs and photographers is apparent from any public point of view. Photography is arguably the most democratic of mediums, even more accessible today across culture and class than language. In some regards, this has been Lee Friedlander’s most enduring subject—the way that average citizens interact with the world by making pictures of it, as well as how those pictures and the pictures constructed for advertising or political purposes define the public space. In Lee Friedlander: The People’s Pictures we see photographs spanning six decades, most of the geographic United States and parts of Western Europe and Asia. These pictures are uniquely Friedlander photographs: as much about what’s in front of the camera as they are about the photographer’s lifelong redefining of the medium. Like his exploration of words, letters and numbers in the social landscape, these photographs of photography’s street presence seem inevitable to Friedlander’s vast visual orchestration of what our society looks like. But make no mistake, Friedlander’s photographs are not objective documents; they are intentional, authored, playful, intelligent creations made through his unprecedented collaboration with time and place. Lee Friedlander (born 1934) has published more than 50 monographs since 1969, and has exhibited extensively around the world for the past five decades, including a major retrospective at the Museum of Modern Art, New York, in 2005. Friedlander lives in New York.

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Early work from Lee Friedlander capturing a pivotal moment in the Civil Rights Movement On May 17, 1957, through the generosity of Bayard Rustin, Lee Friedlander was given full access to photograph the participants of the Prayer Pilgrimage for Freedom in Washington, D.C. This extraordinary event, organized by Mr. Rustin, as well as A. Philip Randolph, Roy Wilkins and Dr. Martin Luther King, Jr., brought together many of the great thinkers and leaders of the period, and was a pivotal moment in the Civil Rights Movement. Friedlander's photographs depict the famous individuals at the event—Mahalia Jackson, Ruby Dee and Harry Belafonte, among many other luminaries of the African-American community—but they also pay particular attention to the 25,000 men, women and children who gathered to give voice and energy to the ideas embattled by the movement. The 58 previously unpublished photographs gathered here are among Friedlander's earliest work. Also included in this publication is the typescript of Martin Luther King, Jr.'s "Give Us the Ballot" speech and additional ephemera from the march produced in facsimile.

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A superbly assembled survey of Friedlander’s abiding fascination with the American social landscape across six decades This volume presents 155 photographs spanning 60 years of the artist’s exploration of the built environment in the American social landscape. Collectively these photographs add to one of the broadest and most nuanced visual explorations of America, and, individually, they are filled with the kind of intellectual humor and observation for which Friedlander has become celebrated. Along the way, of course, Friedlander has expanded our ideas of what constitutes real estate, just as he continues to compel us to reconsider how photography reveals essential aspects of our lives over time. The mirror that Lee Friedlander holds up to us is his mirror and everything reflected in it has the common traits of his way of seeing—each picture is definitively a Friedlander picture. Real Estate is an essential collection of one of Friedlander’s lifelong subjects, and takes its place alongside other classic titles of his quest to photograph the ever-changing social landscape: The People’s Pictures (2021), Signs (2019), The American Monument (1976/2017), Letters from the People (1993) and American Musicians (2001).

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Friedlander’s social landscape is a who’s who of postwar American photography In the 1960s and '70s, Lee Friedlander (born 1934) developed his signature approach to documenting the American “social landscape”: deadpan, structurally complex black-and-white photographs of seemingly anything, anybody or anyplace that passed in front of his lens. But as he was making his name as a documentary photographer capturing the look and feel of modern American life, he was also photographing his closest friends, a practice he has continued throughout his long career. A slipcased set of six paperback books, The Mind and the Hand presents the photographer’s intimate portraits of six of his best friends taken over the past five decades. The subjects, each presented in their own separate volume, comprise a veritable who's who of one of America's most fertile periods in photography: Richard Benson, William Christenberry, William Eggleston, Walker Evans, John Szarkowski and Garry Winogrand. Each volume begins with a relevant quote from its subject.

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