Lee Friedlander is one of the few artists in any medium to have sustained a body of influential work over five decades. To make the photographs in Mannequin , he returned to the hand-held, 35-mm camera that he used in the earliest decades of his career. Over the past three years, Friedlander has roamed the sidewalks of New York City, Los Angeles and San Francisco, focusing on storefront windows and reflections that conjure marketplace notions of sex, fashion and consumerism, while recalling Atget's surreal photographs of ...
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Lee Friedlander is one of the few artists in any medium to have sustained a body of influential work over five decades. To make the photographs in Mannequin , he returned to the hand-held, 35-mm camera that he used in the earliest decades of his career. Over the past three years, Friedlander has roamed the sidewalks of New York City, Los Angeles and San Francisco, focusing on storefront windows and reflections that conjure marketplace notions of sex, fashion and consumerism, while recalling Atget's surreal photographs of Parisian windows made 100 years earlier. Thoroughly straightforward, their unsettling and radical new compositions suggest photographs that have been torn up and pasted back together again in near-random ways. Lee Friedlander (born 1934) first came to public attention in the landmark exhibition New Documents , at The Museum of Modern Art, New York, in 1967. The range of his work since then--including portraits, nudes, still lifes and studies of people at work--is anchored in a uniquely vivid and far-reaching vision of the american scene. More than 40 books about his work have been published since the early 1970s, including Self-Portrait , Sticks and Stones , Cherry Blossom Time in Japan , Family , America by Car , People at Work and The New Cars 1964 . His career was the focus of a major traveling retrospective organized by The Museum of Modern Art in 2005. His work can be found in depth in the collections of The Museum of Modern Art, the Metropolitan Museum of Art, the San Francisco Museum of Art and the National Gallery of Art, among many others.
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Add this copy of Lee Friedlander: Mannequin to cart. $35.08, good condition, Sold by Dream Books Co. rated 5.0 out of 5 stars, ships from Denver, CO, UNITED STATES, published 2012 by Fraenkel Gallery.
Add this copy of Lee Friedlander: Mannequin to cart. $41.40, like new condition, Sold by GreatBookPrices rated 4.0 out of 5 stars, ships from Columbia, MD, UNITED STATES, published 2012 by Fraenkel Gallery.
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Fine. Sewn binding. Cloth over boards. 112 p. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
Add this copy of Lee Friedlander: Mannequin to cart. $49.94, new condition, Sold by GreatBookPrices rated 4.0 out of 5 stars, ships from Columbia, MD, UNITED STATES, published 2012 by Fraenkel Gallery.
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Seller's Description:
New. Sewn binding. Cloth over boards. 112 p. In Stock. 100% Money Back Guarantee. Brand New, Perfect Condition, allow 4-14 business days for standard shipping. To Alaska, Hawaii, U.S. protectorate, P.O. box, and APO/FPO addresses allow 4-28 business days for Standard shipping. No expedited shipping. All orders placed with expedited shipping will be cancelled. Over 3, 000, 000 happy customers.
Add this copy of Lee Friedlander: Mannequin to cart. $49.95, new condition, Sold by Hennessey + Ingalls rated 4.0 out of 5 stars, ships from Los Angeles, CA, UNITED STATES, published 2012 by Fraenkel Gallery.
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New. Lee Friedlander is one of the few artists in any medium to have sustained a body of influential work over five decades. To make the photographs in 'Mannequin, ' he returned to the hand-held, 35-mm camera that he used in the earliest decades of his career. Over the past three years, Friedlander has roamed the sidewalks of New York City, Los Angeles and San Francisco, focusing on storefront windows and reflections that conjure marketplace notions of sex, fashion and consumerism, while recalling Atget's surreal photographs of Parisian windows made 100 years earlier. Thoroughly straightforward, their unsettling and radical new compositions suggest photographs that have been torn up and pasted back together again in near-random ways. Lee Friedlander (born 1934) first came to public attention in the landmark exhibition 'New Documents, ' at The Museum of Modern Art, New York, in 1967. The range of his work since then-including portraits, nudes, still lifes and studies of people at work-is anchored in a uniquely vivid and far-reaching vision of the american scene. More than 40 books about his work have been published since the early 1970s, including 'Self-Portrait, ' 'Sticks and Stones, ' 'Cherry Blossom Time in Japan, ' 'Family, ' 'America by Car, ' 'People at Work' and 'The New Cars 1964. ' His career was the focus of a major traveling retrospective organized by The Museum of Modern Art in 2005. His work can be found in depth in the collections of The Museum of Modern Art, the Metropolitan Museum of Art, the San Francisco Museum of Art and the National Gallery of Art, among many others.
