In this photograph, Friedlander challenges the metaphorical chain that links natural light to the ideal emotional unity of the family and, by extension, the self-exteriorisation of the Spirit, or Being. In his typically deadpan way, ...
Author: Saul Anton
Publisher: MIT Press
An illustrated examination of an early photo-essay by Lee Friedlander that shows television screens broadcasting eerily glowing images into unoccupied rooms. Lee Friedlander's The Little Screens first appeared as a 1963 photo-essay in Harper's Bazaar, with commentary by Walker Evans. Six untitled photographs show television screens broadcasting eerily glowing images of faces and figures into unoccupied rooms in homes and motels across America. As distinctive a portrait of an era as Robert Frank's The Americans, The Little Screens grew in number and was not brought together in its entirety until a 2001 exhibition at the Fraenkel Gallery in San Francisco. Friedlander (b. 1934) is known for his use of surfaces and reflections––from storefront windows to landscapes viewed through car windshields—to present a pointed view of American life. The photographs that make up The Little Screens represent an early example of this photographic strategy, offering the narrative of a peripatetic photographer moving through the landscape of 1960s America that was in thrall to a new medium. In this astute study, Saul Anton argues that The Little Screens marked the historical intersection of modern art and photography at the moment when television came into its own as the dominant medium of mass culture. Friedlander's images, Anton shows, reflect the competing logics of the museum and print and electronic media, and anticipate the issues that have emerged with the transition to a world of ubiquitous “little screens.”
It looks like an ironic Lee Friedlander photograph, with a chain-link fence providing a barrier to the distribution trucks parked on the other side. The fence is impeccably planar and transparent; we can see through it, but not enter.
Author: Steve Edwards
Publisher: MIT Press
The first sustained critical examination of a work by Martha Rosler that bridged the concerns of conceptual art with those of political documentary. In The Bowery in two inadequate descriptive systems (1974–1975) Martha Rosler bridged the concerns of conceptual art with those of political documentary. The work, a series of twenty-one black-and-white photographs, twenty-four text panels and three blank panels, embraces the codes of the photo-text experiments of the late 1960s and applies them to the social reality of New York's Lower East Side. The prevailing critical view of The Bowery focuses on its implicit rejection, or critique, of established modes of documentary. In this illustrated, extended essay on the work by Rosler, Steve Edwards argues that although the critical attitude towards documentary is an important dimension of the piece, it does not exhaust the meaning of the project. Edwards situates the work in relation to debates and practices of the period, especially conceptual art and the emergence of the photo-text paradigm exemplified by the work of Robert Smithson, Bernd and Hilla Becher, Hans Haacke, Victor Burgin, and the Women and Work group. In particular, he contextualizes Rosler's work of this period within the politicized San Diego group (which included, in addition to Rosler, Allan Sekula, Fred Lonidier, and Philip Steinmetz). Comparing The Bowery to Rosler's later video vital statistics of a citizen, simply obtained (1977) and the films of the Dziga-Vertov Group (formed by Jean-Luc Godard and Jean-Pierre Gorin), Edwards shows how the work engages with conceptual art and the neo-avant-garde of the 1960s and 1970s.
Lee Friedlander's City Whether through images of monuments in the middle of cities or images of parking lots on ... A typical Friedlander photograph will show a chain-link fence up front, a high-rise of- fice tower in the distant ...
Author: Martin H. Krieger
Publisher: University of Pennsylvania Press
Tomography is a method of exploring a phenomenon through a large number of examples or perspectives. In medical tomography, such as a CAT scan, two-dimensional slices or images of a three-dimensional organ are used to envision the organ itself. Urban tomography applies the same approach to the study of city life. To appreciate different aspects of a community, from infrastructure to work to worship, urban planning expert Martin H. Krieger scans the myriad sights and sounds of contemporary Los Angeles. He examines these slices of life in Urban Tomographies. The book begins by introducing tomographic methods and the principles behind them, which are taken from phenomenological philosophy. It draws from the examples of Lee Friedlander and Walker Evans, as well as Denis Diderot, Charles Marville, and Eugène Atget, who documented the many facets of Paris life in three crucial periods. Rather than focus on singular, extraordinary figures and events as do most documentarians, Krieger looks instead at the typical, presenting multiple specific images that call attention to people and activities usually rendered invisible by commonality. He took tens of thousands of photographs of industrial sites, markets, electrical distributing stations, and storefront churches throughout Los Angeles. He also recorded the city's ambient sounds, from the calls of a tamale vendor to the buzz of a workshop saw. Krieger considers these samples from the urban sensorium in this innovative volume, resulting in a thoughtful illumination of the interplay of people with and within the built environment. With numerous maps and photographs, as well as Krieger's unique insights, Urban Tomographies provides an unusually representative and rounded view of the city.
In this book's 97 pictures, drawn from over four decades of work, it recurs as versatile, utilitarian and ubiquitous--not unlike the photographer himself.
Lee Friedlander is celebrated for his ability to weave disparate elements from ordinary life into uncanny images of great formal complexity and visual wit. And few things have attracted his attention--or been more unpredictable in their effect--than the humble chain link fence. Erected to delineate space, form protective barriers and bring order to chaos, the fences in Friedlander's pictures catch filaments of light, throw disconcerting shadows and visually interrupt scenes without fully occluding them. Sometimes the steel mesh seems as delicate as lace; at others it appears as tough as snakeskin. In this book's 97 pictures, drawn from over four decades of work, it recurs as versatile, utilitarian and ubiquitous--not unlike the photographer himself.
Friedlander addresses the camera directly in relatively few images. ... such as an alarm clock, lamp or telephone allowed to obstruct the camera's line of sight, various kinds of foliage or undergrowth, or chain link fencing and posts.
Author: Hans Maes
Portraits are everywhere. One finds them not only in museums and galleries, but also in newspapers and magazines, in the homes of people and in the boardrooms of companies, on stamps and coins, on millions of cell phones and computers. Despite its huge popularity, however, portraiture hasn’t received much philosophical attention. While there are countless art historical studies of portraiture, contemporary philosophy has largely remained silent on the subject. This book aims to address that lacuna. It brings together philosophers (and philosophically minded historians) with different areas of expertise to discuss this enduring and continuously fascinating genre. The chapters in this collection are ranged under five broad themes. Part I examines the general nature of portraiture and what makes it distinctive as a genre. Part II looks at some of the subgenres of portraiture, such as double portraiture, and at some special cases, such as sport card portraits and portraits of people not present. How emotions are expressed and evoked by portraits is the central focus of Part III, while Part IV explores the relation between portraiture, fiction, and depiction more generally. Finally, in Part V, some of the ethical issues surrounding portraiture are addressed. The book closes with an epilogue about portraits of philosophers. Portraits and Philosophy tangles with deep questions about the nature and effects of portraiture in ways that will substantially advance the scholarly discussion of the genre. It will be of interest to scholars and students working in philosophy of art, history of art, and the visual arts.
1934 Lee Friedlander is frequently regarded as a photographer of the American " social landscape , " a term he himself ... however , was never with a straightforward documentary , for he habitually allowed telephone poles , chain - link ...
Author: Whitney Museum of American Art
"American Visionaries presents masterworks from the Museum's unparalleled collection of twentieth- and twenty-first-century American art. Underscoring the Museum's commitment to in-depth collecting across media boundaries, these selections were drawn from the Permanent Collection of nearly 13,000 works and highlight the careers of more than 280 of the 2,450 artists represented in the Museum. Like the collection itself, the artists presented here are richly varied, from early- and mid-twentieth-century masters such as Alexander Calder, Edward Hopper, and Georgia O'Keeffe to postwar icons such as Jasper Johns, Roy Lichtenstein, and Andy Warhol to contemporary artists such as Mike Kelley, Jeff Koons, and Cindy Sherman."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
As Rod Slemmons astutely observes , with this series of pictures “ Friedlander set a precedent of disrupting the normal rules of ... window frames , hair , and chain - link fences - in front of the larger subject in the photographs .
Author: Samantha Baskind
Approximately 85 Jewish American artists from the 19th and 20th centuries, some critically neglected, have significantly influenced, and have been influenced by both their Jewish and American heritages.
The untrammeled freedom of a public park does not offer the secunty of a chain-link cloister. ... Santa Monica -based Morphosis's Diamond Ranch No Accident IN 1948 LEE FRIEDLANDER, THEN 14, TOOK HIS FIRST photograph: the dog belonging ...
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