COLLECTION NAME:
Visual Resources Teaching Collection
mediaCollectionId
ArtArtHiAAH~7~7
Visual Resources Teaching Collection
Collection
true
Image Record ID:
aahi0005325
image_record_id
aahi0005325
Image Record ID
false
Work Title (display):
Nashville
Image Title:
full view
Work Dates (display):
1963
Work Dates type:
creation
Image Date (display):
2009-09-28
Work Creator (display):
Lee Friedlander (American, born 1934)
Work Creator gender:
male
work_creator_or_agent_gender
male
Work Creator gender
false
Work Creator notes (display):
American photographer. He first became interested in photography in 1948, and from 1953 to 1955 he studied under Edward Kaminski at the Art Center of Los Angeles. In 1956 he settled in New York and supported himself by producing photographs of jazz musicians for record jackets, for example Count Basie (1957; see Malle, pl. 39). He also produced photographs influenced by Eugène Atget, Walker Evans and Robert Frank and, like his subsequent works, these were all in black and white. In 1958 he discovered the work of the little-known photographer E. J. Bellocq from whose gelatin dry-plate negatives of the brothels of New Orleans he took prints, which were included in the exhibition E. J. Bellocq: Storyville Portraits at MOMA in New York in 1970. In 1960, 1962 and 1977 Friedlander was awarded Guggenheim Memorial Foundation grants, and his works began to appear in such periodicals as Esquire, Art in America and Sports Illustrated. He had his first one-man show in 1963 at the International Museum of Photography at George Eastman House in Rochester, NY. From the 1960s Friedlander started taking photographs of the 'social landscape' of the USA, detached images of urban life which, like Pop art works, captured the feel and look of modern society, though often with depressing effect. Newark, New Jersey (1962; see Friedlander, 1978, pl. 2) is characteristic of these and includes shop-window reflections, posters and signs, which tend to compress spatial depth. In atmosphere and subject-matter these works have affinities with the work of Friedlander's friend Garry Winogrand. Friedlander's collaboration with Jim Dine further emphasized his links with Pop art, and in 1969 they published Works from the Same House. This included etchings by Dine and photographs by Friedlander, so arranged that examples of each faced one another, creating a suggestive juxtaposition of imagery. Other works by Friedlander in the 1960s included the series of works that appeared in Self-portrait (1970). Contrary to the tradition of the genre Friedlander only appears in the photographs in the most oblique way, in reflections in mirrors and glass or merely as a shadow. Urban themes also proved a dominant theme in the 1970s, leading to such bleak images as Albuquerque (1972; Chicago, IL, A. Inst.), showing an undistinguished expanse of deserted city. One of his most notable projects of this decade was the work for The American Monument (1976) for which he photographed over 100 public monuments. These included a whole range of memorials to war dead, local officials and figures from American history. Through this curious diversity of images Friedlander provided a fragmentary view of the nation's values and heroes. In 1979 Friedlander was commissioned by the Akron Art Museum to produce a photographic documentary of the industrial areas of the Ohio river valley, the results of which appeared in Factory Valleys: Ohio and Pennsylvania (1982). It consisted of photographs of the urban industrial landscape and of the factory labourers at work. The dour landscape and alienating, monotonous work routines present a cold picture of the underside of developed, industrial society. From the late 1970s and into the 1980s Friedlander took numerous photographs of the landscape in Japan, some of which appeared in Cherry Blossom Time in Japan (1986). A similar spirit pervaded the series Flowers and Trees (1981). In contrast to his urban works these stress the beauties of nature, although in the context of his other works they acquire a nostalgic, exotic aura. Portraits (1985) ranged chronologically from 1958 to 1983, while for Nudes (1991) Friedlander photographed his subjects in unusual poses, using novel framing to revitalize a traditional subject. Many of his photographic books were published by his own firm, the Haywire Press of New City, NY. ("Friedlander, Lee." Grove Art Online. Oxford Art Online. 6 Nov. 2009 ).
Work Style Period:
20th century
work_styleperiod
20th century
Work Style Period
false
Work Style Period:
Contemporary
work_styleperiod
Contemporary
Work Style Period
false
Work Subject:
commentaries
subject
commentaries
Work Subject
false
Work Subject:
irony (in visual art)
subject
irony (in visual art)
Work Subject
false
Work Subject:
televisions
subject
televisions
Work Subject
false
Work Subject:
popular culture
subject
popular culture
Work Subject
false
Work Subject:
photographs
subject
photographs
Work Subject
false
Work Worktype:
photographs
work_type
photographs
Work Worktype
false
Work Worktype:
photographic prints
work_type
photographic prints
Work Worktype
false
Work Worktype:
gelatin silver prints
work_type
gelatin silver prints
Work Worktype
false
Work Category (VRC classification):
photographs
work_category__ucbaahvrc_classification_
photographs
Work Category (VRC classification)
false
Work Measurements (display):
9.125 in (H) x 5.875 in (W)
Work Location (Repository or Site) name:
Art Basel 37
Work Location (Repository or Site) role:
exhibition
Work Location (Geographic) name:
Miami Beach, Florida
Image Source Reproduction citation:
Basel, Art. Art 31 Basel. Ostfildern, Germany: Hatje Cantz Verlag, 2006.
image_source_copy_from_print_name
Basel, Art. Art 31 Basel. Ostfildern, Germany: Hatje Cantz Verlag, 2006.
Image Source Reproduction citation
false
Image Source Reproduction refid:
3-7757-1730-7
Image Source Reproduction page number:
164
Image Source Reproduction refid type:
ISBN
Image Rights (display):
© Lee Friedlander
Image Rights fair use checklist:
1) use of this image is for education and educational research; 2) access is restricted to University of Colorado and Auraria Higher Education Center communities; 3) the original photographer is credited if known; 4) the image is published; 5) the amount of the work in relation to the whole is needed for education or educational research; 6) the number of derivatives is the minimum required for education or educational research; 7) the image has not been found to be reasonably available for sale; 8) duplication of the image does not violate preexisting contracts.
Work Rights (display):
© Lee Friedlander
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Holding Institution:
University of Colorado at Boulder
Collection:
Art and Art History Visual Resources Collection
Collection info and contact:
For information about this collection, see . For specific questions, suggestions, or corrections about the descriptive data for images, contact aahvrc@colorado.edu. Please include the Image Record ID ('aahi' followed by a 7-digit number) for each image in question.