BOOK FORMAT Hardcover, 9 x 13 in. / 112 pgs / 103 duotone.
PUBLISHING STATUS Pub Date 7/31/2012 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2012 p. 22
PRODUCT DETAILS ISBN 9781881337324TRADE List Price: $49.95 CAD $67.50 GBP £44.99
AVAILABILITY Out of stock
TERRITORY WORLD
"In his latest collection of photographs, taken mostly on the sidewalks of New York, San Francisco and Los Angeles, Friedlander shoots mannequins through glass, allowing reflected buildings and streetscapes to form a striking overlay of hard angles against feminine forms. The figures are typically viewed up-angle (like goddesses) so that they appear to loom against backdrops of sizable masses of stone and brick. The resulting palimpsests restage the dummies, their sham gesticulation now imbued with fresh, even incisive drama among epic structures. Paradoxically, the hard-body perfection of the mannequin is softened and vivified by the stolid rigidity that floats behind the figures. Friedlander has always been attracted to the tricks of light and the provocative doublings that arise from reflective surfaces�rearview mirrors, glass walls, car windshields, and television sets recur throughout his career. Here he remains alert to the recombined ghosts that proliferate in the space between what's real and what's mere reflection, thus playing Pygmalion to these prefab Galateas by permitting them entry into that airy, vigorously mutational realm."
Albert Mobilio, Summer 2012 Bookforum
FRAENKEL GALLERY
Lee Friedlander: Mannequin
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.
Featured image is a spread from Mannequin.
PRAISE AND REVIEWS
Bookforum
Albert Mobilio
Friedlander has always been attracted to the tricks of light and the provocative doublings that arise from reflective surfaces-rearview mirors, glass walls, car windshields, and television sets recur throughout his career. Here he remains alert to the recombined ghosts that proliferate in the space between what's real and what's mere reflection, thus playing Pygmalion to these prefab Galateas by permitting them entry into that airy, vigorously mutational realm.
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
The September 10th issue of The New Yorker features a portfolio of new work by the noted American photographer Lee Friedlander. The print caption reads, "Photographs of window displays around New York City, from the series Mannequin, will be included in an exhibition at the Pace/MacGill gallery, opening on October 26th." Additional images are available on the book page.
continue to blog
FORMAT: Hbk, 9 x 13 in. / 112 pgs / 103 duotone. LIST PRICE: U.S. $49.95 LIST PRICE: CANADA $67.5 GBP £44.99 ISBN: 9781881337324 PUBLISHER: Fraenkel Gallery AVAILABLE: 7/31/2012 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: Out of stock TERRITORY: WORLD
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.
