Born in 1934, Lee Friedlander, often referred to as “a photographer’s photographer,” is one of the most influential photographers of our time. Clearly, Friedlander stands out as one of the artists whose work and vision has dominated American photography since the 1960s. His images have assured him a place of honor among the photographers he admires: Eugene Atget, Walker Evans, Henri Cartier-Bresson, and Robert Frank. His crowded, tense and often humorous images and skein-like interlocking of pictorial elements address the fractured characteristics of life, both urban and rural, in the late twentieth century. Friedlander is considered amongst the first photographers who addressed the “social landscape.”
Social landscape implied that he brought the studied, leisurely technique of photographing of static landscape to the highly mutable, necessarily abstract notion of ‘society.’ Both the irony and essential humility embodied in this phrase set him apart from reformers and social critics. His photographs of the sixties defined an increasingly pervasive rootless existence. They contained a skepticism about American society and the ability of the individual to understand it fully, let alone to change it. —Rod Slemmons, Like a One-Eyed Cat
This exhibition will be a rare opportunity to view Friedlander’s large gelatin-silver prints, measuring 20×24”. This selection is planned to supplement the traveling retrospective of Friedlander’s work entitled “Like a One-Eyed Cat” curated and organized by the Seattle Art Museum, which will be on view at the Friends of Photography Ansel Adams Center from July 18 through September 30.
*This exhibition runs concurrently with Several Exceptionally Good Recently Acquired Pictures V.