sábado, 31 de agosto de 2013

Lee Friedlander

Eu tinha desistido rapidamente de ter todos os livros do Lee Friedlander (...se tal fosse possível), mas agora a ideia parece viável.
Lee Friedlander: Stems
Distributed Art Publishers', New York, 2003. 96 pp., 66 tritone drytap illustrations, 10x12".  
ou ed. Steidl - fora do catálogo

"Of all the books to cross my desk this season, Stems, along with Aaron Siskind 100, is the most elegantly designed, beautifully produced of them all. During a period of a few years in the mid-90s, Lee Friedlander turned to the still life genre as a direct response to the vicissitudes of his life. Aching knees and eventual replacement of both knees, had forced him to consider a less mobile lifestyle and the vases of flowers his wife Maria placed around the house during this time caught his eye. His camera soon followed.  ' Not only would the stems fall into wild array, the vases produced with them a kind of optical splendor. They added a perverse note to the optical qualities of the fine camera lenses. Helter-skelter light refractions and optical exaggerations, as well as compound reflections, happened naturally. A kind of inflammatory effect.' - Lee Friedlander. What designer Katy Homans has done with these vibrant still lifes, however, is truly wonderful. Printed on a heavy mat paper using a special drytrap process, these images are between boards wrapped in a stem-like green cloth. The endpages-a dusty rose color-pleasantly surprise one upon opening the book in much the way the inner petals of a flower reveal themselves only to the attentive. A truly gorgeous book.

www.photoeye.com/bookstore In 1994, suffering from aching knees and painfully concerned about it, Lee Friedlander decided to prepare himself for a sedentary life. He began to pursue the still life as a possibility and maybe a way of photographic life-a dramatic shift for a man who has spent his life photographing on the street, in the woods, on the road, at parties, anywhere but sitting down. He tried a variety of subjects with a few good results, but nothing stood out until he began to look at the fresh flowers that his wife Maria placed around their home in cut-glass vases. But nevermind the flowers. True to Friedlander’s style, he very quickly found himself most interested in the stems. During the months of February, May, June and December of 1994, he focused his lens on wild arrays of stems and the optical splendor produced by light refracting through the glass vases that contained them. In 1998, Friedlander had both of his knees surgically replaced. Three months of recovery time passed during which he took no pictures, the only gap in almost 50 years of working. The next year, successfully rehabilitated and walking without pain, Friedlander decided to re-apply himself to the stems and finish them off as a subject. Published in a lush, oversize volume, printed with a special drytrap process, Stems is the result of this unusual saga in the photographer’s career. Lee Friedlander and his camera have now returned to the street.



Frederick Law Olmsted Landscapes.
Photographs and text by Lee Friedlander.
D.A.P., New York, 2008. 84 pp., 89 tritone illustrations, 13x12¾".

Publisher's Description
A natural chronicler of all things uniquely American, photographer Lee Friedlander here puts his lens to the work of Frederick Law Olmsted (1822–1903), designer of many of this country’s most iconic public landscapes and the father of North American landscape architecture. Olmsted was responsible for a staggering number of America’s greatest parks, including the Niagara reservation (North America’s oldest state park),Washington Park, the Biltmore Estate, the U.S. Capitol building landscape and entire parkway systems in Buffalo and Louisville. His most famous work remains New York City’s Central Park, a pioneering egalitarian gesture that, at the time, was very unusual for its ready accessibility. This book, published to coincide with The Metropolitan Museum of Art’s 2008 exhibition, compiles 89 photographs made by Friedlander in Olmsted’s public parks and private estates.

This stunning collection of rich tritones celebrates the complex, idiosyncratic picture-making of one of the country’s greatest living photographers, and also arrives upon the 150 year anniversary of Olmsted’s 1858 design for Central Park. Rambling across bridges and through open meadows and dense undergrowth, Friedlander locates a pure pleasure in Olmsted’s designs—in the meticulous stonework, the balance of exposure to shade and in the mature, weather-beaten trees tha




Lee Friedlander: Apples & Olives

The master photographer best known for his extensive, insightful documentation of "the American social landscape"-- from jazz musicians to factory hands to New York pedestrians and office workers zoning out at their keyboards -- has recently been spending more time looking at the literal, natural landscape. His monumental 2005 MoMA retrospective showed, for the first time, a new series of landscapes made in the American West, while for Olives and Apples, he has looked back over the last decade's work and culled a forest, tree by tree. His docile subjects, apple trees photographed in New York State and olive trees photographed in France, Italy and Spain from 1997-2004, are presented in circumstances ranging from sunny, leafy summer health to glittering winter ice-storm glory. Some of the most striking compositions are shot from just inside the reach of a tree's furthest twigs, so that expanding branching limbs fill the frame, stretching out around the viewer.

Apples and Olives.
Photographs by Lee Friedlander. 
Fraenkel Gallery, San Francisco, 2005. 65 pp., 55 duotone illustrations, 9¾x10½". 

Apples and Olives is an absolutely lovely photobook; sumptuously printed, elegantly designed (with the colorful endpages that Friedlander and designer Katy Homans are known for) and, above all, filled with singularly amazing images. But when it comes down to it, Lee Friedlander is a difficult photographer to talk about. As last year’s massive MoMA catalogue illustrates, he has traversed the photographic landscape rather thoroughly, moving from editorial work to street photography to any number of personal projects, almost all of which have culminated in a book. The images in Apples and Olives come as direct offspring of a vision that was first realized in The Desert Seen and then again in Self-Portrait (from 2000, not the groundbreaking 1970 monograph), but that was most ascendant in Sticks & Stones. Throughout his career, Friedlander has consistently used specific subject matter (like the urban landscape, or the desert, or apple and olive trees) to explore the flat picture plane. More specifically, in the four aforementioned books, it is a square, black-andwhite, photographic two-dimensionality that he is playfully yet sophisticatedly concerned with. Friedlander is a master of creating unity out of diverse shapes and tones in the two-dimensional picture plane. On this level, the subject matter is arbitrary and irrelevant. The work, however, is not.


Na livraria da Culturgest compram-se ao preço da uva mijona, isto é, a preços imbatíveis ou de saldo, mas novos.

20 € + 27,50 € + 17,50€ (ed. harcover a preços hardcore). Obrigado CGD

(Em tempo: reapareceram os catálogos da exp. OFERTÓRIO, de José M. Rodrigues) Nenhum outro fotógrafo português poderia ombrear com o Friedlander, fazendo outra coisa (auto-retratos, nus, paisagens, etc.)

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