LEE FRIEDLANDER "WILMINGTON, DELAWARE" 1965
Lee Friedlander (b. 1934) is a defining voice in American photography. He is widely recognized for his influential style of capturing the urban "social landscape" (a term he coined).
Friedlander’s black and white photographs navigate the intersections of architecture, signage, commercial detritus, reflections, and human presence — often compressing multiple visual planes into a single, dynamic frame. He emerged in the 1960s alongside peers such as Diane Arbus and Garry Winogrand, and was featured in John Szarkowski’s influential New Documents exhibition at the Museum of Modern Art, New York.
With an acute awareness of relational juxtapositions, Friedlander captures his scenes with a distinct vision of the world. Within the tableaus, he often incorporated his image–though his approach to self-portraiture is quite unconventional. Often presented in a window's reflection or a silhouette, the artist incorporates himself seamlessly into the layered, complex scenes. Sometimes–as in this image–his presence is a central element. By recording his presence in segmented ways, Friedlander injects his photos with a surrealistic flare.
This photograph is held in the permanent collections of the MoMA, New York; the National Gallery, Washington, DC; the moca, Los Angeles; and the Museum of Fine Arts, Houston.
Questions about this artwork? Contact us, call +1.416.704.1720, or visit our Toronto gallery.
"Wilmington, Delaware"
USA, 1965
Gelatin silver print, printed later
Signed, titled, dated, and stamped, on verso
14"H 11"W (sheet)
20"H 16"W (framed)
Very good condition.
Literature:
Lee Friedlander: Self Portrait. New City, 1970: pl. 23. (2d ed. New York, 1998: pl. 26).
Lee Friedlander. Exh. cat. IVAM Centre Julio Gonzalez. Valencia, 1992: 51.
Lee Friedlander: Retratos. Exh. cat. Instituto de America de Santa Fe. Granada, 1998: 74.
Original: $9,500.00
-70%$9,500.00
$2,850.00More Images
LEE FRIEDLANDER "WILMINGTON, DELAWARE" 1965
Lee Friedlander (b. 1934) is a defining voice in American photography. He is widely recognized for his influential style of capturing the urban "social landscape" (a term he coined).
Friedlander’s black and white photographs navigate the intersections of architecture, signage, commercial detritus, reflections, and human presence — often compressing multiple visual planes into a single, dynamic frame. He emerged in the 1960s alongside peers such as Diane Arbus and Garry Winogrand, and was featured in John Szarkowski’s influential New Documents exhibition at the Museum of Modern Art, New York.
With an acute awareness of relational juxtapositions, Friedlander captures his scenes with a distinct vision of the world. Within the tableaus, he often incorporated his image–though his approach to self-portraiture is quite unconventional. Often presented in a window's reflection or a silhouette, the artist incorporates himself seamlessly into the layered, complex scenes. Sometimes–as in this image–his presence is a central element. By recording his presence in segmented ways, Friedlander injects his photos with a surrealistic flare.
This photograph is held in the permanent collections of the MoMA, New York; the National Gallery, Washington, DC; the moca, Los Angeles; and the Museum of Fine Arts, Houston.
Questions about this artwork? Contact us, call +1.416.704.1720, or visit our Toronto gallery.
"Wilmington, Delaware"
USA, 1965
Gelatin silver print, printed later
Signed, titled, dated, and stamped, on verso
14"H 11"W (sheet)
20"H 16"W (framed)
Very good condition.
Literature:
Lee Friedlander: Self Portrait. New City, 1970: pl. 23. (2d ed. New York, 1998: pl. 26).
Lee Friedlander. Exh. cat. IVAM Centre Julio Gonzalez. Valencia, 1992: 51.
Lee Friedlander: Retratos. Exh. cat. Instituto de America de Santa Fe. Granada, 1998: 74.
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Lee Friedlander (b. 1934) is a defining voice in American photography. He is widely recognized for his influential style of capturing the urban "social landscape" (a term he coined).
Friedlander’s black and white photographs navigate the intersections of architecture, signage, commercial detritus, reflections, and human presence — often compressing multiple visual planes into a single, dynamic frame. He emerged in the 1960s alongside peers such as Diane Arbus and Garry Winogrand, and was featured in John Szarkowski’s influential New Documents exhibition at the Museum of Modern Art, New York.
With an acute awareness of relational juxtapositions, Friedlander captures his scenes with a distinct vision of the world. Within the tableaus, he often incorporated his image–though his approach to self-portraiture is quite unconventional. Often presented in a window's reflection or a silhouette, the artist incorporates himself seamlessly into the layered, complex scenes. Sometimes–as in this image–his presence is a central element. By recording his presence in segmented ways, Friedlander injects his photos with a surrealistic flare.
This photograph is held in the permanent collections of the MoMA, New York; the National Gallery, Washington, DC; the moca, Los Angeles; and the Museum of Fine Arts, Houston.
Questions about this artwork? Contact us, call +1.416.704.1720, or visit our Toronto gallery.
"Wilmington, Delaware"
USA, 1965
Gelatin silver print, printed later
Signed, titled, dated, and stamped, on verso
14"H 11"W (sheet)
20"H 16"W (framed)
Very good condition.
Literature:
Lee Friedlander: Self Portrait. New City, 1970: pl. 23. (2d ed. New York, 1998: pl. 26).
Lee Friedlander. Exh. cat. IVAM Centre Julio Gonzalez. Valencia, 1992: 51.
Lee Friedlander: Retratos. Exh. cat. Instituto de America de Santa Fe. Granada, 1998: 74.
