COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1989.426
amicoid
CMA_.1989.426
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Photographs
oty
Photographs
Object Type
false
Creator Name:
Friedlander, Lee
crn
Friedlander, Lee
Creator Name
false
Creator Nationality:
North American; American
crc
North American; American
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1934
cdt
1934
Creator Dates/Places
false
Biography:
Lee Friedlander American, 1934-Lee Friedlander has retained a democratic documentary style throughout his career. Known for giving every disparate element equal status within his frames, he works with a 35mm camera and black-and-white film. His images ofstreet scenes, urban and suburban buildings, storefront reflections, monuments, desert landscapes, and social gatherings are understated examinations of American vernacular culture. He uses devices such as multiple reflections, obstructed vantage points,and overlying shadows to assist his visions, which are characterized by formal coherence, aloof distance, and ironic ambiguity. Born in Aberdeen, Washington, Friedlander took up photography in 1948. He studied for two years at the Los Angeles Art Center School (1953-55), leaving to work with Edward Kaminski. Enamored of jazz, Friedlander completed many assignments for album jacket covers for Columbia, rca, and Atlantic Records before moving to New York City in 1956. His portraits of New Orleans jazz musicians earned him the first of three fellowships from the John Simon Guggenheim Memorial Foundation (1960, 1962, 1977) and his first one-person show at George Eastman House, Rochester (1966). During that time, he also rediscovered and salvaged the work of E.J. Bellocq, an early 20th-century New Orleans photographer, and collaborated with Jim Dine to produce a book of photographs and etchings, Work from the Same House (1969). In the 1970s Friedlander began work on a series of overlooked, often abandoned memorials in town squares and city parks across America. Published as The American Monument (1976), the images reveal a forgotten history, embodied in overgrown, unattended, and eroding icons. Later in the decade he turned his camera more directly to the beauty of nature, resulting in Flowers and Trees (1981) and Cherry Blossom Time in Japan (1986). His extensive series of unconventional and highly tangible nudes culminated in the book Lee Friedlander Nudes and a one-person show of the subject at the MuseumofModern Art, New York (1991). In the 1980s, Friedlander went into the workplace of computer operators to document the changes in American labor. Exhibited at the Massachusetts Institute of Technology in 1988, the series reveals a marked shift from the more mechanized, industrial division of labor revealed in his earlier books Factory Valleys (1982) and Cray at Chippewa Falls (1987). Throughout his career, Friedlander has photographed family and friends, publishing several of the images as Lee Friedlander Portraits (1985). One of his favorite and most enigmatic models has been his wife, Marie DePaoli, whom he married in 1958. His honors and awards include fellowships from the National Endowment for the Arts (1972, 1977) and the MacArthur Foundation (1990),the Medal of the City of Paris (1981), and the Edward MacDowell Medal (1986). He has had three one-person exhibitions at the Museum of Modern Art, New York (1972, 1974, 1991), and a major retrospective organized by the Seattle Art Museum, with an accompanying publication titled Like a One-Eyed Cat (1989). Friedlander lives in New York. A.W.
crb
Lee Friedlander American, 1934-Lee Friedlander has retained a democratic documentary style throughout his career. Known for giving every disparate element equal status within his frames, he works with a 35mm camera and black-and-white film. His images ofstreet scenes, urban and suburban buildings, storefront reflections, monuments, desert landscapes, and social gatherings are understated examinations of American vernacular culture. He uses devices such as multiple reflections, obstructed vantage points,and overlying shadows to assist his visions, which are characterized by formal coherence, aloof distance, and ironic ambiguity. Born in Aberdeen, Washington, Friedlander took up photography in 1948. He studied for two years at the Los Angeles Art Center School (1953-55), leaving to work with Edward Kaminski. Enamored of jazz, Friedlander completed many assignments for album jacket covers for Columbia, rca, and Atlantic Records before moving to New York City in 1956. His portraits of New Orleans jazz musicians earned him the first of three fellowships from the John Simon Guggenheim Memorial Foundation (1960, 1962, 1977) and his first one-person show at George Eastman House, Rochester (1966). During that time, he also rediscovered and salvaged the work of E.J. Bellocq, an early 20th-century New Orleans photographer, and collaborated with Jim Dine to produce a book of photographs and etchings, Work from the Same House (1969). In the 1970s Friedlander began work on a series of overlooked, often abandoned memorials in town squares and city parks across America. Published as The American Monument (1976), the images reveal a forgotten history, embodied in overgrown, unattended, and eroding icons. Later in the decade he turned his camera more directly to the beauty of nature, resulting in Flowers and Trees (1981) and Cherry Blossom Time in Japan (1986). His extensive series of unconventional and highly tangible nudes culminated in the book Lee Friedlander Nudes and a one-person show of the subject at the MuseumofModern Art, New York (1991). In the 1980s, Friedlander went into the workplace of computer operators to document the changes in American labor. Exhibited at the Massachusetts Institute of Technology in 1988, the series reveals a marked shift from the more mechanized, industrial division of labor revealed in his earlier books Factory Valleys (1982) and Cray at Chippewa Falls (1987). Throughout his career, Friedlander has photographed family and friends, publishing several of the images as Lee Friedlander Portraits (1985). One of his favorite and most enigmatic models has been his wife, Marie DePaoli, whom he married in 1958. His honors and awards include fellowships from the National Endowment for the Arts (1972, 1977) and the MacArthur Foundation (1990),the Medal of the City of Paris (1981), and the Edward MacDowell Medal (1986). He has had three one-person exhibitions at the Museum of Modern Art, New York (1972, 1974, 1991), and a major retrospective organized by the Seattle Art Museum, with an accompanying publication titled Like a One-Eyed Cat (1989). Friedlander lives in New York. A.W.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Name-CRT:
Lee Friedlander
crt
Lee Friedlander
Creator Name-CRT
false
Title:
Monsey, New York
otn
Monsey, New York
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1963
oct
1963
Creation Date
false
Creation Start Date:
1963
ocs
1963
Creation Start Date
false
Creation End Date:
1963
oce
1963
Creation End Date
false
Materials and Techniques:
gelatin silver print
omd
gelatin silver print
Materials and Techniques
false
Classification Term:
Photography
clt
Photography
Classification Term
false
Dimensions:
Image: 15.1cm x 23cm
met
Image: 15.1cm x 23cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1989.426
ooa
1989.426
ID Number
false
Credit Line:
Purchased with a grant from the NEA and matched by contributions from Museum members in 1989
ooc
Purchased with a grant from the NEA and matched by contributions from Museum members in 1989
Credit Line
false
Inscriptions:
Written in pink felt pen on verso: "10 [crossed out]"; in pencil: "E/11-31 Rockland Co N.Y. / Lee Friedlander [signed] / Monsey N.Y. 1969 11-31"
oin
Written in pink felt pen on verso: "10 [crossed out]"; in pencil: "E/11-31 Rockland Co N.Y. / Lee Friedlander [signed] / Monsey N.Y. 1969 11-31"
Inscriptions
false
Copyright:
copyright ? 1978 Lee Friedlander
ors
copyright ? 1978 Lee Friedlander
Copyright
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Context:
Lee Friedlander has maintained a direct and witty style throughout his distinguished career of over 30 years. To produce his simply transcribed, straight-forward, unmanipulated black-and-white prints, he relies on a hand-held 35mm camera. Friedlander's images abound with visual detail and dramatic richness. His probing, forever curious eye finds the obvious and mundane as well as the hidden and eccentric. In Monsey, New York, for example, we become viewers at a drive-in movie theater, with an image of John F. Kennedy's smiling face beaming towards us.
cxd
Lee Friedlander has maintained a direct and witty style throughout his distinguished career of over 30 years. To produce his simply transcribed, straight-forward, unmanipulated black-and-white prints, he relies on a hand-held 35mm camera. Friedlander's images abound with visual detail and dramatic richness. His probing, forever curious eye finds the obvious and mundane as well as the hidden and eccentric. In Monsey, New York, for example, we become viewers at a drive-in movie theater, with an image of John F. Kennedy's smiling face beaming towards us.
Context
false
Related Image Identifier Link:
CMA_.1989.426.tif
ril
CMA_.1989.426.tif
Related Image Identifier Link
false