id: 154846 accession number: 1989.424 share license status: Copyrighted url: https://clevelandart.org/art/1989.424 updated: 2024-03-26 02:00:06.802000 Gettysburg, Pennsylvania, 1974. Lee Friedlander (American, b. 1934). Gelatin silver print; image: 19.1 x 28.6 cm (7 1/2 x 11 1/4 in.); paper: 27.9 x 35.3 cm (11 x 13 7/8 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, Gift of Museum members in 1989 1989.424 © 1978 Lee Friedlander title: Gettysburg, Pennsylvania title in original language: series: series in original language: creation date: 1974 creation date earliest: 1974 creation date latest: 1974 current location: creditline: Gift of Museum members in 1989 copyright: © 1978 Lee Friedlander --- culture: America, 20th century technique: gelatin silver print department: Photography collection: PH - American 1951-Present type: Photograph find spot: catalogue raisonne: --- CREATORS * Lee Friedlander (American, b. 1934) - artist 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 of street 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 Museum of Modern 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. --- measurements: Image: 19.1 x 28.6 cm (7 1/2 x 11 1/4 in.); Paper: 27.9 x 35.3 cm (11 x 13 7/8 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.) state of the work: edition of the work: support materials: inscriptions: inscription: Written in pencil on verso: "Lee Friedlander [signed]"; "Gettysburg / 64-14" translation: remark: --- CURRENT EXHIBITIONS title: Contemporary American Photographers opening date: 1992-11-18T05:00:00 Contemporary American Photographers. The Cleveland Museum of Art, Cleveland, OH (organizer) (November 18, 1992-January 3, 1993). title: Human Intervention: Contemporary Landscape Photography opening date: 2001-05-26T00:00:00 Human Intervention: Contemporary Landscape Photography. The Cleveland Museum of Art, Cleveland, OH (organizer) (May 26-October 10, 2001). title: Contemporary Landscape Photography opening date: 2011-03-26T00:00:00 Contemporary Landscape Photography. The Cleveland Museum of Art, Cleveland, OH (organizer) (March 26-August 14, 2011). --- LEGACY EXHIBITIONS --- PROVENANCE --- fun fact: digital description: wall description: --- RELATED WORKS --- CITATIONS Hinson, Tom E. "Contemporary American Photographs: An Exhibition." The Bulletin of the Cleveland Museum of Art 79, no. 9 (1992): 306-51. page number: p. 347, no. 18 url: www.jstor.org/stable/25161375 E. H. T. "The Year in Review: Selections 1989." The Bulletin of the Cleveland Museum of Art 77, no. 2 (1990): 38-78. page number: p. 70, no. 84 url: www.jstor.org/stable/25160106 Cleveland Museum of Art, Tom E Hinson. Catalogue of Photography. Cleveland, OH: Cleveland Museum of Art, 1996. page number: Reproduced: P. 174 url: --- IMAGES