{
"data": {
"id": 156999,
"accession_number": "1993.153",
"share_license_status": "Copyrighted",
"tombstone": "Mt. Rushmore, 1969. Lee Friedlander (American, b. 1934). Gelatin silver print; image: 18.8 x 28.3 cm (7 3/8 x 11 1/8 in.); paper: 27.9 x 35.4 cm (11 x 13 15/16 in.); matted: 40.6 x 50.8 cm (16 x 20 in.). The Cleveland Museum of Art, John L. Severance Fund, 1993.153. \u00a9 1976 Lee Friedlander",
"current_location": null,
"title": "Mt. Rushmore",
"creation_date": "1969",
"creation_date_earliest": 1969,
"creation_date_latest": 1969,
"artists_tags": [
"Jewish artists",
"male"
],
"culture": [
"America"
],
"technique": "gelatin silver print",
"support_materials": [],
"department": "Photography",
"collection": "PH - American 1951-Present",
"type": "Photograph",
"measurements": "Image: 18.8 x 28.3 cm (7 3/8 x 11 1/8 in.); Paper: 27.9 x 35.4 cm (11 x 13 15/16 in.); Matted: 40.6 x 50.8 cm (16 x 20 in.)",
"dimensions": {
"image": {
"height": 0.188,
"height_inch": 7,
"height_inch_fraction": 0.375,
"width": 0.283,
"width_inch": 11,
"width_inch_fraction": 0.125
},
"paper": {
"height": 0.279,
"height_inch": 11,
"height_inch_fraction": 0.0,
"width": 0.354,
"width_inch": 13,
"width_inch_fraction": 0.9375
},
"matted": {
"height": 0.406,
"height_inch": 16,
"height_inch_fraction": 0.0,
"width": 0.508,
"width_inch": 20,
"width_inch_fraction": 0.0
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": "\u00a9 1976 Lee Friedlander",
"inscriptions": [
{
"inscription": "Written in pencil on verso: \"84 Mt. Rushmore 1969 96-16\"",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [
{
"id": 383281,
"title": "Stories from Storage",
"description": "Stories from Storage. The Cleveland Museum of Art, Cleveland, OH (organizer) (February 7-May 16, 2021).",
"opening_date": "2021-02-06T05:00:00"
}
],
"legacy": []
},
"provenance": [
{
"description": "Toby Miller, New York",
"citations": [],
"footnotes": null,
"date": null,
"sortorder": null
}
],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": "Mt. Rushmore was proposed around 1920, but not completed until 1941.",
"early_education_description": null,
"artlens_description": null,
"description": "Lee Friedlander did not photograph the famed sculpture of four US presidents; he shot its reflection, along with the two tourists viewing it through the lenses of their binoculars and camera. The Lakota Sioux, who call the mountain Six Grandfathers and consider it sacred territory, see the sculpture through a different lens: as a monument to European settlers who killed Indigenous populations and took their land. Created in order to attract tourists to the region, the sculpture was originally intended to depict white and Native American heroes of the American West. The artist chosen for the project felt that presidents would draw a broader audience.",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q79947137"
],
"internet_archive": []
},
"citations": [
{
"citation": "\u201c1993 Annual Report.\u201d The Bulletin of the Cleveland Museum of Art 81, no. 6 (July 1994): 143\u2013218.",
"page_number": "Mentioned: p. 162",
"url": "http://www.jstor.org/stable/25161457"
},
{
"citation": "Cleveland Museum of Art, Tom E Hinson. Catalogue of Photography. Cleveland, OH: Cleveland Museum of Art, 1996.",
"page_number": "Reproduced: P. 175",
"url": ""
}
],
"url": "https://clevelandart.org/art/1993.153",
"images": {},
"alternate_images": [],
"creditline": "John L. Severance Fund",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 156999,
"creators": [
{
"id": 58139,
"description": "Lee Friedlander (American, b. 1934)",
"extent": null,
"qualifier": null,
"role": "artist",
"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 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.",
"name_in_original_language": null,
"birth_year": "1934",
"use_in_caption": true,
"include_extent": false,
"weight": 1
}
],
"legal_status": "accessioned",
"accession_date": "1993-09-15T00:00:00",
"sortable_date": 1969,
"date_added_to_oa": null,
"date_text": "1969",
"collapse_artists": false,
"on_loan": false,
"recently_acquired": false,
"record_type": "object",
"conservation_statement": null,
"has_conservation_images": false,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-05-01 06:51:45.394000"
}
}