Traffic signs, sandwich boards and posters: Friedlander’s portrait of words in the world
For more than five decades, Lee Friedlander has repeatedly been drawn to the signs that inscribe the American landscape, from hand-lettered ads to storefront windows to massive billboards. Incorporating these markings with precision and sly humor, Friedlander’s photographs record a kind of found poetry of desire and commerce.
Focusing on one of the artist’s key motifs, Lee Friedlander: Signs presents a cacophony of wheat-paste posters, Coca-Cola ads, prices for milk, road signs, stop signs, neon lights, movie marquees and graffiti. The book collects 144 photographs made in New York and other places across the US, and features self-portraits, street photographs and work from series including The American Monument and America by Car, among others. Illegible or plainspoken, crude or whimsical, Friedlander’s signs are an unselfconscious portrait of modern life.
Lee Friedlander (born 1934) began photographing in 1948. Among his many monographs are Sticks and Stones, Self-Portrait, Letters from the People, Cherry Blossom Time in Japan and At Work, among others. His work was included in the influential 1967 exhibition New Documents at the Museum of Modern Art, New York, curated by John Szarkowski. Among the most important living photographers, Friedlander is in the collections of museums around the world.
Featured image is reproduced from 'Lee Friedlander: Signs.'
PRAISE AND REVIEWS
New York Times
Matthew Sedacca
...Friedlander also brings out an emotional quality to tedious, daily warnings in our urban environment, like “No Parking” and “Everything Must Go!"
Midwest Book Review
Able Greenspan
A superbly produced, coffee-table sized volume of some of Lee Friedlander's best work to date, "Lee Friedlander: Signs" is especially recommended for personal and professional American Photography collections, and would make an enduringly valued Memorial Fund acquisition for community, college, and university library collections.
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Featured photograph, made in Arkansas in 1961, is from Fraenkel Gallery's superb new Lee Friedlander monograph, Signs. Designed, as always, by Katy Homans with tritone separations by Thomas Palmer and exquisite printing by Meridian to match, this is a photobook for photobook lovers, collecting—what else?—Friedlander's deadpan pictures of signs across America and Canada from the 1950s through 2017. Tailoring shops, movie marquis, segregated SROs and coffee shops, strip clubs, gas stations, fast food joints, churches, parking lots, billboards, stop signs and patriotic message boards all get their due, alongside a few photographs accidentally starring Friedlander and friends from long ago. continue to blog
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FORMAT: Hbk, 11.75 x 12.5 in. / 120 pgs / 144 duotone. LIST PRICE: U.S. $75.00 LIST PRICE: CANADA $105 GBP £65.00 ISBN: 9781881337485 PUBLISHER: Fraenkel Gallery AVAILABLE: 5/21/2019 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: WORLD
Traffic signs, sandwich boards and posters: Friedlander’s portrait of words in the world
For more than five decades, Lee Friedlander has repeatedly been drawn to the signs that inscribe the American landscape, from hand-lettered ads to storefront windows to massive billboards. Incorporating these markings with precision and sly humor, Friedlander’s photographs record a kind of found poetry of desire and commerce.
Focusing on one of the artist’s key motifs, Lee Friedlander: Signs presents a cacophony of wheat-paste posters, Coca-Cola ads, prices for milk, road signs, stop signs, neon lights, movie marquees and graffiti. The book collects 144 photographs made in New York and other places across the US, and features self-portraits, street photographs and work from series including The American Monument and America by Car, among others. Illegible or plainspoken, crude or whimsical, Friedlander’s signs are an unselfconscious portrait of modern life.
Lee Friedlander (born 1934) began photographing in 1948. Among his many monographs are Sticks and Stones, Self-Portrait, Letters from the People, Cherry Blossom Time in Japan and At Work, among others. His work was included in the influential 1967 exhibition New Documents at the Museum of Modern Art, New York, curated by John Szarkowski. Among the most important living photographers, Friedlander is in the collections of museums around the world.
