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Lee Friedlander and Street Photography
Transcript of Lee Friedlander and Street Photography
Studied photography at the Art Center College of Design in Los Angeles
In his early twenties he moved to New York City to photograph jazz musicians for record covers
He had his first solo show in 1963 at the George Eastman House in Rochester New York.
He was a key figure in John Szarkowski's “New Documents” exhibition at the MoMA in New York City, with photographers like Garry Winogrand and Diane Arbus. Lee Friedlander's style While shooting the majority of his street photography images in the 60's and 70's, he primarily used a Leica Camera and black and white film.
He is concerned with the movement of formal elements with respect to one another.
He likes to animate the flat photographic image by overlapping reflections, transparencies, bits of fences or branches that the viewer has to loom through as well as look at.
The human figures in his street images usually seem misplaced and are surrounded by distracting elements like signs, advertisements and reflections.
The inclusion of unexpected juxtapositions, especially of foreground and background elements
Found text in street photographs
Friedlander always works in series. Examples other than his street images are gardens, landscapes, nudes, industrial environments and self portraits.
Was Lee Friedlander's influence a valuable contribution to street photography? Is it still relevant today? Street Photography - Urban Social Landscape of the USA Detached images of urban life
Captured the look and feel of modern society
Depressing tone of his work
Changes in society at the time America by Car
American Monument The Impact of Friedlander on Photography Helped to change the course of American photography in the 60's and 70's
He was one of the first to begin to present an honest view of American society in street photography
Used new rules of composition in his street photographs
His significance lies within his early work "It has become increasingly difficult to see photographs as the visible world has been almost completely plastered over with representations of itself. Strangely, as the photograph becomes the world, it disappears -- or perhaps more accurately, it loses its informative opacity. And because photographs look so much like seeing, this process threatens our possession of our own vision. It could be said that Lee Friedlander has made a lifelong job of trying to reverse this phenomenon. He marches straight into the heart of enemy territory, grabs photography by the throat, using its own weapons against it, and forces it to give us back the use of our eyes". -Rod Slemmons hgkj kjfcf