Full Article on Patreon Gervin’s work reflects the American moment in the second decade of the second millennium through tendencies similar to those seen in a good deal of American photography during the Vietnam War era. I see some resemblances to protest coverage by Gene Anthony, a Black Star agency photographer who captured the […]
There is a resurgence in recent years to look at the topic of industry and labor among artists considering the monumental shift that society is experiencing from manual labor to skilled labor. Over half of the projects that I encounter regarding the shift to automation revolve around digital territories-projects about AI, automation, cryptocurrencies, and […]
Luis Baylón or simply Baylón is a Madrid-based photographer who works on the streets of Spain’s capital, sculpting images from the thousands of possibilities in front of his lens on his daily walks through the city. The images, in their minimal and contrasty monochrome palette, feature a number of different possibilities from which […]
There isn’t much more that can be said regarding the importance of Friedlander’s work on the psyche of subsequent generations of photographic enthusiasts and artists alike. From his self-portraits to his Little Screens, Friedlander’s work is simultaneously charged with an inner and external pathos that presents both as a partial reflection of the artist’s psyche […]
“I think Michael felt the need to discuss the meaning and importance of American photography with a younger generation in Germany who had no experience with these kinds of elderly figures. The National Socialists had either killed or persecuted them in Germany, so for my generation there was no elderly generation in photography.”
“The idea of art and politics co-existing is no more or less deeply problematic than the idea of them being separate. But nobody said it was going to be a picnic.”
“In my late 30’s and cynical beyond belief, I actually find this little book creating a new space or affection for the idea of the 60’s and 70’s that I had shelved previously under “cyclical fucking baby boomer bullshit”.
Vince Aletti describes The American Monument as “almost maniacally inclusive, rounding up everything from Plymouth Rock to a plaque commemorating the Pony Express in Salt Lake City and treating them with the same nonchalance. The doggedness of Friedlander’s quest is at once astounding and hilarious… History stalks the landscape at every turn.” The American Monument. […]
New York City, 1963. Lee Friedlander (Fig. 2) What I have been trying to argue is not intended as a criticism of Friedlander’s work nor as a challenge to his status within the world of (art) photography. If anything it is a challenge to the ideas that held such sway through the fifties sixties and […]
“At first, my presence in my photos was fascinating and disturbing. But as time passed and I was more a part of other ideas in my photos, I was able to add a giggle to those feelings.” – Lee Friedlander Lee Friedlander: Self Portrait Museum of Modern Art EXPLORE ALL LEE FRIEDLANDER ON ASX […]
In 1964, two young art directors at Harper’s Bazaar named Ruth Ansel and Bea Feitler hired the then up-and-coming photographer Lee Friedlander to photograph the much-anticipated new car models of that year. Friedlander’s jazz album covers had proven he knew how to work on assignment, and Ansel and Feitler realized that if Bazaarwas to […]
Friedlander’s work provides some of the first and best examples of what has become a widespread approach to photography. It was part of the general reorientation of the sixties within American art. Within photography his work violated the dominant formal canons not by inattention but by systemic negation. By Martha Rosler, excerpt from […]