- Tapa dura: 193 páginas
- Editor: Fraenkel Gallery; Edición: 1 (1 de junio de 2010)
- Idioma: Inglés
- ISBN-10: 1935202073
- ISBN-13: 978-1935202073
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº385.289 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
America by Car (Inglés) Tapa dura – 1 jun 2010
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Enduring icons of American culture, the car and the highway remain vital as auguries of adventure and discovery, and a means by which to take in the country's vast scale. Lee Friedlander is the first photographer to make the car an actual "form" for making photographs. Driving across most of the country's 50 states in an ordinary rental car, Friedlander applied the brilliantly simple conceit of deploying the sideview mirror, rearview mirror, the windshield and the side windows as a picture frame within which to record the country's eccentricities and obsessions at the turn of the century. This method allows for fascinating effects in foreshortening, and wonderfully telling juxtapositions in which steering wheels, dashboards and leatherette bump up against roadside bars, motels, churches, monuments, suspension bridges, landscapes and often Friedlander's own image, via sideview mirror shots. Presented in the square crop format that has dominated his look in recent series, and taken over the past decade, the nearly 200 images in America by Car are easily among Friedlander's finest, full of virtuoso touch and clarity, while also revisiting themes from older bodies of work (Friedlander occasionally used aspects of automotive architecture in photographs from the late 1960s and early 1970s). Never has America been photographed so penetratingly and ingeniously as in Friedlander's latest body of work.
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In Friedlander's current project, he continues to utilize the Hasselblad Super Wide camera--a camera model he has been using on other projects for the past decade. The all-encompassing sweep of the wide lens fits perfectly with his methods. The tremendous depth of field, supported by fill flash, works here even better than in previous projects such as "Sticks and Stones", "The Desert Seen" and "Apples and Olives" for example. Those books were generally a chaotic tangle of elements that drew you in by challenging you to work out the puzzle. "America by Car" is more accessible.
"America by Car" is so full of treasures, I could not begin to describe them. I received this book last week and I've spent a good deal of time with it. Each time I've gone through it, I've had a smile on my face. Friedlander has come up with a wonderful project with photos over several years that includes the door, window frame, windshield and dashboard of whatever car he happened to be using at the time as an important element of the photograph. It's not just a method to frame the subject, the car is part of the main subject. As in other Friedlander photos, each element is as important as any other. Here he succeeded with a consistently high level of interesting and humorous pictures.
This is a highly recommended book, easy to approach if you're not familiar with Friedlander's work yet a very satisfying for those of us who have known and loved his pictures for many years.
The photos were taken between 1992 and 2009, though most are from this century with locations, quite literally, right across the country. There are noticeable themes as you turn the pages: people in the frame on pages 18 to 23; graves 110 to 119; trucks and industry 136 to 149; people again 150 to 157; STOP signs 185 to 191. Some shots, if you strip out the car from the photo, are similar to other Friedlander books. Page 182 could be from 'The Desert Seen' or pages 74/75 and 130/131 from his architectural masterpiece 'Sticks & Stones'.
The book follows Friedlander's liking for square format prints (eight and a half inches) and his friends contribute to the book's wonderful look: Thomas Palmer for the separations, Katy Homans for the simple, elegant design and Meridian Printing for their usual immaculate 300 screen duotones.
I've looked through the book several times and the W-O-W factor keeps popping up in my mind as I discover something new in a photo I've looked at over and over. Lee Friedlander delivers his own playful vision yet again throughout these pages.
***SEE SOME INSIDE PAGES by clicking 'customer images' under the cover.
My pleasure with the book was amplified by the surprise of finding several images from places I recognized--including a portrait of his friend Richard Benson walking away from a real estate office with the half dead cooling towers of Three Mile Island in the background, camera in hand. Most photographers would have made the picture of the real estate office with the towers--but Friedlander tweaks the image to include a tribute to a friend, a memory of a disaster, and a very good joke in a single frame.
From a photography book collectors point of view, this book is a real bargain, 192 splendidly printed images. This book would be a bargain at twice the price.