Hollywood, California, 1970; Flag, New York City, 1965; San Diego, California, 1970; Kansas City, Missouri, 1965; Lee Avenue, Butte, Montana, 1970; House, Trailer, Sign, and Cloud, Knoxville, Tennessee, 1971; Hillcrest, New York, 1970; New York City (Shadow), 1966; Street Scene, Chicago, 1972; New York City (Man in Window), 1964; Women in Window, New York City, 1963; New Jersey, 1971
Lee Friedlander’s unique vision underscores the two-dimensionality of the picture plane and the potential for photographs to contain varying levels of reflection, opacity, and transparency. Like Atget’s photographs, Friedlander’s images of shop windows evoke a certain ambiguity, an oscillation between reflected and actual reality, that invite inspection of the space and the meaning of the image. Similar responses are encouraged by Friedlander’s street photographs, in which shadows of figures (usually Friedlander himself) and other subjects overlap in the photographic image. The projected outline of Friedlander’s body as within the picture frame implies the notion that the photographer can be both behind the camera and in front of it. Interpreted further, Friedlander’s shadow can be taken to represent the imposition of the photographer upon his world and his subject. [...MoCP...]
Estimate US$4,000-10,000 (Heritage Auction Galleries, NY, December 3rd 2010, Lot 74071-74085)
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