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Lee Friedlander: Photographs Frederick Law Olmsted Landscapes Hardcover – February 1, 2008


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Lee Friedlander: Photographs Frederick Law Olmsted Landscapes + Lee Friedlander: Self Portrait
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Product Details

  • Hardcover: 84 pages
  • Publisher: D.A.P./Distributed Art Publishers (February 1, 2008)
  • Language: English
  • ISBN-10: 1933045736
  • ISBN-13: 978-1933045733
  • Product Dimensions: 0.6 x 13.3 x 12.6 inches
  • Shipping Weight: 2.9 pounds (View shipping rates and policies)
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #1,105,858 in Books (See Top 100 in Books)

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Format: Hardcover Verified Purchase
Lee Friedlander is auch a terrific photographer, that my praise can add very little to his reputation for excellence. I bought this book of his photographs of Olmsted landscapes as inspiration for my photographs of Dumbarton Oaks. My appreciation for paintings precedes my interest in photography, and I'm generally unimpressed by gimmicks and novelties of the sort that were amusing 100 years ago. What makes Friedlander's work special for me is that his unusual viewpoints create visions that are thought-provoking, and worth more than a glance and a quick chuckle. Enough words! His work should be seen!
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3 of 8 people found the following review helpful By R. Generazzo on April 3, 2008
Format: Hardcover
What's amazing about Friedlander's Olmsted landscapes is that he captures such beauty and peace in such a variety of different scenes. Since the parks were created, some have not been well taken care of; for example, Prospect Park in Brooklyn is overgrown chaos. His high contrast photographs, another signature style, release that chaos into oblivion.
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1 of 8 people found the following review helpful By E. Klatt on April 5, 2008
Format: Hardcover Verified Purchase
Rather than the institutionalization of the haphazard or the formulaic translucence of a lace like screen on the surface of image upon image, the essence of Friedlander again emerges. The photographs here are primarily egalitarian in their construct; that each graphic component within the frame is demonstrated to hold it's own considerable weight and value by virtue of the fact that it was chosen to be involved within the composition by design and with intent, either at the moment of exposure or during the editing process. The joy and revelation in the dance of tonality and form again reaches for the universal, along with a sense of collaboration brought to the work of Olmstead. As well, as in his previous titles, this artist creates an equilibrium within which he integrates expressions of concern he has for our own, peculiar American cultural dilema, a balance which understands an essential order which, Friedlander says, can always be discovered within the seeming chaos of our being.
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