Lee Friedlander Part 2 - What caught his eye?

THIS VIDEO: In the previous video, I explored how to read Lee Friedlander’s images and how his layering techniques are addressing some of the dominant considerations related to art and art culture. His work was misunderstood in a number of ways – initially the reaction was that his photographs were too random and unconstructed. Then the art world felt that he couldn’t really be a serious artist, because of his habit of including humour in his work. Later he was accused of producing work that was too cerebral and intentionally obscure. He isn’t prepared to intellectualize about his work, he’s creating mental puzzles that emerged out of a deep engagement with photography and art generally. When he goes out to photograph, he isn’t chasing an idea, he’s interested in discovering situations that he can use to create photographs that wouldn’t exist unless he applies his intellect to making a picture out of it.

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ABOUT ME: The conversations focus on topics related to different aspects of photography including: art, documentary and photojournalism. The discussions explore the personal experiences of photographers and artists and how their work reflects both their internal and external landscape. During the past 30 years I have photographed in over 50 countries for magazines including National Geographic, Time, New York Times and Newsweek. I have held solo exhibitions in New York, London and Paris and my work is showcased in private and institutional art collections around the world.

COPYRIGHT: The copyright for all images belongs to the photographer/s being discussed.
WEBSITE: https://www.graemewilliams.co.za
FACEBOOK:   / graemewilliamsphotographer  
INSTAGRAM: www.instagram.com/williamsgraeme
MUSIC: YouTube audio: The High Line by Causmic, Blue Mood by Robert Munzinger
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