Lee Friedlander Part 1 - What is he up to?

THIS VIDEO: Most people lump Lee Friedlander into the same bracket as Winogrand and then they become a bit unsettled by his less-easy to read images. These guys were assigned the label of social landscape photographers and their aesthetic was sometimes described as snapshot-ish. There was a sense that these two were taking the compositional arrangements of Cartier-Bresson, mixing it with a bit of infused Beat Generation spirit…and maybe adding a bit of Robert Frank’s rebellion. Winogrand’s images tend to be impactful, while Friedlander’s are generally mundane, but with an overlay of complexity. Critics initially claimed that Friedlander’s work was too undertheorized, banal and haphazard. So when you break down what he’s doing on a compositional level, you can see that his primary focus was addressing issues related to art culture. -…these visual challenges are still relevant today. On another level he had some obsessive preoccupations – these included self-portraits, television screens, commercial signage, store-fronts, monuments, nudes and reflections. These subjects were always secondary to his humorous and playful framing constructions – that keep us aware of his presence in the moment that the photograph was taken.

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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
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MUSIC: YouTube audio The High Line by Causmic, Blue Mood by Robert Munzinger
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