Writing about The Museum of Modern Art, New York's monumental and critically acclaimed 2005 Lee Friedlander retrospective, Richard Lacayo of Time magazine said: "If a sophisticated notion of what a picture can look like, the continuous construction of new avenues of feeling, and sheer, sustained inventiveness are the measures we go by, then Friedlander is one of the most important American artists of any kind since World War II... Friedlander loves the muchness of the world. He loves the haphazard multitude of things that ...
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Writing about The Museum of Modern Art, New York's monumental and critically acclaimed 2005 Lee Friedlander retrospective, Richard Lacayo of Time magazine said: "If a sophisticated notion of what a picture can look like, the continuous construction of new avenues of feeling, and sheer, sustained inventiveness are the measures we go by, then Friedlander is one of the most important American artists of any kind since World War II... Friedlander loves the muchness of the world. He loves the haphazard multitude of things that can pop up in every picture--street signs, sunbeams, bits of roofline, a jagged shadow--all colliding and contradicting one another. In his breezy but very acute introduction to the show's catalogue, Peter Galassi, MoMA's Chief Curator of Photography, gets it just right when he says some of Friedlander's pictures give you the impression that 'the physical world had been broken into fragments and reconstituted under pressure at three times its original density.'" Now available for the first time--the paperback edition of this definitive, comprehensive volume is being published to coincide with the traveling retrospective's stop in San Francisco at SFMOMA. At 480 pages, Friedlander includes more than 750 photographs--770 duotone and 33 color--grouped by series, as well as the incisive, aforementioned essay by Peter Galassi and an afterword by Richard Benson.
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Seller's Description:
This is an ex-library book and may have the usual library/used-book markings inside. This book has soft covers. Clean from markings. In good all round condition. Please note the Image in this listing is a stock photo and may not match the covers of the actual item, 4000grams, ISBN: 9780870703447.
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Seller's Description:
Very good. Text block, wraps and binding are in like new condition, without markings of any kind. Well packaged and promptly shipped from California. Partnered with Friends of the Library since 2010.
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Seller's Description:
Good-Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name-GOOD Oversized. PAPERBACK.
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Seller's Description:
JUMBO. HARDCOVER Good-Bumped and creased book with tears to the extremities, but not affecting the text block, may have remainder mark or previous owner's name-GOOD Oversized.
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Seller's Description:
Very Good. Condition: Very Good; Oversize softcover with flaps. First softcover edition. The book is in Very Good condition with clean covers and pages, square spine and corners and a tight binding. Very minor soiling to text bottom and a touch of rubbing and wear to covers. Photos upon request.
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Seller's Description:
Large heavy Folio 12 1/2" x 11 7/8" wide. Softcover. 480 pages. Published in conjunction with exhibition held at the Museum of Modern Art in 2005. Clean. Tightly bound. MINT. Like new condition.
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Seller's Description:
Very Good in Very Good jacket. Size: 13x12x1; **Please note: Additional postage may be required for shipment to domestic addresses due to the size and weight of this book. International orders will not be accepted. ** The binding is tight, top corner of the front panel bumped. Text and images unmarked. The dust jacket shows some very light handling, in a mylar cover. 4to. 480pp.
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Seller's Description:
Near Fine. Large paperback quarto with flaps..480 pages. Profusely illustrated throughout, mostly in black and white. Due to size and heavy weight, will no ship oveseas. No extra charge for media mailing in the US. A bright, clean near fine copy. All books shipped in boxes.
