© James Friedman 2013
James Friedman, interested in the hidden high-tech design of modern golf equipment, takes golf balls and cuts them in half for his "Interior Design" series. The resulting large-scale color photographs contain unpredictable formal and metaphorical elements, characteristics that he also admired in the work of his mentors Minor White and Imogen Cunningham. Friedman also explores the visual representation of post-industrial technology. — Kay Koeninger on "Interior Design"
The photographs do not represent the horrors we have come to know from post-war black and white photographs, but are from everyday life and places that have become well attended tourist attractions. — Greg Erf on "12 Nazi Concentration Camps"
These pictures show not so much the banality of evil, in Hannah Arendt's phrase, as the banality of "the past"—the set of stories, necessarily semifictional and self-justifying, that we as a culture construct from historical events, no matter how horrendous, to explain how we got where we are today. — Charles Hagen on "12 Nazi Concentration Camps"
Friedman has, in effect, merged genres and transposed conventions. He took a subject of great social concern—a subject usually reserved for the analogic realism of the straight photograph—and photographed it using the self-referential conventions usually applied to subjects of a more private or personal nature. — Vincent Leo on "12 Nazi Concentration Camps"
In addition to being featured in the book's text, I designed and made the cover and frontispiece and also served, with author Jonathan Green, as picture editor selecting and sequencing over 300 photographs and other works of art. The book was selected as Nikon Book of the Year in 1984.
The standard art-history method of arranging slides on a light table in preparation for a class lecture supplies the conceptual process by which Friedman rewrites and reinvestigates the history of photography and, in his words, "the history of the world." — Jonathan Green on "History of the World"
As Friedman photographs, then, an irony prevails over the collision of visual fact, the artist's distant but omnipresent sensibility, and the viewer's own visual recollections and expectations of concentration camp imagery. The impact of these images strikes profoundly on visual, intellectual, and emotional levels, engaging the viewer in a provocative and valuable dialogue. — Susan Harris on "12 Nazi Concentration Camps"