Lee Friedlander’s Self-Portraits project examines the interplay between identity and the photographic medium through evolving techniques and themes that reflect his role as both observer and participant. Known for redefining documentary practices and exploring personal and social environments, Friedlander documented the United States while his self-portraits offered a distinct parallel narrative. This evolving body of work began in the late 1950s, when Friedlander experimented with reflections, shadows, and partial glimpses of himself, initially as a peripheral element within his broader documentary practice. Over time, these self-portraits matured into a cohesive, complex investigation of self-representation, culminating in publications such as Self Portrait (1970) and In the Picture: Self-Portraits, 1958–2011 (2011).
Set against the backdrop of mid-20th century America, Friedlander’s project emerged during a transformative era in photography. As the medium grappled with its artistic legitimacy, Friedlander and his contemporaries, including Diane Arbus and Garry Winogrand, sought to redefine its boundaries. Friedlander’s self-portraits were informed by this shift, embracing the mundane and fragmentary as key elements of his visual language. The 1960s’ cultural landscape—marked by counterculture movements, social upheaval, and the rise of Pop Art—further influenced his playful, irreverent approach.
At its core, Friedlander’s project meditates on the nature of identity, portraying himself as a shadow, reflection, or fragmented figure within intricate, layered compositions. Through reflections in windows and mirrors, alongside obstructed or distorted views, he encourages viewers to reflect on the dual acts of seeing and being seen. By including everyday settings and elements—motel rooms, storefronts, and urban landscapes—Friedlander anchors his introspection within the broader "social landscape" he so meticulously documented.
Friedlander’s preference for black-and-white film accentuates the interplay of light, shadow, and texture, while his use of wide-angle lenses and high apertures creates intricate layers within the frame. Humor and playfulness permeate these works, with Friedlander subverting expectations by presenting himself in unflattering or absurd scenarios, challenging the seriousness of traditional self-portraiture. Over time, his technical approach evolved from using hand-held 35mm cameras in the 1960s to experimenting with medium-format cameras in later years. These deliberate technical choices, paired with his intuitive working method, enabled him to craft photographs that feel simultaneously intentional and serendipitous.
Sustained visibility for the series has come through key presentations—from Toward a Social Landscape (George Eastman House, 1966) and MoMA’s New Documents (1967) to the traveling retrospective Friedlander (MoMA, 2005)—and through publications including Self Portrait (Haywire Press, 1970; MoMA reissue, 2005) and In the Picture: Self-Portraits, 1958–2011 (Yale, 2011). Recognition across the same period—Guggenheim Fellowships (1960, 1962, 1977), NEA fellowships (1972–80), a MacArthur Fellowship (1990), the Hasselblad Award (2005), and a Lucie Lifetime Achievement (2018)—has helped keep the project central to exhibition and photobook histories.
