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Over a period of 15 years, Joel Sternfeld travelled across America and took portrait photographs that form, in Douglas R. Nickel's words, "an intelligent, unscientific, interpretive sampling of what Americans looked like at the century's end." Unlike historical portraits which represent significant people in staged surroundings, Sternfeld's subjects are uncannily normal: a banker having an evening meal, a teenager collecting shopping carts in a parking lot, a homeless man holding his bedding. Using August Sander's classic photograph of three peasants on their way to a dance as a starting point, Sternfeld employed a conceptual strategy that amounts to a new theory of the portrait, which might be termed The Circumstantial Portrait. What happens when we encounter the other in the midst of a circumstance? What presumptions, if any, are valid? What, if anything, can be known of the other from a photographic portrait?
- Sales Rank: #250395 in Books
- Published on: 2012-08-15
- Original language: English
- Number of items: 1
- Dimensions: 11.60" h x .80" w x 13.60" l, 3.90 pounds
- Binding: Hardcover
- 132 pages
From Publishers Weekly
hotographer Joel Sternfeld turns his exacting eye to American faces, social classes, character types and stereotypes in Stranger Passing. Sternfeld who wowed critics in 1987 with American Prospects devotes a remarkable (and remarkably large) volume to 60 hard-edged, full-color studies of individuals from Manhattan to Malibu, Austin, Texas to Appalachia, in candids and portraits by turns comic, disturbing, angry, pathetic and silly. A surprised lawyer struggles with bundles of laundry; a lumberjack shows off his truck, his logs and his belly button; and "two men on vacation in Bigfoot, Montana" smile through big mustaches at their tiny dog. Journalist Ian Frazier (On the Rez) and San Francisco Museum of Modern Art curator Douglas R. Nickel contribute short essays.
Copyright 2001 Cahners Business Information, Inc.
About the Author
Joel Sternfeld has had numerous group and solo exhibitions worldwide, including at the Museum of Modern Art, New York, and the Museum of Fine Arts, Houston. He is the recipient of two Guggenheim Fellowships and a Prix de Rome.
Most helpful customer reviews
10 of 10 people found the following review helpful.
Photographic short stories
By C. Kevin Smith
These sixty portraits of American strangers are rich with an intelligent, questioning beauty. I was dazzled by the exhibit in San Francisco, but now I'm especially glad to have the accompanying book. I rarely find it worthwhile to purchase museum exhibit catalogues, but what I love about "Stranger Passing" is that I can ponder a given image as long as I like, "reading and re-reading" it as I would a really good short story. Indeed, many of these portraits seem as laden with interpretive possibilities as a story by Chekhov or Alice Munro or T. C. Boyle. From a grizzled woman selling papers in the middle of a Colorado boulevard, to a solitary New York banker having dinner, his aloneness matched by a single tulip in front of his little bistro table: I found myself deeply moved by the lavish yet subtle artistry Sternfeld has bestowed on these people and places--each one unique yet somehow familiar--that he encountered in this strange and wonderful country of ours.
7 of 7 people found the following review helpful.
redefining "landscape" photography
By Boris Aleksandrovsky
Joel Sternfeld travels the roads of America, and takes pictures with his large-format camera. Although all his pictures include people in various situations (attending a party, selling coffee, hanging out in their own homes, vacationing, promenading, relaxing, observing, working), what he is really interested in, is the depiction of landscapes and soft outplay of the mid-afternoon light. There is an overwhelming sense of loneliness. His composition style is superb; his depiction of quality of light reflections of the industrial surfaces is without precedence. In my opinion, Sternfeld really stands on its own. Not since Robert Frank's "The Americans" have I seen such a collection. His compositions are best reminiscent of Philip-Lorca diCorcia's; but somehow people are not the center of attention (and sometimes not even of focus), what is important is the quality of landscapes and how they shape human lives.
4 of 4 people found the following review helpful.
A Compelling Book Of Photographs By An American Master.
By Jana L.Perskie
"American Prospects," a landmark study of how the modern social order is revealed through landscape, published in 1988, brought brilliant photographer Joel Sternfeld to international attention. Sternfeld expanded this study with "A Stranger Passing." The sixty color portraits of ordinary Americans included in this book, and made over a fifteen year period, were first shown at The San Francisco Museum of Modern Art in 2001, and published at the same time.
Although Douglas R. Nickel describes this book as a collection of portraits in his introductory essay, Joel Sternfeld's vivid images are so much more than traditional photographic portraiture. The pictures go beyond reflecting a mere image of the subject, no matter how interesting or aesthetic. And Sternfeld's subjects are more than the people being photographed. He has captured here the very essence of our culture - Americans, depicted in the context of their daily lives, during odd moments between events. Many of the warmest images feature relationships between two people.
Each photograph tell a story. The volume's cover portrait is titled "Young Man Gathering Shopping Carts." A teenager, with blond bobbed hair, open shirt, loosened tie, stands in a parking lot cluttered with pink shopping carts. The ubiquitous strip mall is the backdrop. His stance, the look of discontent on his face, and the generic locale say much more than most narratives. Sternfeld stirs the viewers imagination. One cannot help but wonder about the subjects' lives - the before and after of each picture. "A Lawyer with Laundry," New York, portrays a seemingly reluctant subject, laundry in hand, leaning against a newsstand while warily suffering the photographer's attention. Some of my other favorites include: a colorful sari wrapped middle-eastern woman pumping gas in Kansas City; a young woman with bouffant hair, wearing a cotton-candy pink jacket holding her pet rabbit in a plastic carrying case; a forlorn woman on a New York City street holding a spectacular Christmas wreath; a man grilling a single hamburger on a broken patio in Cincinnati; and
"Motorcyclists," which shows a man on a motorcycle, wearing goggles and a leather jacket, with an adorable baby in the sidecar wearing a helmet.
Douglas R. Nickel, who wrote the Introduction, is director of the Center for Creative Photography and associate professor of art history in the College of Fine Arts at the University of Arizona, Tucson. Ian Frazier, who contributed another fine essay is an author.
I don't usually buy coffee table books, although some of them are gorgeous. I have found that while I may admire the work a few times, I wind up placing the volume in a prominant place and then only glance at it occasionally, while dusting. This book is special though. "Stranger Passing" is a "travelogue of sorts, a detached, understated but compelling portrait of the people with whom Sternfeld has come into contact during his itinerant journeys." The photographer compels us to question the assumptions we make about others. This is an extraordinary book by an American master.
JANA
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