With a healthy sprinkle of plastic and tinsel, Friedlander's visions of a commercial, uniquely American Christmas evoke both irony and nostalgiaWhether or not you celebrated Christmas at some point during the last 70 years, you have no doubt encountered many of the scenes shown here in Lee Friedlander's eclectic black-and-white documentation of the holiday season across America. From city sidewalks to cookie-cutter suburbs, Friedlander captures it all: main street store window displays; plastic nativities on snow-covered lawns; inflatable snowglobes and Santa Clauses; questionable St. Nicholas–themed lingerie; oversize or underwhelming Christmas trees; and houses so covered in string lights as to demand nothing short of a miracle from the local power grid.As in all of his work, Friedlander's images of Christmas reflect his own version of the holiday. Is Christmas in America a religious celebration? A commercial precept? A misunderstanding? An indulgent blasphemy? Or all of the above? The only certain thing is that December 25 has provided an opportunity for the people's photographer to hold up a mirror to a flawed, inventive, preoccupied and wonderful society.Lee Friedlander (born 1934) has published more than 60 monographs since 1969. He was represented alongside Diane Arbus and Garry Winogrand in the 1967 New Documents exhibition at the Museum of Modern Art, now understood as a landmark event in American documentary photography, and received his own retrospective at the same museum in 2005. He has lived and worked in New York since 1956.

With a healthy sprinkle of plastic and tinsel, Friedlander's visions of a commercial, uniquely American Christmas evoke both irony and nostalgiaWhether or not you celebrated Christmas at some point during the last 70 years, you have no doubt encountered many of the scenes shown here in Lee Friedlander's eclectic black-and-white documentation of the holiday season across America. From city sidewalks to cookie-cutter suburbs, Friedlander captures it all: main street store window displays; plastic nativities on snow-covered lawns; inflatable snowglobes and Santa Clauses; questionable St. Nicholas–themed lingerie; oversize or underwhelming Christmas trees; and houses so covered in string lights as to demand nothing short of a miracle from the local power grid.As in all of his work, Friedlander's images of Christmas reflect his own version of the holiday. Is Christmas in America a religious celebration? A commercial precept? A misunderstanding? An indulgent blasphemy? Or all of the above? The only certain thing is that December 25 has provided an opportunity for the people's photographer to hold up a mirror to a flawed, inventive, preoccupied and wonderful society.Lee Friedlander (born 1934) has published more than 60 monographs since 1969. He was represented alongside Diane Arbus and Garry Winogrand in the 1967 New Documents exhibition at the Museum of Modern Art, now understood as a landmark event in American documentary photography, and received his own retrospective at the same museum in 2005. He has lived and worked in New York since 1956.

With a healthy sprinkle of plastic and tinsel, Friedlander's visions of a commercial, uniquely American Christmas evoke both irony and nostalgiaWhether or not you celebrated Christmas at some point during the last 70 years, you have no doubt encountered many of the scenes shown here in Lee Friedlander's eclectic black-and-white documentation of the holiday season across America. From city sidewalks to cookie-cutter suburbs, Friedlander captures it all: main street store window displays; plastic nativities on snow-covered lawns; inflatable snowglobes and Santa Clauses; questionable St. Nicholas–themed lingerie; oversize or underwhelming Christmas trees; and houses so covered in string lights as to demand nothing short of a miracle from the local power grid.As in all of his work, Friedlander's images of Christmas reflect his own version of the holiday. Is Christmas in America a religious celebration? A commercial precept? A misunderstanding? An indulgent blasphemy? Or all of the above? The only certain thing is that December 25 has provided an opportunity for the people's photographer to hold up a mirror to a flawed, inventive, preoccupied and wonderful society.Lee Friedlander (born 1934) has published more than 60 monographs since 1969. He was represented alongside Diane Arbus and Garry Winogrand in the 1967 New Documents exhibition at the Museum of Modern Art, now understood as a landmark event in American documentary photography, and received his own retrospective at the same museum in 2005. He has lived and worked in New York since 1956.