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Diane Arbus

March 14, 2023

Diane Arbus (/diːˈæn ˈɑːrbəs/; née Nemerov; March 14, 1923 – July 26, 1971[2]) was an American photographer.[3][4] She photographed a wide range of subjects including strippers, carnival performers, nudists, people with dwarfism, children, mothers, couples, elderly people, and middle-class families.[5] She photographed her subjects in familiar settings: their homes, on the street, in the workplace, in the park. "She is noted for expanding notions of acceptable subject matter and violates canons of the appropriate distance between photographer and subject. By befriending, not objectifying her subjects, she was able to capture in her work a rare psychological intensity."[6][7] In his 2003 New York Times Magazine article, "Arbus Reconsidered", Arthur Lubow states, "She was fascinated by people who were visibly creating their own identities—cross-dressers, nudists, sideshow performers, tattooed men, the nouveaux riches, the movie-star fans—and by those who were trapped in a uniform that no longer provided any security or comfort."[4][8][9][6][10] Michael Kimmelman writes in his review of the exhibition Diane Arbus Revelations, that her work "transformed the art of photography (Arbus is everywhere, for better and worse, in the work of artists today who make photographs)".[11] Arbus's imagery helped to normalize marginalized groups and highlight the importance of proper representation of all people.[citation needed]

Diane Arbus
Photograph of Arbus by Allan Arbus
(a film test), c. 1949[1]: 137 
Born
Diane Nemerov

(1923-03-14)March 14, 1923
New York City, U.S.
DiedJuly 26, 1971(1971-07-26) (aged 48)
New York City, U.S.
OccupationPhotographer
Spouse
​
​
(m. 1941; div. 1969)​
PartnerMarvin Israel (1959–1971; her death)
ChildrenDoon Arbus
Amy Arbus
RelativesHoward Nemerov (brother)
Alexander Nemerov (nephew)
Frank Russek (grandfather)

In her lifetime she achieved some recognition and renown[12] with the publication, beginning in 1960, of photographs in such magazines as Esquire, Harper's Bazaar, London's Sunday Times Magazine, and Artforum.[13] In 1963 the Guggenheim Foundation awarded Arbus a fellowship for her proposal entitled, "American Rites, Manners and Customs". She was awarded a renewal of her fellowship in 1966.[14] John Szarkowski, the director of photography at the Museum of Modern Art (MoMA) in New York City from 1962 to 1991, championed her work and included it in his 1967 exhibit New Documents along with the work of Lee Friedlander and Garry Winogrand.[3] Her photographs were also included in a number of other major group shows.[14]: 86 

In 1972, a year after her suicide, Arbus became the first photographer to be included in the Venice Biennale[15][14]: 51–52  where her photographs were "the overwhelming sensation of the American Pavilion" and "extremely powerful and very strange".[16]

The first major retrospective of Arbus' work was held in 1972 at MoMA, organized by Szarkowski. The retrospective garnered the highest attendance of any exhibition in MoMA's history to date.[17] Millions viewed traveling exhibitions of her work from 1972 to 1979.[18] The book accompanying the exhibition, Diane Arbus: An Aperture Monograph, edited by Doon Arbus and Marvin Israel and first published in 1972 has never been out of print.[6]

Personal life

Arbus was born Diane Nemerov to David Nemerov and Gertrude Russek Nemerov,[6][12] a Jewish couple – immigrants from Soviet Russia – who lived in New York City and owned Russeks, a Fifth Avenue department store, co-founded by Arbus' grandfather Frank Russek.[12][19] Because of her family's wealth, Arbus was insulated from the effects of the Great Depression while growing up in the 1930s.[12] Her father became a painter after retiring from Russeks. Her younger sister became a sculptor and designer, and her older brother, the poet Howard Nemerov, taught English at Washington University in St. Louis and was appointed United States Poet Laureate. Howard's son is the Americanist art historian Alexander Nemerov.[6]

Arbus's parents were not deeply involved in raising their children, who were overseen by maids and governesses. Her mother had a busy social life and underwent a period of clinical depression for approximately a year, then recovered,[20] and her father was busy with work. Diane separated herself from her family and her lavish childhood.[21]

Arbus attended the Ethical Culture Fieldston School, a college-preparatory school.[22] In 1941, at the age of 18, she married her childhood sweetheart, Allan Arbus,[6] whom she had dated since age 14.[23] Their daughter Doon, who would become a writer, was born in 1945; their daughter Amy, who would become a photographer, was born in 1954.[6] Arbus and her husband worked together in commercial photography from 1946 to 1956, but Allan remained very supportive of her work even after she left the business and began an independent relationship to photography.[24]

Arbus and her husband separated in 1959, although they maintained a close friendship. The couple also continued to share a darkroom,[1]: 144  where Allan's studio assistants processed her negatives, and she printed her work.[1]: 139 [4] The couple divorced in 1969 when he moved to California to pursue acting.[25] He was popularly known for his role as Dr. Sidney Freedman on the television show M*A*S*H.[20] Before his move to California, Allan set up her darkroom,[1]: 198  and they thereafter maintained a long correspondence.[1]: 224 

In late 1959, Arbus began a relationship with the art director and painter Marvin Israel[1]: 144 [26] that would last until her death. All the while, he remained married to Margaret Ponce Israel, an accomplished mixed-media artist.[27] Marvin Israel both spurred Arbus creatively and championed her work, encouraging her to create her first portfolio.[28] Among other photographers and artists she befriended, Arbus was close to photographer Richard Avedon; he was approximately the same age, his family had also run a Fifth Avenue department store, and many of his photographs were also characterized by detailed frontal poses.[29][30][26]

Photographic career

 
Identical Twins, Roselle, N.J. (1966-1967) at the National Gallery of Art in 2022

Arbus received her first camera, a Graflex, from Allan shortly after they married.[4] Shortly thereafter, she enrolled in classes with photographer Berenice Abbott. The Arbuses' interests in photography led them, in 1941, to visit the gallery of Alfred Stieglitz, and learn about the photographers Mathew Brady, Timothy O'Sullivan, Paul Strand, Bill Brandt, and Eugène Atget.[1]: 129 [31] In the early 1940s, Diane's father employed them to take photographs for the department store's advertisements.[4] Allan was a photographer for the U.S. Army Signal Corps in World War II.[31]

In 1946, after the war, the Arbuses began a commercial photography business called "Diane & Allan Arbus", with Diane as art director and Allan as the photographer.[4] She would come up with the concepts for their shoots and then take care of the models. She grew dissatisfied with this role, a role even her husband thought was "demeaning".[24] They contributed to Glamour, Seventeen, Vogue, and other magazines even though "they both hated the fashion world".[29][32] Despite over 200 pages of their fashion editorial in Glamour, and over 80 pages in Vogue, the Arbuses' fashion photography has been described as of "middling quality".[33] Edward Steichen's noted 1955 photography exhibition, The Family of Man, did include a photograph by the Arbuses of a father and son reading a newspaper.[6]

She studied briefly with Alexey Brodovich in 1954.[34] However, it was her studies with Lisette Model, which began in 1956, that encouraged Arbus to focus exclusively on her own work.[4] That year Arbus quit the commercial photography business and began numbering her negatives.[35] (Her last known negative was labeled #7459.)[24][4] Based on Model's advice, Arbus avoided loading film in the camera as an exercise in truly seeing.[36] Arbus also credits Model with making it clear to her that "the more specific you are, the more general it'll be."[4]

By 1956 she worked with a 35mm Nikon, wandering the streets of New York City and meeting her subjects largely, though not always, by chance. The idea of personal identity as socially constructed is one that Arbus came back to, whether it be performers, women and men wearing makeup, or a literal mask obstructing one's face. Critics have speculated that the choices in her subjects reflected her own identity issues, for she said that the only thing she suffered from as a child was never having felt adversity. This evolved into a longing for things that money couldn't buy such as experiences in the underground social world. She is often praised for her sympathy for these subjects, a quality which is not immediately understood through the images themselves, but through her writing and the testimonies of the men and women she portrayed.[37] A few years later, in 1958 she began making lists of who and what she was interested in photographing.[38] She began photographing on assignment for magazines such as Esquire, Harper's Bazaar, and The Sunday Times Magazine in 1959.[6]

Around 1962, Arbus switched from a 35mm Nikon camera which produced the grainy rectangular images characteristic of her post-studio work[14]: 55  to a twin-lens reflex Rolleiflex camera which produced more detailed square images. She explained this transition saying "In the beginning of photographing I used to make very grainy things. I'd be fascinated by what the grain did because it would make a kind of tapestry of all these little dots...But when I'd been working for a while with all these dots, I suddenly wanted terribly to get through there. I wanted to see the real differences between things...I began to get terribly hyped on clarity."[8]: 8–9  In 1964, Arbus began using a 2-1/4 Mamiyaflex camera with flash in addition to the Rolleiflex.[30][1]: 59 

Arbus's style is said to be "direct and unadorned, a frontal portrait centered in a square format. Her pioneering use of flash in daylight isolated the subjects from the background, which contributed to the photos' surreal quality."[39][6][30][40] Her methods included establishing a strong personal relationship with her subjects and re-photographing some of them over many years.[6][29]

In spite of being widely published and achieving some artistic recognition, Arbus struggled to support herself through her work.[22][41] "During her lifetime, there was no market for collecting photographs as works of art, and her prints usually sold for $100 or less."[3] It is evident from her correspondence that lack of money was a persistent concern.[1]

In 1963, Arbus was awarded a Guggenheim Fellowship for a project on "American rites, manners, and customs"; the fellowship was renewed in 1966.[15][42]

Throughout the 1960s, Arbus supported herself largely by taking magazine assignments and commissions.[43] For example, in 1968 she shot documentary photographs of poor sharecroppers in rural South Carolina (for Esquire magazine). In 1969 a rich and prominent actor and theater owner, Konrad Matthaei, and his wife, Gay, commissioned Arbus to photograph a family Christmas gathering.[44] During her career, Arbus photographed Mae West, Ozzie Nelson and Harriet Nelson, Bennett Cerf, atheist Madalyn Murray O'Hair, Norman Mailer, Jayne Mansfield, Eugene McCarthy, billionaire H. L. Hunt, Gloria Vanderbilt's baby, Anderson Cooper, Coretta Scott King, and Marguerite Oswald (Lee Harvey Oswald's mother).[44][1][22] In general, her magazine assignments decreased as her fame as an artist increased.[6][45] Szarkowski hired Arbus in 1970 to research an exhibition on photojournalism called "From the Picture Press"; it included many photographs by Weegee whose work Arbus admired.[12][31][46] She also taught photography at the Parsons School of Design and the Cooper Union in New York City, and the Rhode Island School of Design in Providence, Rhode Island.[12][47]

Late in her career, The Metropolitan Museum of Art indicated to her that they would buy three of her photographs for $75 each, but citing a lack of funds, purchased only two. As she wrote to Allan Arbus, "So I guess being poor is no disgrace."[1]: 200 [14]: 63 

Beginning in 1969 Arbus undertook a series of photographs of people at New Jersey residences for developmentally and intellectually disabled people, posthumously named Untitled.[48][22][49] Arbus returned to several facilities repeatedly for Halloween parties, picnics, and dances.[50] In a letter to Allan Arbus dated November 28, 1969, she described these photographs as "lyric and tender and pretty".[1]: 203 

Artforum published six photographs, including a cover image, from Arbus's portfolio, A box of ten photographs, in May 1971.[1]: 219 [51] After his encounter with Arbus and the portfolio, Philip Leider, then editor in chief of Artforum and a photography skeptic, admitted, "With Diane Arbus, one could find oneself interested in photography or not, but one could no longer . . . deny its status as art."[52] She was the first photographer to be featured in Artforum and "Leider's admission of Arbus into this critical bastion of late modernism was instrumental in shifting the perception of photography and ushering its acceptance into the realm of 'serious' art."[14]: 51 

The first major exhibition of her photographs occurred at the Museum of Modern Art in the influential[53] New Documents (1967) alongside the work of Garry Winogrand and Lee Friedlander, curated by John Szarkowski.[54][55] New Documents, which drew almost 250,000 visitors[56] demonstrated Arbus's interest in what Szarkowski referred to as society's "frailties"[34] and presented what he described as "a new generation of documentary photographers...whose aim has been not to reform life but to know it",[54] described elsewhere as "photography that emphasized the pathos and conflicts of modern life presented without editorializing or sentimentalizing but with a critical, observant eye".[57] The show was polarizing, receiving both praise and criticism, with some identifying Arbus as a disinterested voyeur and others praising her for her evident empathy with her subjects.[34]

In 2018, The New York Times published a belated obituary of Arbus[58] as part of the Overlooked history project.[59] The Smithsonian American Art Museum housed an exclusive exhibit from April 6, 2018, to January 27, 2019, that featured one of Arbus' portfolios, A box of ten photographs. The SAAM is the only museum currently displaying the work. The collection is "one of just four complete editions that Arbus printed and annotated. The three other editions—the artist never executed her plan to make 50—are held privately". The Smithsonian edition was made for Bea Feitler, an art director who both employed and befriended Arbus. After Feitler's death, Baltimore collector G.H. Dalsheimer bought her portfolio from Sotheby's in 1982 for $42,900. The SAAM then bought it from Dalsheimer in 1986. The portfolio was put away in the museum's collection, until 2018.[6]

Death

Arbus experienced "depressive episodes" during her life, similar to those experienced by her mother; the episodes may have been made worse by symptoms of hepatitis.[6] In 1968, Arbus wrote a letter to a personal friend, Carlotta Marshall, that says: "I go up and down a lot. Maybe I've always been like that. Partly what happens though is I get filled with energy and joy and I begin lots of things or think about what I want to do and get all breathless with excitement and then quite suddenly either through tiredness or a disappointment or something more mysterious the energy vanishes, leaving me harassed, swamped, distraught, frightened by the very things I thought I was so eager for! I'm sure this is quite classic."[4] Her ex-husband once noted that she had "violent changes of mood". On July 26, 1971, while living at Westbeth Artists Community in New York City, Arbus died by suicide by ingesting barbiturates and cutting her wrists with a razor.[4] She wrote the words "Last Supper" in her diary and placed her appointment book on the stairs leading up to the bathroom. Marvin Israel found her body in the bathtub two days later; she was 48 years old.[4][6] Photographer Joel Meyerowitz told journalist Arthur Lubow, "If she was doing the kind of work she was doing and photography wasn't enough to keep her alive, what hope did we have?"[24]

Legacy

"[Arbus's] work has had such an influence on other photographers that it is already hard to remember how original it was", wrote the art critic Robert Hughes in a November 1972 issue of Time magazine.[60] She has been called "a seminal figure in modern-day photography and an influence on three generations of photographers"[3] and is widely considered to be among the most influential artists of the last century.[61][12][62]

When the film The Shining, directed by Stanley Kubrick, was released to cinemas worldwide in 1980 and became hugely successful, millions of moviegoers experienced Diane Arbus' legacy without realizing it. The movie's recurring characters of identical twin girls who are wearing identical dresses appear on-screen as a result of a suggestion Kubrick received from crew member Leon Vitali. He is described by film historian Nick Chen as "Kubrick's right-hand man from the mid-70s onwards".[63] Chen goes on to reveal, "Not only did Vitali videotape and interview 5,000 kids to find [the right child actor to portray] Jack Nicholson's [character's] son, Danny, he was also responsible for discovering the creepy twin sisters on the final day of auditions. The pair, in fact, weren't twins in Kubrick's script, and it was Vitali who immediately suggested Diane Arbus' infamous photo of two identical twin sisters as a point of reference."[63]

Since Arbus died without a will, the responsibility for overseeing her work fell to her daughter, Doon.[4] She forbade examination of Arbus' correspondence and often denied permission for exhibition or reproduction of Arbus' photographs without prior vetting, to the ire of many critics and scholars.[4] The editors of an academic journal published a two-page complaint in 1993 about the estate's control over Arbus' images and its attempt to censor characterizations of subjects and the photographer's motives in article about Arbus. A 2005 article called the estate's allowing the British press to reproduce only fifteen photographs an attempt to "control criticism and debate".[64] On the other hand, it is common institutional practice in the U.S. to include only a handful of images for media use in an exhibition press kit.[65][66][67][68] The estate was also criticized in 2008 for minimizing Arbus' early commercial work, although those photographs were taken by Allan Arbus and credited to the Diane and Allan Arbus Studio.[4][33]

In 2011, a review in The Guardian of An Emergency in Slow Motion: The Inner Life of Diane Arbus by William Todd Schultz references "...the famously controlling Arbus estate who, as Schultz put it recently, 'seem to have this idea, which I disagree with, that any attempt to interpret the art diminishes the art.' "[69]

In 1972, Arbus was the first photographer to be included in the Venice Biennale; her photographs were described as "the overwhelming sensation of the American Pavilion" and "an extraordinary achievement".[14]: 51–52 [15][70]

The Museum of Modern Art held a retrospective curated by John Szarkowski of Arbus's work in late 1972 that subsequently traveled around the United States and Canada through 1975;[71] it was estimated that over seven million people saw the exhibition.[29] A different retrospective curated by Marvin Israel and Doon Arbus traveled around the world between 1973 and 1979.[71]

Doon Arbus and Marvin Israel edited and designed a 1972 book, Diane Arbus: An Aperture Monograph, published by Aperture and accompanying the Museum of Modern Art's exhibition.[8] It contained eighty of Arbus' photographs, as well as texts from classes that she gave in 1971, some of her writings, and interviews,[8][72]

In 2001–04, Diane Arbus: An Aperture Monograph was selected as one of the most important photobooks in history.[72][73][74][75]

Neil Selkirk, a former student, began printing for the 1972 MOMA retrospective and Aperture Monograph.[1]: 214, 269  He remains the only person who is authorized to make posthumous prints of Arbus' work.[76]

A half-hour documentary film about Arbus' life and work known as Masters of Photography: Diane Arbus or Going Where I've Never Been: The Photography of Diane Arbus was produced in 1972 and released on video in 1989.[77][78] The voiceover was drawn from recordings made of Arbus' photography class by Ikkō Narahara and voiced by Mariclare Costello, who was Arbus' friend and the wife of her ex-husband Allan.

Patricia Bosworth wrote an unauthorized biography of Arbus published in 1984. Bosworth reportedly "received no help from Arbus's daughters, or from their father, or from two of her closest and most prescient friends, Avedon and ... Marvin Israel".[29] The book was also criticized for insufficiently considering Arbus's own words, for speculating about missing information, and for focusing on "sex, depression and famous people", instead of Arbus' art.[22]

In 1986, Arbus was inducted into the International Photography Hall of Fame and Museum.[79]

Between 2003 and 2006, Arbus and her work were the subject of another major traveling exhibition, Diane Arbus Revelations, which was organized by the San Francisco Museum of Modern Art. Accompanied by a book of the same name, the exhibition included artifacts such as correspondence, books, and cameras as well as 180 photographs by Arbus.[22][19][47] By "making substantial public excerpts from Arbus's letters, diaries and notebooks" the exhibition and book "undertook to claim the center-ground on the basic facts relating to the artist's life and death".[80] Because Arbus's estate approved the exhibition and book, the chronology in the book is "effectively the first authorized biography of the photographer".[1]: 121–225 [6]

In 2006, the fictional film Fur: An Imaginary Portrait of Diane Arbus was released, starring Nicole Kidman as Arbus; it used Patricia Bosworth's unauthorized biography Diane Arbus: A Biography as a source of inspiration. Critics generally took issue with the film's "fairytale" portrayal of Arbus.[81][82]

The Metropolitan Museum of Art purchased twenty of Arbus' photographs (valued at millions of dollars) and received Arbus' archives, which included hundreds of early and unique photographs, and negatives and contact prints of 7,500 rolls of film, as a gift from her estate in 2007.[83]

In 2018, The New York Times published a belated obituary of Arbus[3] as part of the Overlooked history project.[59][84]

Critical reception

  • In a 1967 review of MoMA's New Documents exhibition, which featured the work of Diane Arbus, Lee Friedlander, and Garry Winogrand, Max Kozloff wrote, "What these photographers have in common is a complete loss of faith in the mass media as vehicle, or even market for their work. Newsiness, from the journalistic point of view, and 'stories', from the literary one, in any event, do not interest them....Arbus' refusal to be compassionate, her revulsion against moral judgment, lends her work an extraordinary ethical conviction."[85]
  • Writing for Arts Magazine, Marion Magid stated, "Because of its emphasis on the hidden and the eccentric, this exhibit has, first of all, the perpetual, if criminal, allure of a sideshow. One begins by simply craving to look at the forbidden things one has been told all one's life not to stare at... One does not look at such subjects with impunity, as anyone knows who has ever stared at the sleeping face of a familiar person, and discovered its strangeness. Once having looked and not looked away, we are implicated. When we have met the gaze of a midget or a female impersonator, a transaction takes place between the photograph and the viewer; in a kind of healing process, we are cured of our criminal urgency by having dared to look. The picture forgives us, as it were, for looking. In the end, the great humanity of Diane Arbus' art is to sanctify that privacy which she seems at first to have violated."[86][28]
  • Robert Hughes in a Time magazine review of the 1972 Diane Arbus retrospective at MoMA wrote, "Arbus did what hardly seemed possible for a still photographer. She altered our experience of the face."[60]
  • In his review of the 1972 retrospective, Hilton Kramer stated that Arbus was "one of those figures—as rare in the annals of photography as in the history of any other medium—who suddenly, by a daring leap into a territory formerly regarded as forbidden, altered the terms of the art she practiced....she completely wins us over, not only to her pictures but to her people, because she has clearly come to feel something like love for them herself. "[87]
  • Susan Sontag wrote an essay in 1973 entitled "Freak Show" that was critical of Arbus' work; it was reprinted in her 1977 book On Photography as "America, Seen Through Photographs, Darkly".[22] Among other criticisms, Sontag opposed the lack of beauty in Arbus' work and its failure to make the viewer feel compassionate about Arbus's subjects.[88] Sontag's essay itself has been criticized as "an exercise in aesthetic insensibility" and "exemplary for its shallowness".[22][19] Sontag has also stated that "the subjects of Arbus's photographs are all members of the same family, inhabitants of a single village. Only, as it happens, the idiot village is America. Instead of showing identity between things which are different (Whitman's democratic vista), everybody is the same."[44] A 2009 article noted that Arbus had photographed Sontag and her son in 1965, causing one to "wonder if Sontag felt this was an unfair portrait".[88] Philip Charrier argues in a 2012 article that despite its narrowness and widely discussed faults, Sontag's critique continues to inform much of the scholarship and criticism of Arbus's oeuvre. The article proposes overcoming this tradition by asking new questions, and by shifting the focus away from matters of biography, ethics, and Arbus's suicide.[80]
  • In Susan Sontag's essay "Freak Show", she writes, "The authority of Arbus's photographs comes from the contrast between their lacerating subject matter and their calm, matteroffact attentiveness. This quality of attention—the attention paid by the photographer, the attention paid by the subject to the act of being photographed—creates the moral theater of Arbus's straight on, contemplative portraits. Far from spying on freaks and pariahs, catching them unawares, the photographer has gotten to know them, reassured them—so that they pose for her as calmly and stiffly as any Victorian notable sat for a studio portrait by Nadar or Julia Margaret Cameron. A large part of the mystery of Arbus's photographs lies in what they suggest about how her subjects felt after consenting to be photographed. Do they see themselves, the viewer wonders, like that? Do they know how grotesque they are? It seems as if they don't."[89]
  • Judith Goldman in 1974 posited that, "Arbus' camera reflected her own desperateness in the same way that the observer looks at the picture and then back at himself."[90]
  • David Pagel's 1992 review of the Untitled series states, "These rarely seen photographs are some of the most hauntingly compassionate images made with a camera....The range of expressions Arbus has captured is remarkable in its startling shifts from carefree glee to utter trepidation, ecstatic self-abandonment to shy withdrawal, and simple boredom to neighborly love. Perhaps the most intriguing aspect of her photographs is the way they combine sentiments we all share with experiences we can imagine but never know."[49]
  • In reviewing Diane Arbus: Untitled for Artforum, Nan Goldin said, "She was able to let things be, as they are, rather than seeking to transform them. The quality that defines her work, and separates it from almost all other photography, is her ability to empathize, on a level far beyond language. Arbus could travel, in the mythic sense. Perhaps out of the desire not to be herself, she tried on the skins of others and took us along for the trip. Arbus was obsessed with people who manifested trauma, maybe because her own crisis was so internalized. She was able to look full in the faces we normally avert our eyes from, and to show beauty there as well as pain. Her work is often difficult but it isn't cruel. She undertook that greatest act of courage—to face the terror of darkness and remain articulate."[91]
  • Hilton Als reviewed Untitled in 1995 for The New Yorker, saying, "The extraordinary power of Untitled confirms our earliest impression of Arbus's work; namely, that it is as iconographic as it gets in any medium."[92]
  • In her review of the traveling exhibition Diane Arbus Revelations, Francine Prose writes, "Even as we grow more restive with conventional religion, with the intolerance and even brutality it so frequently exacts in trade for meaning and consolation, Arbus's work can seem like the bible of a faith to which one can almost imagine subscribing—the temple of the individual and irreducible human soul, the church of obsessive fascination and compassion for those fellow mortals whom, on the basis of mere surface impressions, we thoughtlessly misidentify as the wretched of the earth."[93]
  • Barbara O'Brien in a 2004 review of the exhibition Diane Arbus: Family Albums found her and August Sander's work "filled with life and energy."[94]
  • Peter Schjeldahl, in a 2005 review of the exhibition Diane Arbus Revelations for The New Yorker stated, "She turned picture-making inside out. She didn't gaze at her subjects; she induced them to gaze at her. Selected for their powers of strangeness and confidence, they burst through the camera lens with a presence so intense that whatever attitude she or you or anyone might take toward them disintegrates....You may feel, crazily, that you have never really seen a photograph before. Nor is this impression of novelty evanescent. Over the years, Arbuses that I once found devastating have seemed to wait for me to change just a little, then to devastate me all over again. No other photographer has been more controversial. Her greatness, a fact of experience, remains imperfectly understood."[19]
  • Michael Kimmelman wrote in 2005, "If the proper word isn't spirituality then it's grace. Arbus touches her favorite subjects with grace. It's in the spread-arm pose of the sword swallower, in the tattooed human pincushion, like St. Sebastian, and in the virginal waitress at the nudist camp, with her apron and order pad and her nicked shin. And it's famously in the naked couple in the woods, like Adam and Eve after the Fall."[11]
  • Ken Johnson, reviewing a show of Arbus's lesser-known works in 2005, wrote, "Arbus's perfectly composed, usually centered images have a way of arousing an almost painfully urgent curiosity. Who is the boy in the suit and tie and fedora who looks up from the magazine in a neighborhood store and fixes us with a gaze of unfathomable seriousness? What is the story with the funny, birdlike lady with the odd, floppy knit hat perched on her head? What is the bulky dark man in the suit and hat saying to the thin, well-dressed older woman with the pinched, masklike face as he jabs the air with a finger while they walk in Central Park? Arbus was a wonderful formalist and just as wonderful a storyteller--the Flannery O'Connor of photography.[95]
  • Leo Rubinfien wrote in 2005, "No photographer makes viewers feel more strongly that they are being directly addressed....When her work is at its most august, Arbus sees through her subject's pretensions, her subject sees that she sees, and an intricate parley occurs around what the subject wants to show and wants to conceal....She loved conundrum, contradiction, riddle, and this, as much as the pain in her work, puts it near Kafka's and Beckett's....I doubt anyone in the modern arts, not Kafka, not Beckett, has strung such a long, delicate thread between laughter and tears."[22]
  • In Stephanie Zacharek's 2006 review of the movie Fur: An Imaginary Portrait of Diane Arbus, she writes, "When I look at her pictures, I see not a gift for capturing whatever life is there, but a desire to confirm her suspicions about humanity's dullness, stupidity, and ugliness."[82]
  • Wayne Koestenbaum asked in 2007 whether Arbus's photographs humiliate the subjects or the viewers.[96] In a 2013 interview for the Los Angeles Review of Books he also said, "She's finding little pockets of jubilation that are framed within each photograph. The obvious meaning of the photograph is abjection, but the obtuse meaning is jubilation, beauty, staunchness, pattern."[97]
  • Mark Feeney's 2016 The Boston Globe review of in the beginning at the Met Breuer states, "It's not so much that Arbus changed how we see the world as how we allow ourselves to see it. Underbelly and id are no less part of society for being less visible. Outcasts and outsiders become their own norm – and with Arbus as ambassador, ours, too. She witnesses without ever judging."[98]
  • In a 2018 review for The New York Times on Diane Arbus's Untitled series, Arthur Lubow writes, "The 'Untitled' photographs evoke paintings by Ensor, Bruegel and especially the covens and rituals conjured up by Goya...In the almost half century that has elapsed since Arbus made the 'Untitled' pictures, photographers have increasingly adopted a practice of constructing the scenes they shoot and altering the pictures with digital technology in an effort to bring to light the visions in their heads. The 'Untitled' series, one of the towering achievements of American art, reminds us that nothing can surpass the strange beauty of reality if a photographer knows where to look. And how to look."[48]
  • Adam Lehrer wrote, in his Forbes review of Untitled, Arbus calls attention to vibrant expressions of joy while never letting us forget life's eternal anguish. Some critics have suggested that Arbus sees herself in her subjects. But perhaps that's only partially true. It's probably a more factual assertion to claim that Arbus sees all of us in her subjects....Arbus's only delusion was believing, or hoping, that others would share her peculiar fixations. But to say that her work is merely about human imperfection is both accurate and laughably dismissive. Arbus surely was focused on human imperfection, but within imperfection, she found unvarnished, perfect humanity. And humanity, to Arbus, was beautiful."[99]

Some of Arbus's subjects and their relatives have commented on their experience being photographed by Diane Arbus:

  • The father of the twins pictured in "Identical Twins, Roselle, N.J. 1967" said, "We thought it was the worst likeness of the twins we'd ever seen. I mean it resembles them, but we've always been baffled that she made them look ghostly. None of the other pictures we have of them looks anything like this."[100]
  • Writer Germaine Greer, who was the subject of an Arbus photograph in 1971, criticized it as an "undeniably bad picture" and Arbus's work in general as unoriginal and focusing on "mere human imperfection and self-delusion."[101]
  • Norman Mailer said, in 1971, "Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child."[29][102] Mailer was reportedly displeased with the well-known "spread-legged" New York Times Book Review photo. Arbus photographed him in 1963.[102][103]
  • Colin Wood, the subject of Child With a Toy Grenade in Central Park, said, "She saw in me the frustration, the anger at my surroundings, the kid wanting to explode but can't because he's constrained by his background."[104]

Publications

  • Diane Arbus: An Aperture Monograph. Edited by Doon Arbus and Marvin Israel. Accompanied an exhibition at Museum of Modern Art, New York.
    • New York: Aperture, 1972. ISBN 9780912334400.
    • New York: Aperture, 1997. ISBN 9780893816940.
    • Fortieth-anniversary edition. New York: Aperture, 2011. ISBN 978-1-59711-174-4 (hardback); ISBN 978-1-59711-175-1 (paperback).
  • Diane Arbus: Magazine Work. Edited by Doon Arbus and Marvin Israel. With texts by Diane Arbus and an essay by Thomas W. Southall.
  • Untitled. Edited by Doon Arbus and Yolanda Cuomo.
  • Diane Arbus: Revelations. New York: Random House, 2003. ISBN 9780375506208. Includes essays by Sandra S. Phillips ("The question of belief") and Neil Selkirk ("In the darkroom"); a chronology by Elisabeth Sussman and Doon Arbus including text by Diane Arbus; afterword by Doon Arbus; and biographies of fifty five of Arbus's friends and colleagues by Jeff L. Rosenheim. Accompanied an exhibition that premièred at San Francisco Museum of Modern Art.
  • Diane Arbus: A Chronology, 1923–1971. New York: Aperture, 2011. ISBN 978-1-59711-179-9. By Elisabeth Sussman and Doon Arbus. Contains the chronology and biographies from Diane Arbus: Revelations.
  • Silent Dialogues: Diane Arbus & Howard Nemerov. San Francisco: Fraenkel Gallery, 2015. ISBN 978-1881337416. By Alexander Nemerov.
  • diane arbus: in the beginning. New York: Metropolitan Museum of Art, 2016. ISBN 978-1588395955. By Jeff L. Rosenheim. Accompanied an exhibition that premiered at The Metropolitan Museum of Art.
  • Diane Arbus: A box of ten photographs. New York: Aperture, 2018. ISBN 978-1597114394. By John P. Jacob. Accompanied an exhibition that premiered at the Smithsonian American Art Museum.
  • Diane Arbus Revelations. New York: Aperture, 2022. ISBN 9781597115384.

Notable photographs

 
Eddie Carmel, Jewish Giant, taken at Home with His Parents in the Bronx, New York, 1970

Arbus's most well-known photographs include:

  • Child with Toy Hand Grenade in Central Park, N.Y.C. 1962 – Colin Wood,[100] with the left strap of his jumper awkwardly hanging off his shoulder, tensely holds his long, thin arms by his side. Clenching a toy grenade in his right hand and holding his left hand in a claw-like gesture, his facial expression is one of consternation. The contact sheet[105] demonstrates that Arbus made an editorial choice in selecting which image to print.[106] A print of this photograph was sold in 2015 at auction for $785,000, an auction record for Arbus.[107]
  • Teenage Couple on Hudson Street, N.Y.C., 1963 – Wearing long coats and "worldlywise expressions", two adolescents appear older than their ages.[108]
  • Triplets in Their Bedroom, N.J. 1963 – Three girls sit at the head of a bed.[108][11]
  • A Young Brooklyn Family Going for a Sunday Outing, N.Y.C. 1966 – Richard and Marylin Dauria, who lived in the Bronx. Marylin holds their baby daughter, and Richard holds the hand of their young son, who is intellectually disabled.[40][109]
  • A Young Man in Curlers at Home on West 20th Street, N.Y.C. 1966 – A close-up shows the man's pock-marked face with plucked eyebrows, and his hand with long fingernails holds a cigarette. Early reactions to the photograph were strong; for example, someone spat on it in 1967 at the Museum of Modern Art.[22] A print was sold for $198,400 at a 2004 auction.[110]
  • Boy With a Straw Hat Waiting to March in a Pro-War Parade, N.Y.C. 1967 – With an American flag at his side, he wears a bow tie, a pin in the shape of a bow tie with an American flag motif, and two round button badges: "Bomb Hanoi" and "God Bless America / Support Our Boys in Viet Nam". The image may cause the viewer to feel both different from the boy and sympathetic toward him.[11] An art consulting firm purchased a print for $245,000 at a 2016 auction.[111]
  • Identical Twins, Roselle, N.J. 1967 – Young twin sisters Cathleen and Colleen Wade[100] stand side by side in dark dresses. The uniformity of their clothing and haircut characterize them as being twins while the facial expressions strongly accentuate their individuality.[106] This photograph is echoed in Stanley Kubrick's film The Shining, which features twins in an identical pose as ghosts.[100] A print was sold at auction for $732,500 in 2018.[112]
  • A Family on Their Lawn One Sunday in Westchester, N.Y. 1968 – A woman and a man sunbathe while a boy bends over a small plastic wading pool behind them. In 1972, Neil Selkirk was put in charge of producing an exhibition print of this image when Marvin Israel advised him to make the background trees appear "like a theatrical backdrop that might at any moment roll forward across the lawn.".[1]: 270  This anecdote illustrates vividly just how fundamental dialectics between appearance and substance are for the understanding of Arbus's art.[106] A print was sold at auction in 2008 for $553,000.[113]
  • A Naked Man Being a Woman, N.Y.C. 1968 – The subject has been described as in a "Venus-on-the-half-shell pose"[4] (referring to The Birth of Venus by Sandro Botticelli) or as "a Madonna turned in contrapposto... with his penis hidden between his legs"[11] (referring to a Madonna in contrapposto). The parted curtain behind the man adds to the theatrical quality of the photograph.[30]
  • A Very Young Baby, N.Y.C. 1968 – A photograph for Harper's Bazaar depicts Gloria Vanderbilt's then-infant son, the future CNN anchorman Anderson Cooper.[100]
  • A Jewish Giant at Home with His Parents in The Bronx, N.Y. 1970 – Eddie Carmel, the "Jewish Giant", stands in his family's apartment with his much shorter mother and father. Arbus reportedly said to a friend about this picture: "You know how every mother has nightmares when she's pregnant that her baby will be born a monster?... I think I got that in the mother's face...."[114] The photograph motivated Carmel's cousin to narrate a 1999 audio documentary about him.[115] A print was sold at auction for $583,500 in 2017.[116]

In addition, Arbus's A box of ten photographs was a portfolio of selected 1963–1970 photographs in a clear Plexiglas box/frame that was designed by Marvin Israel and was to have been issued in a limited edition of 50.[26][117] However, Arbus completed only eight boxes[14]: 137  and sold only four (two to Richard Avedon, one to Jasper Johns, and one to Bea Feitler).[1]: 220 [6][61] After Arbus's death, under the auspices of the Estate of Diane Arbus, Neil Selkirk began printing to complete Arbus's intended edition of 50.[14]: 78  In 2017, one of these posthumous editions sold for $792,500 in 2017.[118]

Notable solo exhibitions

Collections

Arbus's work is held in the following permanent collections:

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Further reading

Books

Book chapters

  • Ashby, Ruth, and Deborah Gore Ohrn. Herstory: Women who Changed the World. New York: Viking, 1995. ISBN 0-670-85434-4.
  • Bissell, Gerhard. "Arbus, Diane". In: Allgemeines Künstlerlexikon (Artists of the World), Supplement I, Saur, Munich 2005, p. 413 (in German). Online edition (subscription required).
  • Bunnell, Peter C. Degrees of Guidance: Essays on Twentieth-Century American Photography. Cambridge and New York: Cambridge University Press, 1993. ISBN 0-521-32751-2.
  • Bunnell, Peter C. Inside the Photograph: Writings on Twentieth-Century Photography. New York: Aperture Foundation, 2006. ISBN 1-59711-021-3.
  • Coleman, A.D. "Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End". In: The Social Scene: the Ralph M. Parsons Foundation Photography Collection at the Museum of Contemporary Art, Los Angeles, edited by Max Kozloff. Los Angeles: Museum of Contemporary Art, 2000. ISBN 0-914357-74-3.
  • Davies, David. "Susan Sontag, Diane Arbus and the Ethical Dimensions of Photography". In: Art and Ethical Criticism edited by Garry Hagberg. Oxford: Blackwell, 2008. ISBN 978-1-4051-3483-5.
  • Felder, Deborah G. The 100 Most Influential Women of All Time: a Ranking Past and Present. Secaucus, New Jersey: Carol Publishing Group, 1996. ISBN 0-8065-1726-3.
  • Gaze, Delia, ed. Dictionary of Women Artists. London and Chicago: Fitzroy Dearborn Publishers, 1997. ISBN 1-884964-21-4.
  • Gefter, Philip, Photography After Frank. New York: Aperture Foundation, 2009. ISBN 978-1-59711-095-2
  • "Diane Arbus and the Demon Lover". In: Kavaler-Adler, Susan. The Creative Mystique: from Red Shoes Frenzy to Love and Creativity. New York: Routledge, 1996. Pages 167–172. ISBN 0-415-91412-4.
  • Lord, Catherine. "What Becomes a Legend Most: the Short, Sad Career of Diane Arbus". In: The Contest of Meaning: Critical Histories of Photography edited by Richard Bolton. Cambridge, Massachusetts: MIT Press, 1989. ISBN 0-262-02288-5.
  • Naef, Weston J. Photographers of Genius at the Getty. Los Angeles: The J. Paul Getty Museum, 2004. ISBN 0-89236-748-2.
  • Rose, Phyllis, editor. Writing of Women: Essays in a Renaissance. Middletown, Connecticut: Wesleyan University Press, 1985. ISBN 0-8195-5131-7.
  • Sicherman, Barbara, and Carol Hurd Green. Notable American Women: the Modern Period: a Biographical Dictionary. Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1980. ISBN 0-674-62733-4.
  • Shloss, Carol. "Off the (W)rack : Fashion and Pain in the Work of Diane Arbus". In: On Fashion edited by Shari Benstock and Suzanne Ferriss. New Brunswick, New Jersey: Rutgers University Press, 1994. ISBN 0-8135-2032-0.
  • Stepan, Peter. Icons of Photography: the 20th Century. New York: Prestel, 1999. ISBN 3-7913-2001-7.

Articles

  • Alexander, M. Darsie. "Diane Arbus: a Theatre of Ambiguity". History of Photography, vol. 19, no. 2, pp. 120–123, Summer 1995.
  • Bedient, Calvin. "The Hostile Camera: Diane Arbus". Art in America, vol. 73, no. 1, pp. 11–12, January 1985.
  • Budick, Ariella. "Diane Arbus: Gender and Politics". History of Photography, vol. 19, no. 2, pp. 123–126, Summer 1995.
  • Budick, Ariella. "Factory Seconds: Diane Arbus and the Imperfections in Mass Culture". Art Criticism, vol. 12, no. 2, pp. 50–70, 1997.
  • Charrier, Philip. "On Diane Arbus: Establishing a Revisionist Framework of Analysis". History of Photography, vol. 36, no. 4, pp. 422–438, September 2012.
  • Estrin, James. "Diane Arbus, 1923-1971", The New York Times, March 8, 2018.
  • Hulick, Diana Emery. "Diane Arbus's Women and Transvestites: Separate Selves". History of Photography, vol. 16, no. 1, pp. 34–39, Spring 1992.
  • Hulick, Diana Emery. "Diane Arbus's Expressive Methods". History of Photography, vol. 19, no. 2, pp. 107–116, Summer 1995.
  • Jeffrey, Ian. "Diane Arbus and the American Grotesque". Photographic Journal, vol. 114, no. 5, pp. 224–229, May 1974.
  • Jeffrey, Ian. "Diane Arbus and the Past: when She Was Good". History of Photography, vol. 19, no. 2, pp. 95–99, Summer 1995.
  • Kozloff, Max. "The Uncanny Portrait: Sander, Arbus, Samaras". Artforum, vol. 11, no. 10, pp. 58–66, June 1973.
  • Lubow, Arthur. "Arbus, Untitled and Unearthly". The New York Times, November 15, 2018.
  • McPherson, Heather. "Diane Arbus's Grotesque 'Human Comedy'". History of Photography, vol. 19, no. 2, pp. 117–120, Summer 1995.
  • Pierpont, Claudia Roth. "Full Exposure", The New Yorker, vol. 92, no. 15 (May 23, 2016), pp. 56–67.
  • Rice, Shelley. "Essential Differences: A Comparison of the Portraits of Lisette Model and Diane Arbus". Artforum, vol. 18, no. 9, pp. 66–71, May 1980.
  • Warburton, Nigel. "Diane Arbus and Erving Goffman: the Presentation of Self". History of Photography, vol. 16, no. 4, pp. 401–404, Winter 1992.

External links

 
Wikimedia Commons has media related to Diane Arbus.
  •   Quotations related to Diane Arbus at Wikiquote
  • "The Odyssey of Diane Arbus" panel discussion, John Jacob with Jeffrey Fraenkel, John Gossage, Karan Rinaldo, Jeff Rosenheim, Neil Selkirk, and Jasper Johns, Smithsonian American Art Museum, April 6, 2018.
  • Austin, Hillary Mac. "Diane Arbus", Jewish Women: A Comprehensive Historical Encyclopedia, March 1, 2009.
  • Bissell, Gerhard. Diane Arbus.
  • Davies, Christie. "Art as Freak Show: Diane Arbus, Revelations at the V&A". London: Social Affairs Unit, December 16, 2005.
  • Lubow, Arthur. "How Diane Arbus Became 'Arbus'" ". The New York Times May 26, 2016.
  • Oppenheimer, Daniel. "Diane Arbus". Jewish Virtual Library, 2004.
  • Smith, Roberta. "Review/Art; Diane Arbus and Alice Neel, with Attention to the Child". The New York Times, May 19, 1989.

March 14, 2023
diane, arbus, ɑːr, née, nemerov, march, 1923, july, 1971, american, photographer, photographed, wide, range, subjects, including, strippers, carnival, performers, nudists, people, with, dwarfism, children, mothers, couples, elderly, people, middle, class, fami. Diane Arbus d iː ˈ ae n ˈ ɑːr b e s nee Nemerov March 14 1923 July 26 1971 2 was an American photographer 3 4 She photographed a wide range of subjects including strippers carnival performers nudists people with dwarfism children mothers couples elderly people and middle class families 5 She photographed her subjects in familiar settings their homes on the street in the workplace in the park She is noted for expanding notions of acceptable subject matter and violates canons of the appropriate distance between photographer and subject By befriending not objectifying her subjects she was able to capture in her work a rare psychological intensity 6 7 In his 2003 New York Times Magazine article Arbus Reconsidered Arthur Lubow states She was fascinated by people who were visibly creating their own identities cross dressers nudists sideshow performers tattooed men the nouveaux riches the movie star fans and by those who were trapped in a uniform that no longer provided any security or comfort 4 8 9 6 10 Michael Kimmelman writes in his review of the exhibition Diane Arbus Revelations that her work transformed the art of photography Arbus is everywhere for better and worse in the work of artists today who make photographs 11 Arbus s imagery helped to normalize marginalized groups and highlight the importance of proper representation of all people citation needed Diane ArbusPhotograph of Arbus by Allan Arbus a film test c 1949 1 137 BornDiane Nemerov 1923 03 14 March 14 1923New York City U S DiedJuly 26 1971 1971 07 26 aged 48 New York City U S OccupationPhotographerSpouseAllan Arbus m 1941 div 1969 wbr PartnerMarvin Israel 1959 1971 her death ChildrenDoon ArbusAmy ArbusRelativesHoward Nemerov brother Alexander Nemerov nephew Frank Russek grandfather In her lifetime she achieved some recognition and renown 12 with the publication beginning in 1960 of photographs in such magazines as Esquire Harper s Bazaar London s Sunday Times Magazine and Artforum 13 In 1963 the Guggenheim Foundation awarded Arbus a fellowship for her proposal entitled American Rites Manners and Customs She was awarded a renewal of her fellowship in 1966 14 John Szarkowski the director of photography at the Museum of Modern Art MoMA in New York City from 1962 to 1991 championed her work and included it in his 1967 exhibit New Documents along with the work of Lee Friedlander and Garry Winogrand 3 Her photographs were also included in a number of other major group shows 14 86 In 1972 a year after her suicide Arbus became the first photographer to be included in the Venice Biennale 15 14 51 52 where her photographs were the overwhelming sensation of the American Pavilion and extremely powerful and very strange 16 The first major retrospective of Arbus work was held in 1972 at MoMA organized by Szarkowski The retrospective garnered the highest attendance of any exhibition in MoMA s history to date 17 Millions viewed traveling exhibitions of her work from 1972 to 1979 18 The book accompanying the exhibition Diane Arbus An Aperture Monograph edited by Doon Arbus and Marvin Israel and first published in 1972 has never been out of print 6 Contents 1 Personal life 2 Photographic career 3 Death 4 Legacy 5 Critical reception 6 Publications 7 Notable photographs 8 Notable solo exhibitions 9 Collections 10 References 11 Further reading 11 1 Books 11 2 Book chapters 11 3 Articles 12 External linksPersonal life EditArbus was born Diane Nemerov to David Nemerov and Gertrude Russek Nemerov 6 12 a Jewish couple immigrants from Soviet Russia who lived in New York City and owned Russeks a Fifth Avenue department store co founded by Arbus grandfather Frank Russek 12 19 Because of her family s wealth Arbus was insulated from the effects of the Great Depression while growing up in the 1930s 12 Her father became a painter after retiring from Russeks Her younger sister became a sculptor and designer and her older brother the poet Howard Nemerov taught English at Washington University in St Louis and was appointed United States Poet Laureate Howard s son is the Americanist art historian Alexander Nemerov 6 Arbus s parents were not deeply involved in raising their children who were overseen by maids and governesses Her mother had a busy social life and underwent a period of clinical depression for approximately a year then recovered 20 and her father was busy with work Diane separated herself from her family and her lavish childhood 21 Arbus attended the Ethical Culture Fieldston School a college preparatory school 22 In 1941 at the age of 18 she married her childhood sweetheart Allan Arbus 6 whom she had dated since age 14 23 Their daughter Doon who would become a writer was born in 1945 their daughter Amy who would become a photographer was born in 1954 6 Arbus and her husband worked together in commercial photography from 1946 to 1956 but Allan remained very supportive of her work even after she left the business and began an independent relationship to photography 24 Arbus and her husband separated in 1959 although they maintained a close friendship The couple also continued to share a darkroom 1 144 where Allan s studio assistants processed her negatives and she printed her work 1 139 4 The couple divorced in 1969 when he moved to California to pursue acting 25 He was popularly known for his role as Dr Sidney Freedman on the television show M A S H 20 Before his move to California Allan set up her darkroom 1 198 and they thereafter maintained a long correspondence 1 224 In late 1959 Arbus began a relationship with the art director and painter Marvin Israel 1 144 26 that would last until her death All the while he remained married to Margaret Ponce Israel an accomplished mixed media artist 27 Marvin Israel both spurred Arbus creatively and championed her work encouraging her to create her first portfolio 28 Among other photographers and artists she befriended Arbus was close to photographer Richard Avedon he was approximately the same age his family had also run a Fifth Avenue department store and many of his photographs were also characterized by detailed frontal poses 29 30 26 Photographic career Edit Identical Twins Roselle N J 1966 1967 at the National Gallery of Art in 2022 Arbus received her first camera a Graflex from Allan shortly after they married 4 Shortly thereafter she enrolled in classes with photographer Berenice Abbott The Arbuses interests in photography led them in 1941 to visit the gallery of Alfred Stieglitz and learn about the photographers Mathew Brady Timothy O Sullivan Paul Strand Bill Brandt and Eugene Atget 1 129 31 In the early 1940s Diane s father employed them to take photographs for the department store s advertisements 4 Allan was a photographer for the U S Army Signal Corps in World War II 31 In 1946 after the war the Arbuses began a commercial photography business called Diane amp Allan Arbus with Diane as art director and Allan as the photographer 4 She would come up with the concepts for their shoots and then take care of the models She grew dissatisfied with this role a role even her husband thought was demeaning 24 They contributed to Glamour Seventeen Vogue and other magazines even though they both hated the fashion world 29 32 Despite over 200 pages of their fashion editorial in Glamour and over 80 pages in Vogue the Arbuses fashion photography has been described as of middling quality 33 Edward Steichen s noted 1955 photography exhibition The Family of Man did include a photograph by the Arbuses of a father and son reading a newspaper 6 She studied briefly with Alexey Brodovich in 1954 34 However it was her studies with Lisette Model which began in 1956 that encouraged Arbus to focus exclusively on her own work 4 That year Arbus quit the commercial photography business and began numbering her negatives 35 Her last known negative was labeled 7459 24 4 Based on Model s advice Arbus avoided loading film in the camera as an exercise in truly seeing 36 Arbus also credits Model with making it clear to her that the more specific you are the more general it ll be 4 By 1956 she worked with a 35mm Nikon wandering the streets of New York City and meeting her subjects largely though not always by chance The idea of personal identity as socially constructed is one that Arbus came back to whether it be performers women and men wearing makeup or a literal mask obstructing one s face Critics have speculated that the choices in her subjects reflected her own identity issues for she said that the only thing she suffered from as a child was never having felt adversity This evolved into a longing for things that money couldn t buy such as experiences in the underground social world She is often praised for her sympathy for these subjects a quality which is not immediately understood through the images themselves but through her writing and the testimonies of the men and women she portrayed 37 A few years later in 1958 she began making lists of who and what she was interested in photographing 38 She began photographing on assignment for magazines such as Esquire Harper s Bazaar and The Sunday Times Magazine in 1959 6 Around 1962 Arbus switched from a 35mm Nikon camera which produced the grainy rectangular images characteristic of her post studio work 14 55 to a twin lens reflex Rolleiflex camera which produced more detailed square images She explained this transition saying In the beginning of photographing I used to make very grainy things I d be fascinated by what the grain did because it would make a kind of tapestry of all these little dots But when I d been working for a while with all these dots I suddenly wanted terribly to get through there I wanted to see the real differences between things I began to get terribly hyped on clarity 8 8 9 In 1964 Arbus began using a 2 1 4 Mamiyaflex camera with flash in addition to the Rolleiflex 30 1 59 Arbus s style is said to be direct and unadorned a frontal portrait centered in a square format Her pioneering use of flash in daylight isolated the subjects from the background which contributed to the photos surreal quality 39 6 30 40 Her methods included establishing a strong personal relationship with her subjects and re photographing some of them over many years 6 29 In spite of being widely published and achieving some artistic recognition Arbus struggled to support herself through her work 22 41 During her lifetime there was no market for collecting photographs as works of art and her prints usually sold for 100 or less 3 It is evident from her correspondence that lack of money was a persistent concern 1 In 1963 Arbus was awarded a Guggenheim Fellowship for a project on American rites manners and customs the fellowship was renewed in 1966 15 42 Throughout the 1960s Arbus supported herself largely by taking magazine assignments and commissions 43 For example in 1968 she shot documentary photographs of poor sharecroppers in rural South Carolina for Esquire magazine In 1969 a rich and prominent actor and theater owner Konrad Matthaei and his wife Gay commissioned Arbus to photograph a family Christmas gathering 44 During her career Arbus photographed Mae West Ozzie Nelson and Harriet Nelson Bennett Cerf atheist Madalyn Murray O Hair Norman Mailer Jayne Mansfield Eugene McCarthy billionaire H L Hunt Gloria Vanderbilt s baby Anderson Cooper Coretta Scott King and Marguerite Oswald Lee Harvey Oswald s mother 44 1 22 In general her magazine assignments decreased as her fame as an artist increased 6 45 Szarkowski hired Arbus in 1970 to research an exhibition on photojournalism called From the Picture Press it included many photographs by Weegee whose work Arbus admired 12 31 46 She also taught photography at the Parsons School of Design and the Cooper Union in New York City and the Rhode Island School of Design in Providence Rhode Island 12 47 Late in her career The Metropolitan Museum of Art indicated to her that they would buy three of her photographs for 75 each but citing a lack of funds purchased only two As she wrote to Allan Arbus So I guess being poor is no disgrace 1 200 14 63 Beginning in 1969 Arbus undertook a series of photographs of people at New Jersey residences for developmentally and intellectually disabled people posthumously named Untitled 48 22 49 Arbus returned to several facilities repeatedly for Halloween parties picnics and dances 50 In a letter to Allan Arbus dated November 28 1969 she described these photographs as lyric and tender and pretty 1 203 Artforum published six photographs including a cover image from Arbus s portfolio A box of ten photographs in May 1971 1 219 51 After his encounter with Arbus and the portfolio Philip Leider then editor in chief of Artforum and a photography skeptic admitted With Diane Arbus one could find oneself interested in photography or not but one could no longer deny its status as art 52 She was the first photographer to be featured in Artforum and Leider s admission of Arbus into this critical bastion of late modernism was instrumental in shifting the perception of photography and ushering its acceptance into the realm of serious art 14 51 The first major exhibition of her photographs occurred at the Museum of Modern Art in the influential 53 New Documents 1967 alongside the work of Garry Winogrand and Lee Friedlander curated by John Szarkowski 54 55 New Documents which drew almost 250 000 visitors 56 demonstrated Arbus s interest in what Szarkowski referred to as society s frailties 34 and presented what he described as a new generation of documentary photographers whose aim has been not to reform life but to know it 54 described elsewhere as photography that emphasized the pathos and conflicts of modern life presented without editorializing or sentimentalizing but with a critical observant eye 57 The show was polarizing receiving both praise and criticism with some identifying Arbus as a disinterested voyeur and others praising her for her evident empathy with her subjects 34 In 2018 The New York Times published a belated obituary of Arbus 58 as part of the Overlooked history project 59 The Smithsonian American Art Museum housed an exclusive exhibit from April 6 2018 to January 27 2019 that featured one of Arbus portfolios A box of ten photographs The SAAM is the only museum currently displaying the work The collection is one of just four complete editions that Arbus printed and annotated The three other editions the artist never executed her plan to make 50 are held privately The Smithsonian edition was made for Bea Feitler an art director who both employed and befriended Arbus After Feitler s death Baltimore collector G H Dalsheimer bought her portfolio from Sotheby s in 1982 for 42 900 The SAAM then bought it from Dalsheimer in 1986 The portfolio was put away in the museum s collection until 2018 6 Death EditArbus experienced depressive episodes during her life similar to those experienced by her mother the episodes may have been made worse by symptoms of hepatitis 6 In 1968 Arbus wrote a letter to a personal friend Carlotta Marshall that says I go up and down a lot Maybe I ve always been like that Partly what happens though is I get filled with energy and joy and I begin lots of things or think about what I want to do and get all breathless with excitement and then quite suddenly either through tiredness or a disappointment or something more mysterious the energy vanishes leaving me harassed swamped distraught frightened by the very things I thought I was so eager for I m sure this is quite classic 4 Her ex husband once noted that she had violent changes of mood On July 26 1971 while living at Westbeth Artists Community in New York City Arbus died by suicide by ingesting barbiturates and cutting her wrists with a razor 4 She wrote the words Last Supper in her diary and placed her appointment book on the stairs leading up to the bathroom Marvin Israel found her body in the bathtub two days later she was 48 years old 4 6 Photographer Joel Meyerowitz told journalist Arthur Lubow If she was doing the kind of work she was doing and photography wasn t enough to keep her alive what hope did we have 24 Legacy Edit Arbus s work has had such an influence on other photographers that it is already hard to remember how original it was wrote the art critic Robert Hughes in a November 1972 issue of Time magazine 60 She has been called a seminal figure in modern day photography and an influence on three generations of photographers 3 and is widely considered to be among the most influential artists of the last century 61 12 62 When the film The Shining directed by Stanley Kubrick was released to cinemas worldwide in 1980 and became hugely successful millions of moviegoers experienced Diane Arbus legacy without realizing it The movie s recurring characters of identical twin girls who are wearing identical dresses appear on screen as a result of a suggestion Kubrick received from crew member Leon Vitali He is described by film historian Nick Chen as Kubrick s right hand man from the mid 70s onwards 63 Chen goes on to reveal Not only did Vitali videotape and interview 5 000 kids to find the right child actor to portray Jack Nicholson s character s son Danny he was also responsible for discovering the creepy twin sisters on the final day of auditions The pair in fact weren t twins in Kubrick s script and it was Vitali who immediately suggested Diane Arbus infamous photo of two identical twin sisters as a point of reference 63 Since Arbus died without a will the responsibility for overseeing her work fell to her daughter Doon 4 She forbade examination of Arbus correspondence and often denied permission for exhibition or reproduction of Arbus photographs without prior vetting to the ire of many critics and scholars 4 The editors of an academic journal published a two page complaint in 1993 about the estate s control over Arbus images and its attempt to censor characterizations of subjects and the photographer s motives in article about Arbus A 2005 article called the estate s allowing the British press to reproduce only fifteen photographs an attempt to control criticism and debate 64 On the other hand it is common institutional practice in the U S to include only a handful of images for media use in an exhibition press kit 65 66 67 68 The estate was also criticized in 2008 for minimizing Arbus early commercial work although those photographs were taken by Allan Arbus and credited to the Diane and Allan Arbus Studio 4 33 In 2011 a review in The Guardian of An Emergency in Slow Motion The Inner Life of Diane Arbus by William Todd Schultz references the famously controlling Arbus estate who as Schultz put it recently seem to have this idea which I disagree with that any attempt to interpret the art diminishes the art 69 In 1972 Arbus was the first photographer to be included in the Venice Biennale her photographs were described as the overwhelming sensation of the American Pavilion and an extraordinary achievement 14 51 52 15 70 The Museum of Modern Art held a retrospective curated by John Szarkowski of Arbus s work in late 1972 that subsequently traveled around the United States and Canada through 1975 71 it was estimated that over seven million people saw the exhibition 29 A different retrospective curated by Marvin Israel and Doon Arbus traveled around the world between 1973 and 1979 71 Doon Arbus and Marvin Israel edited and designed a 1972 book Diane Arbus An Aperture Monograph published by Aperture and accompanying the Museum of Modern Art s exhibition 8 It contained eighty of Arbus photographs as well as texts from classes that she gave in 1971 some of her writings and interviews 8 72 In 2001 04 Diane Arbus An Aperture Monograph was selected as one of the most important photobooks in history 72 73 74 75 Neil Selkirk a former student began printing for the 1972 MOMA retrospective and Aperture Monograph 1 214 269 He remains the only person who is authorized to make posthumous prints of Arbus work 76 A half hour documentary film about Arbus life and work known as Masters of Photography Diane Arbus or Going Where I ve Never Been The Photography of Diane Arbus was produced in 1972 and released on video in 1989 77 78 The voiceover was drawn from recordings made of Arbus photography class by Ikkō Narahara and voiced by Mariclare Costello who was Arbus friend and the wife of her ex husband Allan Patricia Bosworth wrote an unauthorized biography of Arbus published in 1984 Bosworth reportedly received no help from Arbus s daughters or from their father or from two of her closest and most prescient friends Avedon and Marvin Israel 29 The book was also criticized for insufficiently considering Arbus s own words for speculating about missing information and for focusing on sex depression and famous people instead of Arbus art 22 In 1986 Arbus was inducted into the International Photography Hall of Fame and Museum 79 Between 2003 and 2006 Arbus and her work were the subject of another major traveling exhibition Diane Arbus Revelations which was organized by the San Francisco Museum of Modern Art Accompanied by a book of the same name the exhibition included artifacts such as correspondence books and cameras as well as 180 photographs by Arbus 22 19 47 By making substantial public excerpts from Arbus s letters diaries and notebooks the exhibition and book undertook to claim the center ground on the basic facts relating to the artist s life and death 80 Because Arbus s estate approved the exhibition and book the chronology in the book is effectively the first authorized biography of the photographer 1 121 225 6 In 2006 the fictional film Fur An Imaginary Portrait of Diane Arbus was released starring Nicole Kidman as Arbus it used Patricia Bosworth s unauthorized biography Diane Arbus A Biography as a source of inspiration Critics generally took issue with the film s fairytale portrayal of Arbus 81 82 The Metropolitan Museum of Art purchased twenty of Arbus photographs valued at millions of dollars and received Arbus archives which included hundreds of early and unique photographs and negatives and contact prints of 7 500 rolls of film as a gift from her estate in 2007 83 In 2018 The New York Times published a belated obituary of Arbus 3 as part of the Overlooked history project 59 84 Critical reception EditIn a 1967 review of MoMA s New Documents exhibition which featured the work of Diane Arbus Lee Friedlander and Garry Winogrand Max Kozloff wrote What these photographers have in common is a complete loss of faith in the mass media as vehicle or even market for their work Newsiness from the journalistic point of view and stories from the literary one in any event do not interest them Arbus refusal to be compassionate her revulsion against moral judgment lends her work an extraordinary ethical conviction 85 Writing for Arts Magazine Marion Magid stated Because of its emphasis on the hidden and the eccentric this exhibit has first of all the perpetual if criminal allure of a sideshow One begins by simply craving to look at the forbidden things one has been told all one s life not to stare at One does not look at such subjects with impunity as anyone knows who has ever stared at the sleeping face of a familiar person and discovered its strangeness Once having looked and not looked away we are implicated When we have met the gaze of a midget or a female impersonator a transaction takes place between the photograph and the viewer in a kind of healing process we are cured of our criminal urgency by having dared to look The picture forgives us as it were for looking In the end the great humanity of Diane Arbus art is to sanctify that privacy which she seems at first to have violated 86 28 Robert Hughes in a Time magazine review of the 1972 Diane Arbus retrospective at MoMA wrote Arbus did what hardly seemed possible for a still photographer She altered our experience of the face 60 In his review of the 1972 retrospective Hilton Kramer stated that Arbus was one of those figures as rare in the annals of photography as in the history of any other medium who suddenly by a daring leap into a territory formerly regarded as forbidden altered the terms of the art she practiced she completely wins us over not only to her pictures but to her people because she has clearly come to feel something like love for them herself 87 Susan Sontag wrote an essay in 1973 entitled Freak Show that was critical of Arbus work it was reprinted in her 1977 book On Photography as America Seen Through Photographs Darkly 22 Among other criticisms Sontag opposed the lack of beauty in Arbus work and its failure to make the viewer feel compassionate about Arbus s subjects 88 Sontag s essay itself has been criticized as an exercise in aesthetic insensibility and exemplary for its shallowness 22 19 Sontag has also stated that the subjects of Arbus s photographs are all members of the same family inhabitants of a single village Only as it happens the idiot village is America Instead of showing identity between things which are different Whitman s democratic vista everybody is the same 44 A 2009 article noted that Arbus had photographed Sontag and her son in 1965 causing one to wonder if Sontag felt this was an unfair portrait 88 Philip Charrier argues in a 2012 article that despite its narrowness and widely discussed faults Sontag s critique continues to inform much of the scholarship and criticism of Arbus s oeuvre The article proposes overcoming this tradition by asking new questions and by shifting the focus away from matters of biography ethics and Arbus s suicide 80 In Susan Sontag s essay Freak Show she writes The authority of Arbus s photographs comes from the contrast between their lacerating subject matter and their calm matteroffact attentiveness This quality of attention the attention paid by the photographer the attention paid by the subject to the act of being photographed creates the moral theater of Arbus s straight on contemplative portraits Far from spying on freaks and pariahs catching them unawares the photographer has gotten to know them reassured them so that they pose for her as calmly and stiffly as any Victorian notable sat for a studio portrait by Nadar or Julia Margaret Cameron A large part of the mystery of Arbus s photographs lies in what they suggest about how her subjects felt after consenting to be photographed Do they see themselves the viewer wonders like that Do they know how grotesque they are It seems as if they don t 89 Judith Goldman in 1974 posited that Arbus camera reflected her own desperateness in the same way that the observer looks at the picture and then back at himself 90 David Pagel s 1992 review of the Untitled series states These rarely seen photographs are some of the most hauntingly compassionate images made with a camera The range of expressions Arbus has captured is remarkable in its startling shifts from carefree glee to utter trepidation ecstatic self abandonment to shy withdrawal and simple boredom to neighborly love Perhaps the most intriguing aspect of her photographs is the way they combine sentiments we all share with experiences we can imagine but never know 49 In reviewing Diane Arbus Untitled for Artforum Nan Goldin said She was able to let things be as they are rather than seeking to transform them The quality that defines her work and separates it from almost all other photography is her ability to empathize on a level far beyond language Arbus could travel in the mythic sense Perhaps out of the desire not to be herself she tried on the skins of others and took us along for the trip Arbus was obsessed with people who manifested trauma maybe because her own crisis was so internalized She was able to look full in the faces we normally avert our eyes from and to show beauty there as well as pain Her work is often difficult but it isn t cruel She undertook that greatest act of courage to face the terror of darkness and remain articulate 91 Hilton Als reviewed Untitled in 1995 for The New Yorker saying The extraordinary power of Untitled confirms our earliest impression of Arbus s work namely that it is as iconographic as it gets in any medium 92 In her review of the traveling exhibition Diane Arbus Revelations Francine Prose writes Even as we grow more restive with conventional religion with the intolerance and even brutality it so frequently exacts in trade for meaning and consolation Arbus s work can seem like the bible of a faith to which one can almost imagine subscribing the temple of the individual and irreducible human soul the church of obsessive fascination and compassion for those fellow mortals whom on the basis of mere surface impressions we thoughtlessly misidentify as the wretched of the earth 93 Barbara O Brien in a 2004 review of the exhibition Diane Arbus Family Albums found her and August Sander s work filled with life and energy 94 Peter Schjeldahl in a 2005 review of the exhibition Diane Arbus Revelations for The New Yorker stated She turned picture making inside out She didn t gaze at her subjects she induced them to gaze at her Selected for their powers of strangeness and confidence they burst through the camera lens with a presence so intense that whatever attitude she or you or anyone might take toward them disintegrates You may feel crazily that you have never really seen a photograph before Nor is this impression of novelty evanescent Over the years Arbuses that I once found devastating have seemed to wait for me to change just a little then to devastate me all over again No other photographer has been more controversial Her greatness a fact of experience remains imperfectly understood 19 Michael Kimmelman wrote in 2005 If the proper word isn t spirituality then it s grace Arbus touches her favorite subjects with grace It s in the spread arm pose of the sword swallower in the tattooed human pincushion like St Sebastian and in the virginal waitress at the nudist camp with her apron and order pad and her nicked shin And it s famously in the naked couple in the woods like Adam and Eve after the Fall 11 Ken Johnson reviewing a show of Arbus s lesser known works in 2005 wrote Arbus s perfectly composed usually centered images have a way of arousing an almost painfully urgent curiosity Who is the boy in the suit and tie and fedora who looks up from the magazine in a neighborhood store and fixes us with a gaze of unfathomable seriousness What is the story with the funny birdlike lady with the odd floppy knit hat perched on her head What is the bulky dark man in the suit and hat saying to the thin well dressed older woman with the pinched masklike face as he jabs the air with a finger while they walk in Central Park Arbus was a wonderful formalist and just as wonderful a storyteller the Flannery O Connor of photography 95 Leo Rubinfien wrote in 2005 No photographer makes viewers feel more strongly that they are being directly addressed When her work is at its most august Arbus sees through her subject s pretensions her subject sees that she sees and an intricate parley occurs around what the subject wants to show and wants to conceal She loved conundrum contradiction riddle and this as much as the pain in her work puts it near Kafka s and Beckett s I doubt anyone in the modern arts not Kafka not Beckett has strung such a long delicate thread between laughter and tears 22 In Stephanie Zacharek s 2006 review of the movie Fur An Imaginary Portrait of Diane Arbus she writes When I look at her pictures I see not a gift for capturing whatever life is there but a desire to confirm her suspicions about humanity s dullness stupidity and ugliness 82 Wayne Koestenbaum asked in 2007 whether Arbus s photographs humiliate the subjects or the viewers 96 In a 2013 interview for the Los Angeles Review of Books he also said She s finding little pockets of jubilation that are framed within each photograph The obvious meaning of the photograph is abjection but the obtuse meaning is jubilation beauty staunchness pattern 97 Mark Feeney s 2016 The Boston Globe review of in the beginning at the Met Breuer states It s not so much that Arbus changed how we see the world as how we allow ourselves to see it Underbelly and id are no less part of society for being less visible Outcasts and outsiders become their own norm and with Arbus as ambassador ours too She witnesses without ever judging 98 In a 2018 review for The New York Times on Diane Arbus s Untitled series Arthur Lubow writes The Untitled photographs evoke paintings by Ensor Bruegel and especially the covens and rituals conjured up by Goya In the almost half century that has elapsed since Arbus made the Untitled pictures photographers have increasingly adopted a practice of constructing the scenes they shoot and altering the pictures with digital technology in an effort to bring to light the visions in their heads The Untitled series one of the towering achievements of American art reminds us that nothing can surpass the strange beauty of reality if a photographer knows where to look And how to look 48 Adam Lehrer wrote in his Forbes review of Untitled Arbus calls attention to vibrant expressions of joy while never letting us forget life s eternal anguish Some critics have suggested that Arbus sees herself in her subjects But perhaps that s only partially true It s probably a more factual assertion to claim that Arbus sees all of us in her subjects Arbus s only delusion was believing or hoping that others would share her peculiar fixations But to say that her work is merely about human imperfection is both accurate and laughably dismissive Arbus surely was focused on human imperfection but within imperfection she found unvarnished perfect humanity And humanity to Arbus was beautiful 99 Some of Arbus s subjects and their relatives have commented on their experience being photographed by Diane Arbus The father of the twins pictured in Identical Twins Roselle N J 1967 said We thought it was the worst likeness of the twins we d ever seen I mean it resembles them but we ve always been baffled that she made them look ghostly None of the other pictures we have of them looks anything like this 100 Writer Germaine Greer who was the subject of an Arbus photograph in 1971 criticized it as an undeniably bad picture and Arbus s work in general as unoriginal and focusing on mere human imperfection and self delusion 101 Norman Mailer said in 1971 Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child 29 102 Mailer was reportedly displeased with the well known spread legged New York Times Book Review photo Arbus photographed him in 1963 102 103 Colin Wood the subject of Child With a Toy Grenade in Central Park said She saw in me the frustration the anger at my surroundings the kid wanting to explode but can t because he s constrained by his background 104 Publications EditDiane Arbus An Aperture Monograph Edited by Doon Arbus and Marvin Israel Accompanied an exhibition at Museum of Modern Art New York New York Aperture 1972 ISBN 9780912334400 New York Aperture 1997 ISBN 9780893816940 Fortieth anniversary edition New York Aperture 2011 ISBN 978 1 59711 174 4 hardback ISBN 978 1 59711 175 1 paperback Diane Arbus Magazine Work Edited by Doon Arbus and Marvin Israel With texts by Diane Arbus and an essay by Thomas W Southall New York Aperture 1984 ISBN 978 0 89381 233 1 London Bloomsbury 1992 ISBN 9780893812331 Untitled Edited by Doon Arbus and Yolanda Cuomo New York Aperture 1995 ISBN 978 0 89381 623 0 New York Aperture 2011 ISBN 978 1 59711 190 4 Diane Arbus Revelations New York Random House 2003 ISBN 9780375506208 Includes essays by Sandra S Phillips The question of belief and Neil Selkirk In the darkroom a chronology by Elisabeth Sussman and Doon Arbus including text by Diane Arbus afterword by Doon Arbus and biographies of fifty five of Arbus s friends and colleagues by Jeff L Rosenheim Accompanied an exhibition that premiered at San Francisco Museum of Modern Art Diane Arbus A Chronology 1923 1971 New York Aperture 2011 ISBN 978 1 59711 179 9 By Elisabeth Sussman and Doon Arbus Contains the chronology and biographies from Diane Arbus Revelations Silent Dialogues Diane Arbus amp Howard Nemerov San Francisco Fraenkel Gallery 2015 ISBN 978 1881337416 By Alexander Nemerov diane arbus in the beginning New York Metropolitan Museum of Art 2016 ISBN 978 1588395955 By Jeff L Rosenheim Accompanied an exhibition that premiered at The Metropolitan Museum of Art Diane Arbus A box of ten photographs New York Aperture 2018 ISBN 978 1597114394 By John P Jacob Accompanied an exhibition that premiered at the Smithsonian American Art Museum Diane Arbus Revelations New York Aperture 2022 ISBN 9781597115384 Notable photographs Edit Child with Toy Hand Grenade in Central Park N Y C 1962 1962 Identical Twins Roselle New Jersey 1967 Eddie Carmel Jewish Giant taken at Home with His Parents in the Bronx New York 1970 Arbus s most well known photographs include Child with Toy Hand Grenade in Central Park N Y C 1962 Colin Wood 100 with the left strap of his jumper awkwardly hanging off his shoulder tensely holds his long thin arms by his side Clenching a toy grenade in his right hand and holding his left hand in a claw like gesture his facial expression is one of consternation The contact sheet 105 demonstrates that Arbus made an editorial choice in selecting which image to print 106 A print of this photograph was sold in 2015 at auction for 785 000 an auction record for Arbus 107 Teenage Couple on Hudson Street N Y C 1963 Wearing long coats and worldlywise expressions two adolescents appear older than their ages 108 Triplets in Their Bedroom N J 1963 Three girls sit at the head of a bed 108 11 A Young Brooklyn Family Going for a Sunday Outing N Y C 1966 Richard and Marylin Dauria who lived in the Bronx Marylin holds their baby daughter and Richard holds the hand of their young son who is intellectually disabled 40 109 A Young Man in Curlers at Home on West 20th Street N Y C 1966 A close up shows the man s pock marked face with plucked eyebrows and his hand with long fingernails holds a cigarette Early reactions to the photograph were strong for example someone spat on it in 1967 at the Museum of Modern Art 22 A print was sold for 198 400 at a 2004 auction 110 Boy With a Straw Hat Waiting to March in a Pro War Parade N Y C 1967 With an American flag at his side he wears a bow tie a pin in the shape of a bow tie with an American flag motif and two round button badges Bomb Hanoi and God Bless America Support Our Boys in Viet Nam The image may cause the viewer to feel both different from the boy and sympathetic toward him 11 An art consulting firm purchased a print for 245 000 at a 2016 auction 111 Identical Twins Roselle N J 1967 Young twin sisters Cathleen and Colleen Wade 100 stand side by side in dark dresses The uniformity of their clothing and haircut characterize them as being twins while the facial expressions strongly accentuate their individuality 106 This photograph is echoed in Stanley Kubrick s film The Shining which features twins in an identical pose as ghosts 100 A print was sold at auction for 732 500 in 2018 112 A Family on Their Lawn One Sunday in Westchester N Y 1968 A woman and a man sunbathe while a boy bends over a small plastic wading pool behind them In 1972 Neil Selkirk was put in charge of producing an exhibition print of this image when Marvin Israel advised him to make the background trees appear like a theatrical backdrop that might at any moment roll forward across the lawn 1 270 This anecdote illustrates vividly just how fundamental dialectics between appearance and substance are for the understanding of Arbus s art 106 A print was sold at auction in 2008 for 553 000 113 A Naked Man Being a Woman N Y C 1968 The subject has been described as in a Venus on the half shell pose 4 referring to The Birth of Venus by Sandro Botticelli or as a Madonna turned in contrapposto with his penis hidden between his legs 11 referring to a Madonna in contrapposto The parted curtain behind the man adds to the theatrical quality of the photograph 30 A Very Young Baby N Y C 1968 A photograph for Harper s Bazaar depicts Gloria Vanderbilt s then infant son the future CNN anchorman Anderson Cooper 100 A Jewish Giant at Home with His Parents in The Bronx N Y 1970 Eddie Carmel the Jewish Giant stands in his family s apartment with his much shorter mother and father Arbus reportedly said to a friend about this picture You know how every mother has nightmares when she s pregnant that her baby will be born a monster I think I got that in the mother s face 114 The photograph motivated Carmel s cousin to narrate a 1999 audio documentary about him 115 A print was sold at auction for 583 500 in 2017 116 In addition Arbus s A box of ten photographs was a portfolio of selected 1963 1970 photographs in a clear Plexiglas box frame that was designed by Marvin Israel and was to have been issued in a limited edition of 50 26 117 However Arbus completed only eight boxes 14 137 and sold only four two to Richard Avedon one to Jasper Johns and one to Bea Feitler 1 220 6 61 After Arbus s death under the auspices of the Estate of Diane Arbus Neil Selkirk began printing to complete Arbus s intended edition of 50 14 78 In 2017 one of these posthumous editions sold for 792 500 in 2017 118 Notable solo exhibitions Edit1967 New Documents Museum of Modern Art New York 119 1972 Diane Arbus Portfolio 10 Photos Venice Biennale 70 1972 1975 Diane Arbus 125 photographs curated by John Szarkowski Museum of Modern Art New York Baltimore Worcester Art Museum Massachusetts Museum of Contemporary Art Chicago Walker Art Center Minneapolis National Gallery of Canada Ottawa Detroit Institute of Arts Witte Memorial Museum San Antonio Texas New Orleans Museum of Art Berkeley Art Museum and Pacific Film Archive California Museum of Fine Arts Houston Florida Center for the Arts University of South Florida Tampa and Krannert Art Museum University of Illinois Champaign 71 1973 79 Diane Arbus Retrospective 118 photographs curated by Doon Arbus and Marvin Israel Seibu Museum Tokyo Hayward Gallery London Ikon Gallery Birmingham England Scottish Arts Council Edinburgh Scotland Van Abbe Museum Eindhoven The Netherlands Van Gogh Museum Amsterdam Lenbachhaus Stadtische Galerie Munich Germany Von der Heydt Museum Wuppertal Germany Frankfurter Kunstverein 14 galleries and museums in Australia and 7 galleries and museums in New Zealand 71 1980 Diane Arbus Vintage Unpublished Photographs Robert Miller Gallery New York 120 Fraenkel Gallery New York 119 1983 Diane Arbus Photographs Palazzo della Cento Finestre Florence Palazzo Fortuny Venice Palazzo delle Esposizioni Milan 119 1984 1987 Diane Arbus Magazine Work 1960 1971 Spencer Museum of Art Lawrence Kansas Minneapolis Institute of Art Minneapolis University of Kentucky Art Museum Lexington University Art Museum California State University Long Beach Neuberger Museum State University of New York at Purchase Wellesley College Museum Massachusetts and Philadelphia Museum of Art 71 1986 Diane Arbus American Center Paris La Fundacion la Caixa Barcelona Spain La Fundacion la Caixa Madrid Robert Klein Gallery Boston MA Light Factory Charlotte NC 119 1991 Diane Arbus Ydessa Hendeles Art Foundation Toronto 114 121 1992 Diane Arbus The Untitled Series 1970 1971 Jan Kesner Gallery Los Angeles 49 122 1995 The Movies Photographs from 1956 to 1958 Robert Miller Gallery New York 123 1997 Diane Arbus Women Galleria Photology London 29 124 2003 2006 Diane Arbus Revelations San Francisco Museum of Modern Art Los Angeles County Museum of Art Museum of Fine Arts Houston Metropolitan Museum of Art New York Museum Folkwang Essen Germany Victoria and Albert Museum London CaixaForum Barcelona and Walker Art Center Minneapolis 22 47 2004 2005 Diane Arbus Family Albums Mount Holyoke College Art Museum South Hadley Massachusetts Grey Art Gallery New York Portland Museum of Art Maine Spencer Museum of Art Lawrence Kansas and Portland Art Museum Oregon 125 44 126 127 2005 Diane Arbus Other Faces Other Rooms Robert Miller Gallery New York 95 2007 Something Was There Early Work by Diane Arbus Fraenkel Gallery San Francisco 128 2008 2009 Diane Arbus a Printed Retrospective 1960 1971 Kadist Art Foundation Paris and Centre Regional de la Photographie Nord Pas de Calais Douchy les Mines France 129 2009 Diane Arbus Timothy Taylor Gallery London 130 2009 2018 Artist Rooms Diane Arbus National Museum Cardiff Wales and Dean Gallery Edinburgh Scotland 130 131 Scottish National Gallery of Modern Art Edinburgh Nottingham Contemporary Aberdeen Art Gallery Tate Modern London Kirkcaldy Galleries The Burton at Bideford 119 2010 Diane Arbus Christ in a Lobby and Other Unknown or Almost Known Works Fraenkel Gallery San Francisco 132 Martin Gropius Bau Berlin FOAM Amsterdam 119 2011 Diane Arbus People and Other Singularities Gagosian Gallery Beverly Hills California 119 2011 2013 Diane Arbus Galerie nationale du Jeu de Paume Paris 133 Fotomuseum Winterthur 134 Martin Gropius Bau Berlin 135 and Foam Fotografiemuseum Amsterdam 136 2016 2017 diane arbus in the beginning Metropolitan Museum of Art New York San Francisco Museum of Modern Art San Francisco Malba Buenos Aires Argentina 137 138 119 2013 Diane Arbus 1971 1956 Fraenkel Gallery San Francisco 119 2017 Diane Arbus In the Park Levy Gorvy New York citation needed 2018 Diane Arbus A Box of ten photographs Smithsonian American Art Museum Washington D C 139 2018 Diane Arbus Untitled David Zwirner Gallery New York 140 48 141 2019 Diane Arbus In the Beginning Hayward Gallery London 142 143 2020 Diane Arbus Photographs 1956 1971 Art Gallery of Ontario Toronto 144 Collections EditArbus s work is held in the following permanent collections Akron Art Museum 145 Art Gallery of Ontario Canada 119 Art Institute of Chicago IL 119 BA CA Kunstforum Bank Austria Art Collection Wien 146 Bibliotheque nationale de France Paris 119 Birmingham Museum of Art Birmingham Alabama 147 Center for Creative Photography Tucson 148 Cleveland Museum of Art 149 Davison Art Center Wesleyan University Middletown Connecticut 150 Fotomuseum Winterthur Switzerland 119 Frances Lehman Loeb Art Center Poughkeepsie 151 George Eastman House Rochester New York 119 Goetz Collection Munich 152 Harvard Art Museums Fogg Museum Cambridge MA 153 International Center of Photography New York City 154 Institut Valencia d Art Modern Valencia Spain 155 J Paul Getty Museum Los Angeles California 119 John and Mable Ringling Museum of Art Sarasota 156 Kalamazoo Institute of Arts Kalamazoo MI 157 KMS Fine Art Group Baar Switzerland 158 159 Los Angeles County Museum of Art 160 Maison Europeene de la Photographie Paris 119 Metropolitan Museum of Art New York 161 Milwaukee Art Museum 162 Minneapolis Institute of Art 163 Moderna Museet Malmo 164 Moderna Museet Stockholm 165 Morgan Library amp Museum New York 119 Museum of Contemporary Art Los Angeles California 166 Museum of Contemporary Photography Chicago IL 119 Museum of Fine Arts Boston Massachuesetts 119 Museum of Fine Arts Houston Texas 119 Museum of Fine Arts St Petersburg Florida 167 168 Museum Folkwang Essen Germany 119 Museum of Modern Art New York 119 Musee National d Art Moderne Centre Pompidou Paris 119 Museo Nacional Centro de Arte Reina Sofia Madrid 169 National Gallery of Art Washington D C 119 National Gallery of Australia Canberra Australia 119 National Gallery of Canada Ottawa 170 171 National Museum of Modern Art Tokyo 119 New Orleans Museum of Art 172 173 New York Public Library Main Branch New York 119 Pier 24 Photography San Francisco California 119 The Progressive Art Collection Mayfield Village 174 Rijksmuseum Amsterdam The Netherlands 119 San Francisco Museum of Modern Art California 119 Smithsonian American Art Museum Washington D C 119 Spencer Museum of Art Lawrence 175 Stedelijk Museum Amsterdam The Netherlands 119 Sweet Briar College Art Gallery Sweet Briar Virginia 176 Tate 177 and National Galleries of Scotland UK jointly held 178 Tokyo Metropolitan Art Museum 179 Japan 119 Vancouver Art Gallery Vancouver 180 Victoria and Albert Museum London 119 Whitney Museum New York 119 Williams College Museum of Art Williamstown Massachusetts 181 Ydessa Hendeles Art Foundation Toronto 182 183 Yokohama Museum of Art Yokohama Japan 184 References Edit a b c d e f g h i j k l m n o p q Diane Arbus Revelations New York Random House 2003 ISBN 0 375 50620 9 Diane Arbus her vision life and death by Patricia Bosworth The New York Times 13 May 1984 Accessed 10 May 2017 a b c d e Estrin James 8 March 2018 Diane Arbus 1923 1971 The New York Times Retrieved 6 November 2018 a b c d e f g h i j k l m n o p Lubow Arthur 14 September 2003 Arbus Reconsidered The New York Times Magazine Retrieved 1 November 2018 Arthur Lubow 2016 06 07 Diane Arbus Portrait of a Photographer 1st ed New York City ISBN 9780062234322 OCLC 950881745 a b c d e f g h i j k l m n o p q DeCarlo Tessa May 2004 A Fresh Look at Diane Arbus Smithsonian magazine Retrieved December 13 2017 Somers Davis Lynne M 2006 Encyclopedia of Twentieth Century Photography New York Routledge pp 51 56 ISBN 978 1135205430 a b c d Arbus Diane 1972 Diane Arbus An Aperture Monograph New York Aperture Foundation ISBN 978 0912334400 Bosworth Patricia Diane Arbus a Biography New York W W Norton 2005 p 250 ISBN 0 393 32661 6 Gaines Steven The Sky s the Limit Passion and Property in Manhattan New York Little Brown 2005 p 143 ISBN 0 316 60851 3 a b c d e Kimmelman Michael 11 March 2005 The Profound Vision of Diane Arbus Flaws in Beauty Beauty in Flaws The New York Times Retrieved 1 November 2018 a b c d e f g Crookston Peter 30 September 2005 Extra Ordinary The Guardian Retrieved 12 November 2018 Arbus Diane 1984 Diane Arbus Magazine Work New York Aperture Foundation ISBN 978 0 89381 233 1 a b c d e f g h i Jacob John P 2018 A box of ten photographs New York Aperture Foundation ISBN 978 1597114394 a b c John Simon Guggenheim Memorial Foundation Fellows Diane Arbus Archived 2010 11 25 at the Wayback Machine Retrieved February 4 2010 Kramer Hilton 17 June 1972 Arbus Photos at Venice Show Power The New York Times Retrieved 1 November 2018 Woman s studies The Independent 1997 10 18 Retrieved 2019 03 16 Baker Kenneth 2003 10 19 Diane Arbus in a new light SFMOMA exhibition shatters preconceptions about photographer and her subjects SFGate Retrieved 2019 03 16 a b c d Schjeldahl Peter Looking Back Diane Arbus at the Met The New Yorker March 21 2005 Retrieved February 4 2010 a b Bosworth Patricia 2005 Diane Arbus A Biography New York W W Norton ISBN 0393326616 OCLC 57592149 Diane Arbus Biography Art and Analysis of Works The Art Story Retrieved 2018 03 26 a b c d e f g h i j k Rubinfien Leo Where Diane Arbus Went Art in America vol 93 no 9 pp 65 71 73 75 77 October 2005 Bosworth Patricia May 13 1984 Diane Arbus The New York Times Magazine pp 42 59 a b c d Mar Alex March 11 2017 The Cost of Diane Arbus s Life on the Edge The Cut Hinckley David M A S H actor Allan Arbus dead at 95 New York Daily News Retrieved 13 December 2014 a b c Gefter Philip In Portraits by Others a Look That Caught Avedon s Eye The New York Times August 27 2006 Retrieved March 5 2010 McGill Douglas C 24 April 1987 Margaret Israel 57 An Artist The New York Times Retrieved 6 November 2018 a b Ault Alicia 24 April 2018 A Window into the World of Diane Arbus Photographs from the portfolio A box of 10 reveal photographer s secrets Smithsonian Retrieved 13 November 2018 a b c d e f g Muir Robin Woman s Studies The Independent London October 18 1997 Retrieved February 4 2010 a b c d Sass Louis A Hyped on Clarity Diane Arbus and the Postmodern Condition Raritan vol 25 no 1 pp 1 37 Summer 2005 a b c Ronnen Meir The Velazquez of New York Archived 2010 03 27 at the Wayback Machine The Jerusalem Post October 10 2003 Retrieved February 12 2010 Tarzan Deloris Arbus Her Brutal Lens Disclosed Aspects Previously Unseen in Her Subjects The Seattle Times September 21 1986 a b O Neill Alistair A Young Woman N Y C Photography amp Culture vol 1 no 1 pp 7 20 July 2008 a b c Badger Gerry 2003 Arbus nee Nemerov Diane Arbus nee Nemerov Diane doi 10 1093 gao 9781884446054 article T003644 Pogrebin Robin July 10 2016 Diane Arbus The Early Years The New York Times Wood Gaby October 8 2016 Incest suicide and the real reason we should remember Diane Arbus The Telegraph Retrieved March 7 2018 Diane Arbus Photography Bio Ideas The Art Story Retrieved 2019 03 16 Krasinski Jennifer 26 July 2016 The Met Breuer s Diane Arbus Exhibition Is a Tour de Force thevillagevoice com The Village Voice Retrieved 6 November 2018 Fox Catherine Snapshot Diane Arbus True Portrait Lies Outside Film The Atlanta Journal Constitution Dec 03 2006 ProQuest 2 Mar 2017 a b Lacayo Richard Photography Diane Arbus Visionary Voyeurism Time November 3 2003 Retrieved February 12 2010 Prose Francine November 2003 Revisiting the Icons The intimate photography of Diane Arbus Harper s Magazine Retrieved 12 November 2018 Guggenheim Fund Grants 1 380 000 The New York Times April 29 1963 Portraits on Assignment Press Release Robert Miller Gallery Inc 1984 a b c d Kimmelman Michael 9 January 2004 Diane Arbus a Hunter Wielding a Lens The New York Times Retrieved 7 November 2018 The Other Side of Diane Arbus Society vol 28 no 2 pp 75 79 January February 1991 Szarkowski John From the Picture Press New York Museum of Modern Art 1973 a b c Metropolitan Museum of Art Diane Arbus Revelations More About This Exhibition March 8 2005 May 30 2005 Retrieved February 7 2010 a b c Lubow Arthur 15 November 2018 Arbus Untitled and Uneartlhy The New York Times Retrieved 16 November 2018 a b c Pagel David Diane Arbus Pictures from the Institutions Los Angeles Times May 15 1992 Retrieved February 12 2010 Lehrer Adam 6 November 2018 Diane Arbus Untitled Works Inaugurate David Zwirner s Status as Co Reps of Artist s Estate Forbes Retrieved 12 November 2018 Arbus Diane May 1971 Five Photographs by Diane Arbus Artforum 9 9 Retrieved 13 November 2018 Leider Philip 16 October 2004 Photography Sotheby s p 150 Gefter Philip 9 July 2007 John Szarkowski Curator of Photography Dies at 81 The New York Times Retrieved 26 December 2014 a b No 21 PDF Museum of Modern Art Retrieved 26 December 2014 O Hagan Sean 20 July 2010 Was John Szarkowski the most influential person in 20th century photography The Guardian Retrieved 26 December 2014 News Release Museum of Contemporary Art Chicago March 1973 Warren Lynne 2006 Encyclopedia of Twentieth Century Photography 3 Volume Set London Routledge ISBN 978 1 57958 393 4 Retrieved 27 December 2014 Estrin James 2018 03 08 Diane Arbus Called Her Portraits A Secret About a Secret The New York Times Retrieved 2019 03 16 a b Padnani Amisha 2018 03 08 How an Obits Project on Overlooked Women Was Born The New York Times Retrieved 2019 03 16 a b Hughes Robert Art to Hades with Lens Time November 13 1972 Retrieved February 12 2010 a b Bunnell Peter C January February 1973 Diane Arbus The Print Collector s Newsletter 3 6 128 130 JSTOR 44129496 100 Most influential photographers of all time aphotoeditor com aPhotoEditor 18 September 2012 Retrieved November 1 2018 a b The untold story of Stanley Kubrick s obsessive assistant www dazeddigital com October 2 2017 Retrieved November 11 2022 Diane Arbus s Carnival of Cruelty permanent dead link Evening Standard London October 14 2005 Retrieved February 14 2010 The Practical Art World www thepracticalartworld com The Practical Art World 19 June 2011 Retrieved November 19 2018 Guggenheim Press Kits www guggenheim org Guggenheim Retrieved November 19 2018 Smithsonian American Art Museum Exhibition Press Kits www americanart si edu Smithsonian American Art Museum Retrieved November 19 2018 Yale University Art Gallery www artgallery yale edu Yale University Art Gallery Retrieved November 19 2018 O Hagan Sean July 26 2011 Diane Arbus humanist or voyeur The Guardian Retrieved November 19 2018 a b Kramer Hilton Arbus Photos at Venice Show Power The New York Times June 17 1972 a b c d e Cheim Read Diane Arbus www cheimread com Retrieved November 7 2018 a b Parr Martin and Gerry Badger The Photobook a History vol I London amp New York Phaidon 2004 ISBN 0 7148 4285 0 Caslin Jean and D Clarke Evans Building a Photographic Library San Antonio Texas Photographic Society 2001 ISBN 1 931427 00 3 Roth Andrew editor The Book of 101 Books Seminal Photographic Books of the 20th Century New York PPP Editions in association with Roth Horowitz LLC 2001 ISBN 0 9670774 4 3 Roth Andrew editor The Open Book a History of the Photographic Book from 1878 to the Present Goteborg Sweden Hasselblad Center 2004 Staff The Met 2005 Diane Arbus Legendary New York Photographer Celebrated in Retrospective at Metropolitan Museum www metmuseum org The Metropolitan Museum of Art Retrieved November 13 2018 Going Where I ve Never Been The Photography of Diane Arbus 1972 at IMDb Traditional Fine Arts Organization American Photography DVD VHS Videos Retrieved February 12 2010 Diane Arbus International Photography Hall of Fame Retrieved 2022 07 23 a b Charrier Philip September 12 2012 On Diane Arbus Establishing a Revisionist Framework of Analysis History of Photography 36 4 422 438 doi 10 1080 03087298 2012 703401 S2CID 191518565 Dargis Manohla A Visual Chronicler of Humanity s Underbelly Draped in a Pelt of Perversity The New York Times November 10 2006 Retrieved February 4 2010 a b Zacharek Stephanie Fur An Imaginary Portrait of Diane Arbus review Archived 2011 06 05 at the Wayback Machine Salon com November 10 2006 Retrieved February 3 2010 Vogel Carol A Big Gift for the Met the Arbus Archives The New York Times December 18 2007 Retrieved February 5 2010 Padnani Amisha March 8 2018 Remarkable Women We Overlooked in Our Obituaries The New York Times Retrieved March 24 2018 Kozloff Max Photography The Nation vol 204 pp 571 573 May 1 1967 Magid Marion 1 April 1967 Diane Arbus in New Documents Arts Magazine 54 Kramer Hilton From fashion to freaks The New York Times November 5 1972 a b Parsons Sarah Sontag s Lament Emotion Ethics and Photography Photography amp Culture vol 2 no 3 pp 289 302 November 2009 Sontag Susan 15 November 1973 Freak Show The New York Review of Books Retrieved 19 November 2018 Goldman Judith Diane Arbus The Gap Between Intention and Effect Art Journal vol 34 issue 1 pp 30 35 Fall 1974 Goldin Nan November 1995 Untitled Diane Arbus Artforum Als Hilton 27 November 1995 Unmasked A different kind of collection from Diane Arbus The New Yorker Retrieved 16 November 2018 Prose Francine November 2003 Revisiting the Icons The intimate photography of Diane Arbus Harper s Magazine Retrieved 16 November 2018 O Brien Barbara Learning to Read the Epic Narratives of Diane Arbus and August Sander Art New England vol 25 no 6 pp 22 23 67 October November 2004 a b Johnson Ken Art in Review Diane Arbus The New York Times September 30 2005 Retrieved February 14 2010 Koestenbaum Wayne Diane Arbus and Humiliation Studies in Gender amp Sexuality vol 8 issue 4 pp 345 347 Fall 2007 Koestenbaum Wayne 2 December 2013 Dirty Mind An Interview with Wayne Koestenbaum Los Angeles Review of Books Retrieved 16 November 2018 Feeney Mark 21 July 2016 Met Breuer exhibit shows Diane Arbus emerging The Boston Globe Lehrer Adam 6 November 2018 Diane Arbus Untitled Works Inaugurate David Zwirner s Status as Co Reps of Artist s Estate Forbes a b c d e Segal David Double Exposure a Moment with Diane Arbus Created a Lasting Impression The Washington Post May 12 2005 Retrieved February 3 2010 Greer Germaine Wrestling with Diane Arbus The Guardian October 8 2005 Retrieved February 3 2010 a b Armstrong Carol Biology Destiny Photography Difference According to Diane Arbus October vol 66 pp 28 54 Autumn 1993 Feeney Mark She Opened Our Eyes Photographer Diane Arbus Presented a New Way of Seeing Boston Globe Nov 02 2003 ProQuest 2 Mar 2017 O Hagan Sean October 25 2016 Diane Arbus Portrait of a Photographer review a disturbing study The Guardian Retrieved August 9 2017 Published in Diane Arbus Revelations 2003 p 164 and online in the article Paris Photo 6 Diane Arbus a la galerie Robert Miller 2006 a b c Bissell Gerhard Arbus Diane in Allgemeines Kunstlerlexikon Artists of the World Supplement I Saur Munich 2005 p 413 in German and Diane Arbus condensed English version Christie s Lot 26A Diane Arbus 1923 1971 Child with a toy hand grenade in Central Park N Y C 1962 www christies com Christie s Retrieved 13 November 2018 a b Brill Lesley The Photography of Diane Arbus Journal of American Culture vol 5 issue 1 pp 69 76 Spring 1982 A young Brooklyn family going for a Sunday outing N Y C 1966 Diane Arbus Adrianna Mena Archived from the original on 2011 08 22 Retrieved 2011 03 19 Artnet Art Market Watch May 4 2004 Retrieved February 6 2010 Christie s Lot 117 6 April 2016 Diane Arbus 1923 1971 Boy with a straw hat waiting to march in a pro war parade N Y C 1967 www christies com Retrieved 2018 10 12 Diane Arbus 1923 1971 Identical twins Roselle N J 1966 Retrieved 2018 10 12 Sotheby s A Family on the Lawn One Sunday in Westchester N Y permanent dead link April 8 2008 Retrieved February 7 2010 a b Hume Christopher Photography s Tragic Poet of the Bizarre Toronto Star January 11 1991 The Jewish Giant Archived 2010 06 10 at the Wayback Machine Sound Portraits Productions October 6 1999 Retrieved February 5 2010 Christie s Lot 25B 17 May 2017 Diane Arbus A Jewish Giant at Home www christies com Retrieved 2018 10 12 Pollock Lindsay The Arbus Traveling Circus The New York Sun April 21 2005 Retrieved February 5 2010 Christie s Lot 23 Diane Arbus 1923 1971 A box of ten photographs www christies com Christies Retrieved 13 November 2018 a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai Fraenkel Gallery Diane Arbus Fraenkel Gallery Fraenkel Gallery Retrieved 19 November 2018 Thornton Gene Narrative Works and Arbus The New York Times August 31 1980 Dault Gary Michael Diane Arbus Ydessa Hendeles Art Foundation Toronto C Magazine no 29 Spring 1991 Retrieved February 10 2010 Weekend s Best Daily News of Los Angeles May 29 1992 Morgan Susan Loitering with Intent Diane Arbus at the Movies Parkett number 47 pages 177 183 September 1996 Bishop Louise The Challenge of Beauty Creative Review vol 17 no 63 December 1997 Woodward Richard B Art Diane Arbus s Family Values The New York Times October 5 2003 Retrieved February 10 2010 Keefer Bob The World of Diane Arbus The Register Guard Eugene Oregon February 27 2005 Retrieved February 10 2010 Decoteau Randall Diane Arbus s Noah s Ark of Humanity Archived 2010 08 15 at the Wayback Machine New England Antiques Journal March 2005 Retrieved February 10 2010 Baker Kenneth Fraenkel Shows Us Diane Arbus Before She Even Knew Herself San Francisco Chronicle September 8 2007 Retrieved February 10 2010 Davey Moyra and Janson Simon Diane Arbus a Printed Retrospective 1960 1971 Artforum International vol 47 no 8 p 183 2009 a b Davies Lucy Diane Arbus a Flash of Familiarity The Telegraph London May 6 2009 Retrieved February 10 2010 Cooper Neil New Diane Arbus exhibition set for Dean Gallery Edinburgh The List Scotland February 23 2010 Retrieved March 5 2010 Baker Kenneth Fraenkel Gallery Pairs Sculptor and Arbus San Francisco Chronicle January 7 2010 Retrieved February 11 2010 Diane Arbus Archived from the original on 2012 06 17 Retrieved 2012 08 16 Fotomuseum Winterthur Vorschau RUckschau in German Archived from the original on 2012 12 15 Retrieved 2012 08 16 Exhibitions Museumsportal Berlin Archived from the original on 2012 06 25 Retrieved 2012 07 01 Diane Arbus Foam Press Archived from the original on 2012 10 07 Retrieved 2012 08 16 diane arbus in the beginning www metmuseum org Retrieved 2018 10 13 diane arbus SFMOMA Retrieved 2018 10 13 Diane Arbus A box of ten photographs Smithsonian American Art Museum Retrieved 2018 10 13 Lehrer Adam Diane Arbus Untitled Works Inaugurate David Zwirner s Status As Co Reps Of Artist s Estate Forbes Retrieved 2019 03 09 Tashjian Rachel Zhang Eddie 9 November 2018 A New Diane Arbus Show Presents the Vision She Spent Her Life Seeking Vice Retrieved 2019 03 09 Searle Adrian 12 February 2019 Diane Arbus In the Beginning review a genius who made every picture a story The Guardian Retrieved 2019 03 09 Review America through the lens of Diane Arbus BBC News 16 February 2019 Retrieved 2019 03 09 via www bbc co uk Diane Arbus Photographs 1956 1971 Art Gallery of Ontario Retrieved November 11 2022 Collection Akron Art Museum Retrieved 2018 03 09 Highlights of the Bank Austria Art Collection Bank Austria Kunstforum Kunstforumwien at Retrieved 2018 03 09 Birmingham Museum of Art Artists Diane Arbus United States 1923 1971 Artsbma org Retrieved 2018 03 09 Photo Friday Twins Center for Creative Photography Ccp arizona edu 2013 10 04 Archived from the original on 2018 03 09 Retrieved 2018 03 09 Search the Collection Cleveland Museum of Art Retrieved November 11 2022 Photographs after 1950 Davison Art Center Wesleyan University Retrieved 2018 03 09 Facebook Frances Lehman Loeb Art Center Vassar College Retrieved 2018 03 09 Sammlung goetz de Retrieved November 11 2022 Harvard Art Museums Harvard Art Museums Retrieved 2018 03 09 Diane Arbus Diane Arbus International Center of Photography Icp org Retrieved 2018 03 09 Women photographers in the IVAM Collection Institut Valencia d Art Modern IVAM Retrieved 2018 03 09 Posed Portrait Photography from the Permanent Collection When June 30 2017 October 29 2017 The Ringling Retrieved 2018 03 09 Bed in Mirror Kalamazoo Institute of Arts Retrieved 6 May 2020 Diane Arbus Fine Art Invest Fund Faif ch Retrieved 2018 03 09 eMuseum collection kiarts org Retrieved 2020 05 06 Diane Arbus Diane Arbus LACMA Collections Collections lacma org Retrieved 2018 03 09 Child with a toy hand grenade in Central Park N Y C National Galleries of Scotland Accessed 23 November 2016 Diane Arbus Milwaukee Art Museum Collection mam org Retrieved 2018 03 09 Diane Arbus Mia Retrieved February 17 2018 Unique collaboration Malmo Moderna Museet Malmo 22 September 2008 Retrieved 2018 03 09 Moderna Museet Collection Moderna Museet i Stockholm Modernamuseet se 1958 04 03 Retrieved 2018 03 09 Diane Arbus MOCA Moca org Retrieved 2018 03 09 Five Decades of Photography at the MFA Featuring the Dandrew Drapkin Collection Museum of Fine Arts St Petersburg Mfastpete org 2015 10 04 Retrieved 2018 03 09 Review Stunning comprehensive photography survey at Museum of Fine Arts St Petersburg Tampabay com Retrieved 2018 03 09 Arbus Diane www museoreinasofia es Retrieved November 11 2022 Diane Arbus National Gallery of Canada Gallery ca Retrieved 2018 03 09 Search the Collection National Gallery of Canada Gallery ca Retrieved 2018 03 09 First Comprehensive Exhibition Of Masterworks From New Orleans Museum Of Art Photography Collection Opens In November 2013 New Orleans Museum of Art October 28 2013 Retrieved November 11 2022 You searched for Arbus Diane New Orleans Museum of Art Retrieved November 11 2022 The Progressive Art Collection Institution artfacts net Retrieved November 11 2022 Spencerart ku edu Spencer Museum of Art Accessed 7 March 2018 Oldweb sdc edu Diane Arbus Child with a Toy Hand Grenade in Central Park N Y C 1962 1962 printed after 1971 Tate Accessed 23 November 2016 Diane Arbus Child with a Toy Hand Grenade in Central Park N Y C 1962 National Galleries of Scotland Accessed 23 November 2016 Tobikan dead link Vanartgallery bc ca Retrieved November 11 2022 Child with a Toy Hand Grenade in Central Park NYC egallery williams edu Retrieved November 11 2022 A Piercing View of the Twentieth Century Through the Eyes of the Teddy Bear The New Yorker September 18 2016 Retrieved November 11 2022 Everett Green Robert November 5 2012 In small shows Ydessa Hendeles changed the art world Retrieved November 11 2022 via www theglobeandmail com Yokohama art museumFurther reading EditBooks Edit Arbus Doon and Diane Arbus Diane Arbus the Libraries San Francisco Fraenkel Gallery 2004 ISBN 1 881337 19 7 Bosworth Patricia Diane Arbus a Biography New York Knopf 1984 ISBN 0 394 50404 6 Reprinted by Heinemann in 1985 ISBN 0 434 08150 7 Reprinted by W W Norton in 1995 ISBN 0 393 31207 0 Reprinted by W W Norton in 2005 with a new afterword ISBN 0 393 32661 6 Reprinted by Vintage in 2005 with a new foreword ISBN 0 09 947036 5 Gibson Gregory Hubert s Freaks the Rare Book Dealer the Times Square Talker and the Lost Photos of Diane Arbus Orlando Harcourt 2008 ISBN 978 0 15 101233 6 Lee Anthony W and John Pultz Diane Arbus Family Albums New Haven Connecticut Yale University Press 2003 ISBN 0 300 10146 5 Lubow Arthur Diane Arbus Portrait of a Photographer New York Ecco Press 2016 ISBN 978 0 06 223432 2 Roegiers Patrick fr Diane Arbus ou le Reve du Naufrage Paris Chene 1985 ISBN 2 85108 374 0 Schultz William Todd An Emergency in Slow Motion The Inner Life of Diane Arbus New York Bloomsbury 2011 ISBN 1 60819 519 8 Tellgren Anna Arbus Model Stromholm Gottingen Germany Steidl 2005 ISBN 3 86521 143 7 Book chapters Edit Ashby Ruth and Deborah Gore Ohrn Herstory Women who Changed the World New York Viking 1995 ISBN 0 670 85434 4 Bissell Gerhard Arbus Diane In Allgemeines Kunstlerlexikon Artists of the World Supplement I Saur Munich 2005 p 413 in German Online edition subscription required Bunnell Peter C Degrees of Guidance Essays on Twentieth Century American Photography Cambridge and New York Cambridge University Press 1993 ISBN 0 521 32751 2 Bunnell Peter C Inside the Photograph Writings on Twentieth Century Photography New York Aperture Foundation 2006 ISBN 1 59711 021 3 Coleman A D Diane Arbus Lee Friedlander and Garry Winogrand at Century s End In The Social Scene the Ralph M Parsons Foundation Photography Collection at the Museum of Contemporary Art Los Angeles edited by Max Kozloff Los Angeles Museum of Contemporary Art 2000 ISBN 0 914357 74 3 Davies David Susan Sontag Diane Arbus and the Ethical Dimensions of Photography In Art and Ethical Criticism edited by Garry Hagberg Oxford Blackwell 2008 ISBN 978 1 4051 3483 5 Felder Deborah G The 100 Most Influential Women of All Time a Ranking Past and Present Secaucus New Jersey Carol Publishing Group 1996 ISBN 0 8065 1726 3 Gaze Delia ed Dictionary of Women Artists London and Chicago Fitzroy Dearborn Publishers 1997 ISBN 1 884964 21 4 Gefter Philip Photography After Frank New York Aperture Foundation 2009 ISBN 978 1 59711 095 2 Diane Arbus and the Demon Lover In Kavaler Adler Susan The Creative Mystique from Red Shoes Frenzy to Love and Creativity New York Routledge 1996 Pages 167 172 ISBN 0 415 91412 4 Lord Catherine What Becomes a Legend Most the Short Sad Career of Diane Arbus In The Contest of Meaning Critical Histories of Photography edited by Richard Bolton Cambridge Massachusetts MIT Press 1989 ISBN 0 262 02288 5 Naef Weston J Photographers of Genius at the Getty Los Angeles The J Paul Getty Museum 2004 ISBN 0 89236 748 2 Rose Phyllis editor Writing of Women Essays in a Renaissance Middletown Connecticut Wesleyan University Press 1985 ISBN 0 8195 5131 7 Sicherman Barbara and Carol Hurd Green Notable American Women the Modern Period a Biographical Dictionary Cambridge Massachusetts Belknap Press of Harvard University Press 1980 ISBN 0 674 62733 4 Shloss Carol Off the W rack Fashion and Pain in the Work of Diane Arbus In On Fashion edited by Shari Benstock and Suzanne Ferriss New Brunswick New Jersey Rutgers University Press 1994 ISBN 0 8135 2032 0 Stepan Peter Icons of Photography the 20th Century New York Prestel 1999 ISBN 3 7913 2001 7 Articles Edit Alexander M Darsie Diane Arbus a Theatre of Ambiguity History of Photography vol 19 no 2 pp 120 123 Summer 1995 Bedient Calvin The Hostile Camera Diane Arbus Art in America vol 73 no 1 pp 11 12 January 1985 Budick Ariella Diane Arbus Gender and Politics History of Photography vol 19 no 2 pp 123 126 Summer 1995 Budick Ariella Factory Seconds Diane Arbus and the Imperfections in Mass Culture Art Criticism vol 12 no 2 pp 50 70 1997 Charrier Philip On Diane Arbus Establishing a Revisionist Framework of Analysis History of Photography vol 36 no 4 pp 422 438 September 2012 Estrin James Diane Arbus 1923 1971 The New York Times March 8 2018 Hulick Diana Emery Diane Arbus s Women and Transvestites Separate Selves History of Photography vol 16 no 1 pp 34 39 Spring 1992 Hulick Diana Emery Diane Arbus s Expressive Methods History of Photography vol 19 no 2 pp 107 116 Summer 1995 Jeffrey Ian Diane Arbus and the American Grotesque Photographic Journal vol 114 no 5 pp 224 229 May 1974 Jeffrey Ian Diane Arbus and the Past when She Was Good History of Photography vol 19 no 2 pp 95 99 Summer 1995 Kozloff Max The Uncanny Portrait Sander Arbus Samaras Artforum vol 11 no 10 pp 58 66 June 1973 Lubow Arthur Arbus Untitled and Unearthly The New York Times November 15 2018 McPherson Heather Diane Arbus s Grotesque Human Comedy History of Photography vol 19 no 2 pp 117 120 Summer 1995 Pierpont Claudia Roth Full Exposure The New Yorker vol 92 no 15 May 23 2016 pp 56 67 Rice Shelley Essential Differences A Comparison of the Portraits of Lisette Model and Diane Arbus Artforum vol 18 no 9 pp 66 71 May 1980 Warburton Nigel Diane Arbus and Erving Goffman the Presentation of Self History of Photography vol 16 no 4 pp 401 404 Winter 1992 External links Edit Wikimedia Commons has media related to Diane Arbus Quotations related to Diane Arbus at Wikiquote The Odyssey of Diane Arbus panel discussion John Jacob with Jeffrey Fraenkel John Gossage Karan Rinaldo Jeff Rosenheim Neil Selkirk and Jasper Johns Smithsonian American Art Museum April 6 2018 Diane Arbus on The Red List Austin Hillary Mac Diane Arbus Jewish Women A Comprehensive Historical Encyclopedia March 1 2009 Bissell Gerhard Diane Arbus Davies Christie Art as Freak Show Diane Arbus Revelations at the V amp A London Social Affairs Unit December 16 2005 Lubow Arthur How Diane Arbus Became Arbus The New York Times May 26 2016 Oppenheimer Daniel Diane Arbus Jewish Virtual Library 2004 Smith Roberta Review Art Diane Arbus and Alice Neel with Attention to the Child The New York Times May 19 1989 Retrieved from https en wikipedia org w index php title Diane Arbus amp oldid 1143312887, wikipedia, wiki, book, books, library,

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