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Diane Arbus (1923–1971) is one of the most distinctive and provocative artists of the twentieth century. Her photographs of children and eccentrics, couples and circus performers, female impersonators and nudists, are among the most recognizable images of our time. This book is the definitive study of the artist’s first seven years of work, from 1956 to 1962. Drawn primarily from the rich holdings of the Metropolitan Museum’s Diane Arbus Archive—a remarkable treasury of photographs, negatives, appointment books, notebooks, and correspondence—it is an essential contribution to our understanding of Arbus and her oeuvre. diane arbus: in the beginning showcases over 100 of the artist’s early photographs, more than half of which are published here for the first time. The book provides a crucial, in-depth presentation of the artist’s genesis, showing Arbus as she developed her evocative and often haunting imagery. The photographs featured in this handsome volume reveal an artist defining her style, honing her subject matter, and in full possession of the many gifts for which she is now recognized the world over.
When Diane Arbus died in 1971 at the age of forty-eight, she was already a significant influenceeven something of a legendamong serious photographers, although only a relatively small number of her most important pictures were widely known at the time. The publication of Diane Arbus: An Aperture Monograph in 1972along with the posthumous retrospective at The Museum of Modern Artoffered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented. The monograph of eighty photographs was edited and designed by the painter Marvin Israel, Diane Arbuss friend and colleague, and by her daughter Doon Arbus. Their goal in making the book was to remain as faithful as possible to the standards by which Diane Arbus judged her own work and to the ways in which she hoped it would be seen. Universally acknowledged as a classic, Diane Arbus: An Aperture Monograph is a timeless masterpiece with editions in five languages and remains the foundation of her international reputation. Nearly half of a century has done nothing to diminish the riveting impact of these pictures or the controversy they inspire. Arbuss photographs penetrate the psyche with all the force of a personal encounter and, in doing so, transform the way we see the world and the people in it. This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessey using prints by Neil Selkirk.
Featuring 562 color photos, "Revelations" is an intimate and comprehensive study of the work of one of the most powerful photographers of the 20th century.
Catalog of an exhibition held at the Museum of Modern Art, New York.
In 1971, with an advertisement in the June issue of Artforum, Diane Arbus announced the offering of her limited-edition portfolio, A box of ten photographs. At the time of her death, one month later, only four were sold. Two were purchased from Arbus by Richard Avedon; another by Jasper Johns. The last of the four was purchased by Bea Feitler, art director at Harper's Bazaar. Arbus signed the prints in all four sets, and each was accompanied by an overlying vellum sheet inscribed with an extended caption. For Feitler, Arbus added an eleventh photograph. This is the first publication to focus exclusively on A box of ten photographs, using the eleven-print set that Arbus assembled for Feitler. It was acquired by the Smithsonian American Art Museum, Washington, D.C., in 1986, and is the only one of the four portfolios completed and sold by Arbus that is publicly held. This publication examines this unique object as the sole body of images selected by Arbus herself, and considers its legacy as a key document of her enduring impact on contemporary photographic practice. An in-depth essay features new and compelling scholarship by John P. Jacob, the McEvoy Family Curator for Photography at the Smithsonian American Art Museum. The book is published in conjunction with the exhibition Diane Arbus: A box of ten photographs, on view at the museum from April through September of 2018.
"Diane Arbus: A Chronology is the closest thing possible to a contemporaneous diary by one of the most daring, influential, and controversial artists of the twentieth century. Drawn primarily from Arbus's correspondence with friends, family, and colleagues; personal notebooks; and other unpublished writings, this beautifully produced volume exposes the astonishing vision of an artist with the courage to see things as they are and the grace to permit them simply to be. The Chronology also includes exhaustively researched footnotes, and biographies of fifty-five personalities, family members, friends, and colleagues, including Marvin Israel, Lisette Model, Weegee and August Sander." -- Publisher's description.
Silent Dialogues, by art historian Alexander Nemerov, is a probing, intimate reflection about photographer Diane Arbus, the author's aunt, and her brother, Pulitzer Prize-winning poet Howard Nemerov, the author's father. "I have no memories of Diane Arbus," begins Alexander Nemerov in the first of two meditative essays that comprise this book. "A Resemblance" examines Howard Nemerov's complicated responses to his sister's photography. "The School" focuses on a body of Arbus' work known as the Untitled series, photographs made at residences for the mentally disabled between 1969 and 1971, in the last years of her life. Through their work, the author explores the siblings' disparate and distinct sensibilities, and in doing so uncovers signs of an unexpected aesthetic kinship. Illustrations complementing the essays include numerous examples of Arbus' photographs; paintings by artists as diverse as Pieter Brueghel, Norman Rockwell, Paul Feeley and Johannes Vermeer; and a selection of poems by Howard Nemerov, chosen by his son.
Diane Arbus was one of the greatest photographers of the last century. Her portraiture of freaks, circus performers, twins, nudists and others on the social margins connected with a wide public at a deep psychological level. Her suicide in New York in 1971 overshadowed the reception to her work. Her posthumous exhibition at the Museum of Modern Art a year later drew lines around the block. She was born into a Russian-Jewish family, the Nemerovs, who owned a department store on Fifth Avenue. They were family friends with the Avedons. Richard Avedon later championed Arbus’s work. Avedon rose to greater and greater commercial success through the magazine world. Arbus died in a rent-protected apartment scrambling to earn her keep with odd teaching assignments. Lubow’s biography begins at the moment Arbus quit the world of commercial photography to be an artist. She was uncompromising in that ambition. The book ends with her death. The entire narrative is a slow march towards that event.
From the moment Bob Langmuir, a down-and-out rare book dealer, spies some intriguing photographs in the archive of a midcentury Times Square freak show, he knows he's on to something. It turns out he's made the find of a lifetime--never-before-seen prints by the legendary Diane Arbus. Furthermore, he begins to suspect that what he's found may add a pivotal chapter to what is now known about Arbus as well as about the "old weird America," in Greil Marcus's phrase, that Hubert's inhabited. Bob's ensuing adventure--a roller-coaster ride filled with bizarre characters and coincidences--takes him from the fringes of the rare book business to Sotheby's, and from the exhibits of a run-down Times Square freak show to the curator's office of the Metropolitan Museum of Art. Will the photos be authenticated? How will Arbus's notoriously protective daughter react? Most importantly, can Bob, who always manages to screw up his most promising deals, finally make just one big score?
Through an assemblage of articles, criticism, and essays, Diane Arbus: Documents charts the reception of the photographer's work and offers comprehensive insight into the critical conversations, as well as misconceptions, around this highly influential artist. Best known for her penetrating images exploring what it means to be human, Diane Arbus is a pivotal and singular figure in American postwar photography. Arbus’s black-and-white photographs demolish aesthetic conventions and upend all certainties. Both lauded and criticized for her photographs of people deemed “outsiders,” Arbus continues to be a lightning rod for a wide range of opinions surrounding her subject matter and approach. Critics and writers have described her work as “sinister” and “appalling” as well as “revelatory,” “sincere,” and “compassionate.” Illuminating fifty years in evolution of art criticism, Documents provides a new template for understanding the work of any formidable artist. Organized in eleven sections that focus on major exhibitions and significant events emerging from Arbus’s work, as well as on her methods and intentions, the seventy facsimiles of articles and essays––an archive by all accounts––trace the discourse on Diane Arbus, contextualizing her inimitable oeuvre. Supplemented by an annotated bibliography of more than six hundred entries and a comprehensive exhibition history, Documents serves as an important resource for photographers, researchers, art historians, and art critics, in addition to students of art criticism and the interested reader alike.