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Diane Arbus

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Diane Arbus
NationalityAmerican
Known forPhotography

Diane Arbus (March 14, 1923 – July 26, 1971) was an American photographer, noted for her portraits of people on the fringes of society, such as tranvestites, dwarves, giants, prostitutes, and ordinary citizens in poses and settings conveying a disturbing uncanniness.

Life

Diane Arbus (nee Nemerov) was born in New York City into a wealthy Jewish family. [1]She was overshadowed by her older brother, Howard Nemerov, who served as United States Poet Laureate on two separate occasions. She attended The Fieldston School.

Marriage

She fell in love with future actor Allan Arbus at age 14, and married him soon after turning 18, despite her parents' objections. When Allan started training as a photographer for the US Army, he shared his lessons with Diane. As a husband-wife team, the Arbuses became successful in the fashion world: Allan was the photographer, Diane was the stylist.[citation needed] As Diane began to take her own photographs, she took formal lessons with Lisette Model at The New School in New York. Edward Steichen's noted photo exhibit, The Family of Man included a photograph credited to the couple.[2] Together the Arbuses had two daughters, photographer Amy Arbus and writer and art director Doon Arbus. They had separated by 1959.

Photojournalism

After separating from her husband, Arbus studied with Alexey Brodovitch and Richard Avedon. Beginning in 1960, Arbus worked extensively as a photojournalist, her photos appearing in Esquire, The New York Times Magazine, Harper's Bazaar and Sunday Times magazines, among others. Her first public work was an assignment by Esquire editor and art director Robert Benton. Published under the title, "The Vertical Journey: Six Movements of a Moment Within the Heart of the City", consisting of six portraits of an assorted New Yorkers. Arbus would go on to collaborate with Hayes and Benton (and Benton's successors) for 31 photographs in 18 articles.[citation needed]

Early Work

Arbus' Child with Toy Hand Grenade in Central Park, New York City (1962)

Arbus' early work was created using 35mm cameras, but by the 1960s Arbus adopted the Rolleiflex medium format twin-lens reflex. This format provided a square aspect ratio, higher image resolution, and a waist-level viewfinder that allowed Arbus to connect with her subjects in ways that a standard eye-level viewfinder did not. Arbus also experimented with the use of flashes in daylight, allowing her to highlight and separate her subjects from the background.

Grants

In 1963, Arbus received a Guggenheim Fellowship grant, allowing her to focus on her art[citation needed]. Arbus received a second Guggenheim grant in 1966. The Museum of Modern Art, in 1967, staged Arbus' first museum show as the New Documents show which included the work of Garry Winogrand and Lee Friedlander. Arbus also taught photography at Parsons The New School for Design in New York and Hampshire College in Amherst, Massachusetts.

Suicide

In July 1971, Arbus committed suicide in Greenwich Village at the age of 48 by ingesting a large quantity of barbiturates and then slashing her wrists. Rumors held that she photographed her suicide[citation needed], but no photos were discovered by the police.

Legacy

Aperture magazine was crucial [citation needed] in reviving Arbus' artistic reputation. MoMA curator John Szarkowski prepared to stage a retrospective in 1972, but the accompanying Diane Arbus catalogue proposal was turned down by all major publishing houses. Aperture's Michael E. Hoffman accepted the challenge, producing one of the most influential photography books. The Aperture monograph has since been reprinted 12 times, selling more than 100,000 copies. The MoMA retrospective traveled throughout North America attracting more than 7 million viewers. Also in 1972, Arbus became the first American photographer to be represented at the Venice Biennale. Arbus' photograph Identical Twins is tenth on the list of most expensive photographs having sold in 2004 for $478,400.

Arbus is noted by critics and art historians [citation needed]for her photographs depicting outsiders, such as tranvestites, dwarves, giants, prostitutes, and ordinary citizens in poses and settings conveying a disturbing uncanniness.

Some critics[weasel words] claim that Arbus' voyeuristic approach demeaned her subjects, [3] based around a major London retrospective of Arbus's works. Admirers of Arbus's work, such as filmmaker Todd Solondz were also interviewed by the BBC and passionately defended her work. In an effort to dispel this image of only photographing freaks, Arbus undertook a study of conventional people, including Gloria Vanderbilt's infant son, future CNN anchorman Anderson Cooper, for Harper's Bazaar.[4]

Famous photographs

  • Child with Toy Hand Grenade in Central Park,[5] New York City (1962) — A scrawny boy, 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 maniacal. Arbus captured this photograph by having the boy stand while moving around him, claiming she was trying to find the right angle. The boy became impatient and told her to "Take the picture already!" His tired, frustrated expression conveys his weariness with the whole endeavor.

    This photo was also used, without permission, on the cover of punk band SNFU's first studio album, And No One Else Wanted to Play.

  • Jewish Giant at Home with His Parents in The Bronx, NY,[6] (1970) — Eddie Carmel, the "Jewish Giant", stands in his family's apartment with his much shorter mother and father.
  • In Manhattan, Diane Keaton's character says a photography exhibit is straight out of Diane Arbus, but with none of the wit.

Arbus quotes

See wikiquote:Diane Arbus

  • "Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats."[7]
  • "A photograph is a secret about a secret. The more it tells you the less you know."[citation needed]
  • "What I'm trying to describe is that it's impossible to get out of your skin into somebody else's... That somebody else's tragedy is not the same as your own."[7]
  • "I never have taken a picture I've intended. They're always better or worse."[7]
  • "My favorite thing is to go where I've never been."[7]
  • "Once I dreamed I was on a gorgeous ocean liner. All pale, gilded, encrusted with rococo - like a wedding cake. There was smoke in the air and people were drinking and gambling. I knew the ship was on fire and we were sinking slowly; they knew it, too, but they were very gay and dancing and singing and a little delirious. There was no hope. I was terribly elated. I could photograph anything I wanted."

Footnotes

  1. ^ http://movies.nytimes.com/2006/11/10/movies/10fur.html?n=Top/Reference/Times%20Topics/People/D/Downey,%20Robert%20Jr.
  2. ^ Marshall, Peter. "Diane Arbus: Key Facts". About.com. Retrieved 2006-12-22. {{cite news}}: Cite has empty unknown parameter: |coauthors= (help)
  3. ^ Katzenstein, Bill. "Revisiting Diane Arbus." Shutter Release January 2004
  4. ^ Patricia Bosworth, "Diane Arbus: A Biography", NY: W.W. Norton, 1984
  5. ^ University of Chicago
  6. ^ University of Southern California
  7. ^ a b c d Diane Arbus, edited by Doon Arbus and Marvin Israel, published by Allen Lane, London, 1974.

References

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