"Published just after her untimely death in 1971, this book--whether or not aided by the artist's notoriety--has achieved massive sales for a volume of such uncompromising photographs. Edited by Doon Arbus and Marvin Israel, its titled implies a mere trawl through her best-known images. It is that, but it also a brilliant exposé of American life. ... While it is true that she often photographed those outside society's norms, a more pertinent observation is that if she made 'normals' look like 'freaks', she also made 'freaks' look like 'normals'. Furthermore, her exploration of normalcy was complicated by gender issues. In her aggressive, full frontal 'exploitation' of her subjects, Arbus appropriated an essentially male convention: that of staring. Indeed, it may well be her assumption of this prerogative of masculine domination that has attracted much of the negative comment, compounded by her undercutting of gender stereotypes. She was a great feminist photographer. Her women and girls are invariably strong--like the confident twins [on the cover of the book]--and her men are frequently damaged or uncomfortable in their surroundings."--The Photobook : A History Volume I / Martin Parr and Gerry Badger. London : Phaidon, 2004.
This is a milestone book for which we have been waiting years. The book is published on the occasion of a retrospective exhibition starting in San Francisco in September 2003.
Lubow’s Diane Arbus finally does justice to Arbus, and brings to life the story and art of one of the greatest American artists in history. Diane Arbus includes a 16-page black-and-white photo insert.
Diane Arbus became famous for her intimate and unconventional portraits of twins, dwarfs, sideshow performers, eccentrics, and everyday “freaks.” Condemned by some for voyeurism, praised by others for compassion, she was nonetheless a ...
Gathers a chronological selection of portraits Arbus produced on assignment for Esquire, Harper's Bazaar, the Sunday Times magazine of London, and other magazines.
This book is the definitive study of the artist’s first seven years of work, from 1956 to 1962.
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.
Drawn primarily from Arbus's correspondence with friends, family, and colleagues; personal notebooks; and other unpublished writings, this beautifully produced volume exposes the astonishing vision of an artist with the courage to see ...
In the spirit of Janet Malcolm's classic examination of Sylvia Plath, The Silent Woman, William Todd Schultz's An Emergency in Slow Motion reveals the creative and personal struggles of Diane Arbus.
"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.
Diane Arbus: Untitled