The definitive biography of the beguiling Diane Arbus, one of the most influential and important photographers of the twentieth century, a brilliant and absorbing exposition that links the extraordinary arc of her life to her iconic photographs. Diane Arbus brings to life the full story of one of the greatest American artists of the twentieth century, a visionary who revolutionized photography and altered the course of contemporary art with her striking, now iconic images. Arbus comes startlingly to life on these pages, a strong-minded child of unnerving originality who grew into a formidable artist and forged an intimacy with her subjects that has inspired generations of artists. Arresting, unsettling, and poignant, her photographs stick in our minds. Why did these people fascinate her? And what was it about her that captivated them? It is impossible to understand the transfixing power of Arbus’s photographs without understanding her life story. Arthur Lubow draws on exclusive interviews with Arbus’s friends, lovers, and colleagues, on previously unknown letters, and on his own profound critical understanding of photography, to explore Arbus’s unique perspective. He deftly traces Arbus’s development from a wealthy, sexually precocious free spirit into first a successful New York fashion photographer, and then a singular artist who coaxed hidden truths from her subjects. Lubow reveals that Arbus’s profound need not only to see her subjects but to be seen by them drove her to forge unusually close bonds with these people, helping her discover the fantasies, pain, and heroism within each of them. Diane Arbus is the definitive biography of this unique, hugely influential artist. This magnificently absorbing, sensitive treatment of a singular personality brushes aside the clichés that have long surrounded Arbus and her work to capture a brilliant portrait of this seminal artist whose work has immeasurably shaped art and modern culture. 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.
Monografie over het werk van de Amerikaanse fotografe (1923-1971) en hoe zich dit verhoudt tot andere kunstzinige en maatschappelijke ontwikkelingen in de zestiger jaren van de twintigste eeuw.
Diane Arbus (1923-1971) is renowned for her provocative and unsettling portraits of modern Americans. This book presents a significant body of previously unpublished pictures by Arbus and proposes a radically new way to understand her goals, strategies, and overall work. Arbus's portrait sessions, including more than 300 photographs she took of a New York family one weekend in 1969. Anthony Lee and John Pultz put to the test Arbus's claim that she was developing a family album. They present other images Arbus shot for Esquire magazine (including pictures of the families of Ricky Nelson, Jayne Mansfield, and Ogden Reid) and discuss her interest in photographic groupings of both traditional and alternative families. Challenging common interpretations of Arbus, the authors reveal a photographer far more savvy with the camera, more aware of photography as an artistic and commercial practice, and more sensitive to the social and cultural tensions of the 1960s than has been acknowledged before.
"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.
Tied in to a major retrospective of the artist's work, this illustrated study details the ups and downs, vision, and work of the influential and controversial photographer, drawing precise correspondence between the life and the work. Reprint.
With Essays by Sandra Phillips, Neil Selkirk and Doon Arbus and a 100-page chronology of the life of Diane Arbus by Doon Arbus.Between 1954 and her suicide in 1971 Diane Arbus took some 150,000 photographs. She had grown up in the same New York milieu as her friend Richard Avedon. She was the daughter of an upper middle class Jewish family that owned a Fifth Avenue clothing store. Her posthumous retrospective exhibition at the Museum of Modern Art in New York in 1972 showed some 150 portraits upon which her reputation was built and has been sustained ever since. Her subjects ranged from anonymous strangers found on the street to celebrities, freaks, circus people and nudists. They are some of the most powerful photographs ever made. The 1972 MoMA catalogue has never been out of print and has sold unparalleled quantities. The great retrospective drawn from her entire career has until now remained unpublished. 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. It will come to the V&A in London in October 2005 and will run there until January 2006.
In 1952, John Cage shocked audiences with 4'33," his composition showcasing the power of silence. From Cage's minimalism to Chris Burden's radical performance art two decades later, the post-war avant-garde sought to liberate the art world by shattering the divide between high and low art. Feast of Excess presents an engaging and accessible portrait of the cultural extremism that emerged in the United States after World War II. This "New Sensibility," as termed by Susan Sontag, was predicated upon excess, pushing and often crossing boundaries whether in the direction of minimalism ormaximalism. Through brief vignette profiles of prominent figures in literature, music, visual art, poetry, theater and journalism, George Cotkin leads readers on a focused journey through the interconnected stories of prominent figures such as Andy Warhol, Anne Sexton, John Cage, John Coltrane, BobDylan, Erica Jong, and Chris Burden, among many others, who broke barriers between artist and audience with their bold, shocking, and headline-grabbing performances. This inventive narrative captures the sentiment of liberation from high and low culture in artistic endeavors spanning from the 1950s to the 1970s and reveals the establishment of excess in American culture as the norm. A detailed emersion in the history of cultural extremism, Feast of Excess leavesreaders to consider the provocative revelation that the essence of excess remains in our culture today, for good and ill.
Through a series of essays, Art and Ethical Criticism explores the complex relationship between the arts and morality. Reflects the importance of a moral life of engagement with works of art Forms part of the prestigious New Directions in Aesthetics series, which confronts the most intriguing problems in aesthetics and the philosophy of art today
First Published in 1997. Routledge is an imprint of Taylor & Francis, an informa company.