1070:'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 attentionâthe attention paid by the photographer, the attention paid by the subject to the act of being photographedâcreates 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 themâso 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."
1030:, 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."
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for its shallowness". 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." 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". 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.
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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". 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. 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.
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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. A few years later, in 1958 she began making lists of who and what she was interested in photographing. She began photographing on assignment for magazines such as
1194:, 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 storytellerâthe
1302:, 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."
761:. New Documents, which drew almost 250,000 visitors demonstrated Arbus's interest in what Szarkowski referred to as society's "frailties" and presented what he described as "a new generation of documentary photographers...whose aim has been not to reform life but to know it", described elsewhere as "photography that emphasized the pathos and conflicts of modern life presented without editorializing or sentimentalizing but with a critical, observant eye". 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.
793:. In 1968, Arbus wrote a letter to a 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." Her ex-husband once noted that she had "violent changes of mood".
1692:â 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.". This anecdote illustrates vividly just how fundamental dialectics between appearance and substance are for the understanding of Arbus's art. A print was sold at auction in 2008 for $ 553,000.
965:. 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. 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". Because Arbus's estate approved the exhibition and book, the chronology in the book is "effectively the first authorized biography of the photographer".
1289:...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."
264:, children, mothers, couples, elderly people, and middle-class families. 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." In his 2003
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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 courageâto face the terror of darkness and remain articulate."
849:. He is described by film historian Nick Chen as "Kubrick's right-hand man from the mid-70s onwards". Chen goes on to reveal, "Not only did Vitali videotape and interview 5,000 kids to find Jack Nicholson'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
1745:, 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...." The photograph motivated Carmel's cousin to narrate a 1999 audio documentary about him. A print was sold at auction for $ 583,500 in 2017.
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551:, which began in 1956, that encouraged Arbus to focus exclusively on her own work. That year Arbus quit the commercial photography business and began numbering her negatives. (Her last known negative was labeled #7459.) Based on Model's advice, Arbus avoided loading film in the camera as an exercise in truly seeing. Arbus also credits Model with making it clear to her that "the more specific you are, the more general it'll be."
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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."
1668:â 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. An art consulting firm purchased a print for $ 245,000 at a 2016 auction.
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845:, 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
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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; it was estimated that over seven million people saw the exhibition. A different retrospective curated by Marvin Israel and
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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, and her father was busy with work. Diane separated herself from her
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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
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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
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In spite of being widely published and achieving some artistic recognition, Arbus struggled to support herself through her work. "During her lifetime, there was no market for collecting photographs as works of art, and her prints usually sold for $ 100 or less." It is evident from her correspondence
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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
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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
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as "America, Seen
Through Photographs, Darkly". 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. Sontag's essay itself has been criticized as "an exercise in aesthetic insensibility" and "exemplary
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Arbus's style is described as "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." Her methods included establishing a strong personal relationship
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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
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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. 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
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that would last until her death. All the while, he remained married to
Margaret Ponce Israel, an accomplished mixed-media artist. Marvin Israel both spurred Arbus creatively and championed her work, encouraging her to create her first portfolio. Among other photographers and artists she befriended,
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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
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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
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stated that Arbus was "one of those figuresâas rare in the annals of photography as in the history of any other mediumâwho 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
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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". The book was also criticized for insufficiently considering Arbus's own words, for speculating about
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Since Arbus died without a will, the responsibility for overseeing her work fell to her daughter, Doon. 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.
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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
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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. Millions viewed traveling exhibitions of her work from 1972 to 1979. The book accompanying the exhibition,
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Arbus and her husband separated in 1959, although they maintained a close friendship. The couple also continued to share a darkroom, where Allan's studio assistants processed her negatives, and she printed her work. The couple divorced in 1969 when he moved to
California to pursue acting. He was
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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 subscribingâthe temple of the individual and
777:, 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.
1662:â 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. A print was sold for $ 198,400 at a 2004 auction.
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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 â and with Arbus as ambassador, ours, too. She witnesses without ever
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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.
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states, "She was fascinated by people who were visibly creating their own identitiesâcross-dressers, nudists, sideshow performers, tattooed men, the nouveaux riches, the movie-star fansâand by those who were trapped in a uniform that no longer provided any security or comfort."
773:. 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 editionsâthe artist never executed her plan to make 50âare held privately". The Smithsonian edition was made for
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430:, who would become a photographer, was born in 1954. 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.
1676:â Young twin sisters Cathleen and Colleen Wade 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. This photograph is echoed in
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and cutting her wrists with a razor. 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. Photographer
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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."
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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 premiĂšred at San Francisco Museum of Modern
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published a belated obituary of Arbus as part of the Overlooked history project. The Smithsonian American Art Museum housed an exclusive exhibit from April 6, 2018, to January 27, 2019, that featured one of Arbus' portfolios,
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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." She was the first photographer to be featured in
715:. Arbus returned to several facilities repeatedly for Halloween parties, picnics, and dances. In a letter to Allan Arbus dated November 28, 1969, she described these photographs as "lyric and tender and pretty".
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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
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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." In 1964, Arbus began using a 2-1/4
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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,
832:. She has been called "a seminal figure in modern-day photography and an influence on three generations of photographers" and is widely considered to be among the most influential artists of the last century.
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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."
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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. During her career, Arbus photographed
1318:, 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."
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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."
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box/frame that was designed by Marvin Israel and was to have been issued in a limited edition of 50. However, Arbus completed only eight boxes and sold only four (two to Richard Avedon, one to
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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.
1226:, 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."
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and accompanying the Museum of Modern Art's exhibition. It contained eighty of Arbus' photographs, as well as texts from classes that she gave in 1971, some of her writings, and interviews,
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2060:, Edinburgh, Scotland; Scottish National Gallery of Modern Art, Edinburgh; Nottingham Contemporary; Aberdeen Art Gallery; Tate Modern, London; Kirkcaldy Galleries; The Burton at Bideford.
283:, that her work "transformed the art of photography (Arbus is everywhere, for better and worse, in the work of artists today who make photographs)". Arbus's imagery helped to normalize
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demonstrates that Arbus made an editorial choice in selecting which image to print. A print of this photograph was sold in 2015 at auction for $ 785,000, an auction record for Arbus.
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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."
917:, a former student, began printing for the 1972 MOMA retrospective and Aperture Monograph. He remains the only person who is authorized to make posthumous prints of Arbus' work.
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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."
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said, in 1971, "Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child." Mailer was reportedly displeased with the well-known "spread-legged"
452:; 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.
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while growing up in the 1930s. Her father became a painter after retiring from Russeks. Her younger sister became a sculptor and designer, and her older brother, the poet
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1656:â 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.
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1919:. American Center, Paris; La Fundacion "la Caixa", Barcelona, Spain; La Fundacion "la Caixa", Madrid; Robert Klein Gallery, Boston, MA; Light Factory, Charlotte, NC.
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Throughout the 1960s, Arbus supported herself largely by taking magazine assignments and commissions. For example, in 1968 she shot documentary photographs of poor
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492:. In the early 1940s, Diane's father employed Diane and Allan to take photographs for the department store's advertisements. Allan was a photographer for the
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672:'s mother). In general, her magazine assignments decreased as her fame as an artist increased. Szarkowski hired Arbus in 1970 to research an exhibition on
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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."
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1630:â Colin Wood, with the left strap of his jumper awkwardly hanging off his shoulder, tensely holds his long, thin arms by his side. Clenching a toy
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awarded Arbus a fellowship for her proposal entitled, "American Rites, Manners and Customs". She was awarded a renewal of her fellowship in 1966.
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821:" work has had such an influence on other photographers that it is already hard to remember how original it was", wrote the art critic
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In her lifetime she achieved some recognition and renown with the publication, beginning in 1960, of photographs in such magazines as
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1213:'s....I doubt anyone in the modern arts, not Kafka, not Beckett, has strung such a long, delicate thread between laughter and tears."
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began printing to complete Arbus's intended edition of 50. In 2017, one of these posthumous editions sold for $ 792,500 in 2017.
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was produced in 1972 and released on video in 1989. The voiceover was drawn from recordings made of Arbus' photography class by
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885:; her photographs were described as "the overwhelming sensation of the American Pavilion" and "an extraordinary achievement".
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6758:"Five Decades of Photography at the MFA, Featuring the Dandrew-Drapkin Collection | Museum of Fine Arts, St. Petersburg"
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522:, and other magazines even though "they both hated the fashion world". Despite over 200 pages of their fashion editorial in
6871:"First Comprehensive Exhibition Of Masterworks From New Orleans Museum Of Art Photography Collection Opens In November 2013"
813:, "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?"
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episodes" during her life, similar to those experienced by her mother; the episodes may have been made worse by symptoms of
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where her photographs were "the overwhelming sensation of the American Pavilion" and "extremely powerful and very strange".
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2100:. Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Malba, Buenos Aires, Argentina.
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The Social Scene: the Ralph M. Parsons Foundation Photography Collection at the Museum of Contemporary Art, Los Angeles
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in his right hand and holding his left hand in a claw-like gesture, his facial expression is one of consternation. The
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3448:"A Window into the World of Diane Arbus: Photographs from the portfolio, "A box of 10", reveal photographer's secrets"
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248:; March 14, 1923 â July 26, 1971) was an American photographer. She photographed a wide range of subjects including
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Some of Arbus's subjects and their relatives have commented on their experience being photographed by Diane Arbus:
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to conceal....She loved conundrum, contradiction, riddle, and this, as much as the pain in her work, puts it near
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wrote an essay in 1973 entitled "Freak Show" that was critical of Arbus' work; it was reprinted in her 1977 book
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confirms our earliest impression of Arbus's work; namely, that it is as iconographic as it gets in any medium."
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asked in 2007 whether Arbus's photographs humiliate the subjects or the viewers. In a 2013 interview for the
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3159:"Diane Arbus in a new light / SFMOMA exhibition shatters preconceptions about photographer and her subjects"
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Charrier, Philip (September 12, 2012). "On Diane Arbus: Establishing a Revisionist Framework of Analysis".
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1686:, which features twins in an identical pose as ghosts. A print was sold at auction for $ 732,500 in 2018.
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as a source of inspiration. Critics generally took issue with the film's "fairytale" portrayal of Arbus.
396:
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Rice, Shelley. "Essential Differences: A Comparison of the Portraits of Lisette Model and Diane Arbus".
6921:
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1401:. Edited by Doon Arbus and Marvin Israel. With texts by Diane Arbus and an essay by Thomas W. Southall.
727:, in May 1971. After his encounter with Arbus and the portfolio, Philip Leider, then editor in chief of
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1348:. Edited by Doon Arbus and Marvin Israel. Accompanied an exhibition at Museum of Modern Art, New York.
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464:, from Allan shortly after they married. Shortly thereafter, she enrolled in classes with photographer
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5362:""A young Brooklyn family going for a Sunday outing, N.Y.C., 1966" ~ Diane Arbus « Adrianna Mena"
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1705:) or as "a Madonna turned in contrapposto... with his penis hidden between his legs" (referring to a
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missing information, and for focusing on "sex, depression and famous people", instead of Arbus' art.
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7861:
6510:"Posed: Portrait Photography from the Permanent Collection â When: June 30, 2017 â October 29, 2017"
1877:. Palazzo della Cento Finestre, Florence; Palazzo Fortuny, Venice; Palazzo delle Esposizioni, Milan.
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1540:. By Jeff L. Rosenheim. Accompanied an exhibition that premiered at The Metropolitan Museum of Art.
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355:, edited by Doon Arbus and Marvin Israel and first published in 1972, has never been out of print.
326:(MoMA) in New York City from 1962 to 1991, championed her work and included it in his 1967 exhibit
7206:
Hubert's Freaks: the Rare-Book Dealer, the Times Square Talker, and the Lost Photos of Diane Arbus
6292:
6039:
5402:"Diane Arbus (1923â1971), Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967"
4631:"Diane Arbus, Legendary New York Photographer, Celebrated in Retrospective at Metropolitan Museum"
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Between 2003 and 2006, Arbus and her work were the subject of another major traveling exhibition,
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1644:â Wearing long coats and "worldlywise expressions", two adolescents appear older than their ages.
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Beginning in 1969 Arbus undertook a series of photographs of people at New Jersey residences for
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Diane Arbus: Child with a Toy Hand Grenade in Central Park, N.Y.C. 1962 1962, printed after 1971
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3601:
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Tarzan, Deloris. "Arbus â Her Brutal Lens Disclosed Aspects Previously Unseen in Her Subjects".
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camera which produced the grainy rectangular images characteristic of her post-studio work to a
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6293:"Birmingham Museum of Art | » Artists » Diane Arbus, United States, 1923 â 1971"
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but to her people, because she has clearly come to feel something like love for them herself. "
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6116:"Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status As Co-Reps Of Artist's Estate"
5108:"Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status as Co-Reps of Artist's Estate"
3949:"Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status as Co-Reps of Artist's Estate"
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2034:, Paris; and Centre RĂ©gional de la Photographie Nord Pas-de-Calais, Douchy-les-Mines, France.
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for a project on "American rites, manners, and customs"; the fellowship was renewed in 1966.
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In 1972, a year after her suicide, Arbus became the first photographer to be included in the
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7284:. "An Emergency in Slow Motion: The Inner Life of Diane Arbus". New York: Bloomsbury, 2011.
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O'Brien, Barbara. "Learning to Read: the Epic Narratives of Diane Arbus and August Sander".
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6780:"Review: Stunning, comprehensive photography survey at Museum of Fine Arts, St. Petersburg"
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Davies, David. "Susan Sontag, Diane Arbus and the Ethical Dimensions of Photography". In:
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1796:(125 photographs, curated by John Szarkowski). Museum of Modern Art, New York; Baltimore;
8:
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Shloss, Carol. "Off the (W)rack : Fashion and Pain in the Work of Diane Arbus". In:
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Lord, Catherine. "What Becomes a Legend Most: the Short, Sad Career of Diane Arbus". In:
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2002:
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Coleman, A.D. "Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End". In:
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Armstrong, Carol. "Biology, Destiny, Photography: Difference According to Diane Arbus".
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Budick, Ariella. "Factory Seconds: Diane Arbus and the Imperfections in Mass Culture".
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Charrier, Philip. "On Diane Arbus: Establishing a Revisionist Framework of Analysis".
1713:). The parted curtain behind the man adds to the theatrical quality of the photograph.
1698:â The subject has been described as in a "Venus-on-the-half-shell pose" (referring to
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revulsion against moral judgment, lends her work an extraordinary ethical conviction."
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5306:"Diane Arbus (1923â1971) Child with a toy hand grenade in Central Park, N.Y.C., 1962"
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1863:; 14 galleries and museums in Australia; and 7 galleries and museums in New Zealand.
1508:. By Elisabeth Sussman and Doon Arbus. Contains the chronology and biographies from
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7140:
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Davey, Moyra, and Janson Simon. "Diane Arbus, a Printed Retrospective, 1960â1971".
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540:, did include a photograph by the Arbuses of a father and son reading a newspaper.
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469:
468:. The Arbuses' interests in photography led them, in 1941, to visit the gallery of
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1558:. Accompanied an exhibition that premiered at the Smithsonian American Art Museum.
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1975:
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1839:(118 photographs, curated by Doon Arbus and Marvin Israel). Seibu Museum, Tokyo;
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published a belated obituary of Arbus as part of the Overlooked history project.
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and Suzanne Ferriss. New Brunswick, New Jersey: Rutgers University Press, 1994.
6171:"Diane Arbus: In the Beginning review â a genius who made every picture a story"
5196:. "She Opened Our Eyes Photographer Diane Arbus Presented a New Way of Seeing."
4518:
530:, the Arbuses' fashion photography has been described as of "middling quality".
489:
7706:
7639:
Hulick, Diana Emery. "Diane Arbus's Women and Transvestites: Separate Selves".
7552:
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7017:
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5155:
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3615:
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Sass, Louis A. "'Hyped on Clarity': Diane Arbus and the Postmodern Condition".
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2067:. Fraenkel Gallery, San Francisco; Martin-Gropius-Bau, Berlin; FOAM, Amsterdam.
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7720:
Warburton, Nigel. "Diane Arbus and Erving Goffman: the Presentation of Self".
7064:"A Piercing View of the Twentieth Century, Through the Eyes of the Teddy Bear"
6643:
6271:"Highlights of the Bank Austria Art Collection | Bank Austria Kunstforum"
4736:"A Visual Chronicler of Humanity's Underbelly, Draped in a Pelt of Perversity"
4086:"Was John Szarkowski the most influential person in 20th-century photography?"
383:. Because of her family's wealth, Arbus was insulated from the effects of the
7898:
7873:
7536:. Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1980.
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Arbus was born Diane Nemerov to David Nemerov and Gertrude Russek Nemerov, a
340:. Her photographs were also included in a number of other major group shows.
328:
133:
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published six photographs, including a cover image, from Arbus's portfolio,
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In late 1959, Arbus began a relationship with the art director and painter
434:
popularly known for his role as Dr. Sidney Freedman on the television show
380:
376:
271:
180:
6896:
6735:
4669:
4656:
4617:
The Open Book: a History of the Photographic Book from 1878 to the Present
7667:
7392:
5500:
Sound Portraits Productions, October 6, 1999. Retrieved February 5, 2010.
5193:
5138:"Double Exposure: a Moment with Diane Arbus Created a Lasting Impression"
5082:
4833:
4545:
4199:
3924:
3712:
Fox, Catherine. "Snapshot/Diane Arbus: True Portrait Lies Outside Film."
3528:
2421:
2245:
1765:). After Arbus's death, under the auspices of the Estate of Diane Arbus,
1762:
1615:
Jewish Giant, taken at Home with His Parents in the Bronx, New York, 1970
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6990:
Diane Arbus: Child with a Toy Hand Grenade in Central Park, N.Y.C. 1962
6142:"A New Diane Arbus Show Presents the Vision She Spent Her Life Seeking"
1828:; Florida Center for the Arts, University of South Florida, Tampa; and
1256:
1222:
1108:
1101:
970:
653:
585:
423:
147:
7427:
The 100 Most Influential Women of All Time: a Ranking Past and Present
4924:
Goldman, Judith. "Diane Arbus: The Gap Between Intention and Effect".
4598:. New York: PPP Editions in association with Roth Horowitz LLC, 2001.
3637:"Incest, suicide â and the real reason we should remember Diane Arbus"
2930:"The Profound Vision of Diane Arbus: Flaws in Beauty, Beauty in Flaws"
2065:
Diane Arbus: Christ in a Lobby and Other Unknown or Almost Known Works
1666:
Boy With a Straw Hat Waiting to March in a Pro-War Parade, N.Y.C. 1967
7878:"Review/Art; Diane Arbus and Alice Neel, with Attention to the Child"
7491:
edited by Richard Bolton. Cambridge, Massachusetts: MIT Press, 1989.
7359:
Degrees of Guidance: Essays on Twentieth-Century American Photography
5215:"Diane Arbus: Portrait of a Photographer review â a disturbing study"
4880:
Parsons, Sarah. "Sontag's Lament: Emotion, Ethics, and Photography".
4774:
4596:
The Book of 101 Books: Seminal Photographic Books of the 20th Century
4134:
908:
790:
597:
with her subjects and re-photographing some of them over many years.
427:
287:
and highlight the importance of proper representation of all people.
152:
7534:
Notable American Women: the Modern Period: a Biographical Dictionary
1851:, Edinburgh, Scotland; Van Abbe Museum, Eindhoven, The Netherlands;
7474:
The Creative Mystique: from Red Shoes Frenzy to Love and Creativity
5752:
Morgan, Susan. "Loitering with Intent: Diane Arbus at the Movies".
1096:
719:
621:
575:
418:. In 1941, at the age of 18, she married her childhood sweetheart,
310:
261:
257:
249:
32:
7783:
5809:(Eugene, Oregon), February 27, 2005. Retrieved February 10, 2010.
1631:
920:
A half-hour documentary film about Arbus' life and work known as
676:
called "From the Picture Press"; it included many photographs by
461:
372:
7374:
Inside the Photograph: Writings on Twentieth-Century Photography
881:
In 1972, Arbus was the first photographer to be included in the
7347:
5476:
Hume, Christopher. "Photography's Tragic Poet of the Bizarre".
5287:
4981:"Revisiting the Icons: The intimate photography of Diane Arbus"
4850:
Magid, Marion (April 1, 1967). "Diane Arbus in New Documents".
3750:"Revisiting the Icons: The intimate photography of Diane Arbus"
1739:
A Jewish Giant at Home with His Parents in The Bronx, N.Y. 1970
1660:
A Young Man in Curlers at Home on West 20th Street, N.Y.C. 1966
1294:
677:
7693:
McPherson, Heather. "Diane Arbus's Grotesque 'Human Comedy'".
5441:"Diane Arbus (1923â1971) Identical twins, Roselle, N.J., 1966"
1870:. Robert Miller Gallery, New York; Fraenkel Gallery, New York.
1855:, Amsterdam; Lenbachhaus StÀdtische Galerie, Munich, Germany;
1654:
A Young Brooklyn Family Going for a Sunday Outing, N.Y.C. 1966
936:, who was Arbus' friend and the wife of her ex-husband Allan.
892:
Doon Arbus and Marvin Israel edited and designed a 1972 book,
739:
The first major exhibition of her photographs occurred at the
504:
even her husband thought was "demeaning". They contributed to
426:, who would become a writer, was born in 1945; their daughter
204:
7660:
Jeffrey, Ian. "Diane Arbus and the Past: when She Was Good".
7588:
Alexander, M. Darsie. "Diane Arbus: a Theatre of Ambiguity".
7472:"Diane Arbus and the Demon Lover". In: Kavaler-Adler, Susan.
6714:"Moderna Museet Collection | Moderna Museet i Stockholm"
2163:
Arbus's work is held in the following permanent collections:
1753:
was a portfolio of selected 1963â1970 photographs in a clear
978:
as Arbus; it used Patricia Bosworth's unauthorized biography
680:
whose work Arbus admired. She also taught photography at the
578:
253:
7839:"Art as Freak Show: Diane Arbus, Revelations at the V&A"
7521:. Middletown, Connecticut: Wesleyan University Press, 1985.
7361:. Cambridge and New York: Cambridge University Press, 1993.
6315:"Photo Friday: Twins | Center for Creative Photography"
5898:"New Diane Arbus exhibition set for Dean Gallery, Edinburgh"
5844:"Fraenkel Shows Us Diane Arbus Before She Even Knew Herself"
4170:"Diane Arbus Called Her Portraits 'A Secret About a Secret'"
3688:"The Met Breuer's Diane Arbus Exhibition Is a Tour de Force"
3592:
Badger, Gerry (2003). "Arbus [née Nemerov], Diane".
889:
Doon Arbus traveled around the world between 1973 and 1979.
221:
6976:
5247:
Paris Photo 6 : Diane Arbus Ă la galerie Robert Miller
4410:
4315:"The untold story of Stanley Kubrick's obsessive assistant"
4130:
Encyclopedia of Twentieth-Century Photography, 3-Volume Set
3874:. March 8, 2005 â May 30, 2005. Retrieved February 7, 2010.
2457:
1997:, South Hadley, Massachusetts; Grey Art Gallery, New York;
1690:
A Family on Their Lawn One Sunday in Westchester, N.Y. 1968
926:
Going Where I've Never Been: The Photography of Diane Arbus
364:
227:
7185:. Reprinted by W. W. Norton in 2005 with a new afterword,
4955:"Unmasked A different kind of collection from Diane Arbus"
4258:
Bunnell, Peter C. (JanuaryâFebruary 1973). "Diane Arbus".
868:
An Emergency in Slow Motion: The Inner Life of Diane Arbus
7646:
Hulick, Diana Emery. "Diane Arbus's Expressive Methods".
7489:
The Contest of Meaning: Critical Histories of Photography
7444:. London and Chicago: Fitzroy Dearborn Publishers, 1997.
6849:"Search the Collection | National Gallery of Canada"
3399:"In Portraits by Others, a Look That Caught Avedon's Eye"
1728:
210:
7653:
Jeffrey, Ian. "Diane Arbus and the American Grotesque".
6462:"Diane Arbus | International Center of Photography"
4348:(London), October 14, 2005. Retrieved February 14, 2010.
1587:
Child with Toy Hand Grenade in Central Park, N.Y.C. 1962
1377:
Fortieth-anniversary edition. New York: Aperture, 2011.
7223:. New Haven, Connecticut: Yale University Press, 2003.
7093:"In small shows, Ydessa Hendeles changed the art world"
6198:"Review: America through the lens of Diane Arbus â
â
â
â
â
"
5906:(Scotland), February 23, 2010. Retrieved March 5, 2010;
5008:, vol. 25, no. 6, pp. 22â23, 67, OctoberâNovember 2004.
4494:
Kramer, Hilton. "Arbus Photos, at Venice, Show Power".
3494:(London), October 18, 1997. Retrieved February 4, 2010.
1277:
writes, "The 'Untitled' photographs evoke paintings by
7429:. Secaucus, New Jersey: Carol Publishing Group, 1996.
5724:"Diane Arbus. Ydessa Hendeles Art Foundation, Toronto"
5462:"A Family on the Lawn One Sunday in Westchester, N.Y."
3302:, vol. 93, no. 9, pp. 65â71, 73, 75, 77, October 2005.
2896:
The Sky's the Limit: Passion and Property in Manhattan
2001:, Maine; Spencer Museum of Art, Lawrence, Kansas; and
7823:
Jewish Women: A Comprehensive Historical Encyclopedia
7602:
Budick, Ariella. "Diane Arbus: Gender and Politics".
6627:
Child with a toy hand grenade in Central Park, N.Y.C.
4938:
Goldin, Nan (November 1995). "UntitledâDiane Arbus".
4048:
4046:
4024:"John Szarkowski, Curator of Photography, Dies at 81"
4012:
3872:"Diane Arbus Revelations: More About This Exhibition"
1285:
and especially the covens and rituals conjured up by
800:
in New York City, Arbus died by suicide by ingesting
230:
213:
7595:
Bedient, Calvin. "The Hostile Camera: Diane Arbus".
7193:. Reprinted by Vintage in 2005 with a new foreword,
7039:"Child with a Toy Hand Grenade in Central Park, NYC"
1008:
exhibition, which featured the work of Diane Arbus,
224:
201:
7620:, vol. 36, no. 4, pp. 422â438, September 2012.
6922:"The Progressive Art Collection | Institution"
6140:Tashjian, Rachel; Zhang, Eddie (November 9, 2018).
5887:(London), May 6, 2009. Retrieved February 10, 2010.
5730:, no. 29, Spring 1991. Retrieved February 10, 2010.
5042:Koestenbaum, Wayne. "Diane Arbus and Humiliation".
4309:
4307:
4204:"How an Obits Project on Overlooked Women Was Born"
3843:, vol. 28, no. 2, pp. 75â79, JanuaryâFebruary 1991.
3254:"Diane Arbus Biography, Art, and Analysis of Works"
2185:
BA-CA Kunstforum, Bank Austria Art Collection, Wien
2121:, Smithsonian American Art Museum, Washington, D.C.
1140:Barbara O'Brien in a 2004 review of the exhibition
379:department store, co-founded by Arbus' grandfather
218:
207:
7670:. "The Uncanny Portrait: Sander, Arbus, Samaras".
6317:. Ccp.arizona.edu. October 4, 2013. Archived from
5574:"Diane Arbus (1923â1971) A box of ten photographs"
5203:
5033:, September 30, 2005. Retrieved February 14, 2010.
4808:"Remarkable Women We Overlooked in Our Obituaries"
4043:
2998:
1516:Silent Dialogues: Diane Arbus & Howard Nemerov
422:, whom she had dated since age 14. Their daughter
7841:. London: Social Affairs Unit, December 16, 2005.
7809:, Smithsonian American Art Museum, April 6, 2018.
7710:, vol. 92, no. 15 (May 23, 2016), pp. 56â67.
7395:. Los Angeles: Museum of Contemporary Art, 2000.
5852:, September 8, 2007. Retrieved February 10, 2010.
5347:Brill, Lesley. "The Photography of Diane Arbus".
5058:"Dirty Mind: An Interview with Wayne Koestenbaum"
4577:. San Antonio: Texas Photographic Society, 2001.
4245:, November 13, 1972. Retrieved February 12, 2010.
3618:(July 10, 2016). "Diane Arbus: The Early Years".
3294:
3210:
3208:
952:International Photography Hall of Fame and Museum
593:camera with flash in addition to the Rolleiflex.
7896:
7724:, vol. 16, no. 4, pp. 401â404, Winter 1992.
7697:, vol. 19, no. 2, pp. 117â120, Summer 1995.
7650:, vol. 19, no. 2, pp. 107â116, Summer 1995.
7606:, vol. 19, no. 2, pp. 123â126, Summer 1995.
7592:, vol. 19, no. 2, pp. 120â123, Summer 1995.
4796:, December 18, 2007. Retrieved February 5, 2010.
4777:, November 10, 2006. Retrieved February 3, 2010.
4744:, November 10, 2006. Retrieved February 4, 2010.
4556:. vol. I. London & New York: Phaidon, 2004.
4304:
4286:"100 Most influential photographers of all time"
3804:
3802:
3800:
3798:
3738:, November 3, 2003. Retrieved February 12, 2010.
3548:, October 10, 2003. Retrieved February 12, 2010.
3292:
3290:
3288:
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3284:
3282:
3280:
3278:
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3274:
2920:
2918:
2916:
2914:
2912:
2418:The Progressive Art Collection, Mayfield Village
399:. Howard's son is the Americanist art historian
7599:, vol. 73, no. 1, pp. 11â12, January 1985.
7506:. Los Angeles: The J. Paul Getty Museum, 2004.
6827:"Diane Arbus | National Gallery of Canada"
5925:, January 7, 2010. Retrieved February 11, 2010.
5790:, October 5, 2003. Retrieved February 10, 2010.
5707:Thornton, Gene. "Narrative Works â and Arbus".
5087:"Met Breuer exhibit shows Diane Arbus emerging"
4692:
4690:
4074:
3730:"Photography: Diane Arbus: Visionary Voyeurism"
2832:
2830:
2828:
2826:
2028:Diane Arbus, a Printed Retrospective, 1960â1971
7664:, vol. 19, no. 2, pp. 95â99, Summer 1995.
7657:, vol. 114, no. 5, pp. 224â229, May 1974.
7643:, vol. 16, no. 1, pp. 34â39, Spring 1992.
5873:
5871:
5509:
5399:
5168:, October 8, 2005. Retrieved February 3, 2010.
4253:
4251:
3205:
2779:
2777:
2775:
2773:
2771:
2769:
2767:
2552:
2550:
2548:
2546:
2544:
2542:
2540:
2214:, Wesleyan University, Middletown, Connecticut
2074:. Gagosian Gallery, Beverly Hills, California.
2017:Something Was There: Early Work by Diane Arbus
1532:. New York: Metropolitan Museum of Art, 2016.
7795:"The Odyssey of Diane Arbus" panel discussion
7674:, vol. 11, no. 10, pp. 58â66, June 1973.
7090:
6139:
5677:
5675:
5673:
5671:
5669:
5667:
5665:
5663:
5661:
5659:
5657:
5655:
5653:
5651:
5649:
5647:
5645:
5643:
5641:
5639:
5637:
5635:
5633:
5631:
5629:
5562:, April 21, 2005. Retrieved February 5, 2010.
5176:
5174:
4541:
4539:
4194:
4192:
3929:"Diane Arbus: Pictures from the Institutions"
3795:
3587:
3585:
3583:
3569:
3567:
3271:
3202:, March 21, 2005. Retrieved February 4, 2010.
3185:
3183:
3181:
3179:
3076:
3074:
3072:
2909:
2806:Encyclopedia of Twentieth-Century Photography
2765:
2763:
2761:
2759:
2757:
2755:
2753:
2751:
2749:
2747:
2706:Diane Arbus : Portrait of a Photographer
2538:
2536:
2534:
2532:
2530:
2528:
2526:
2524:
2522:
2520:
2350:Museum of Fine Arts (St. Petersburg, Florida)
1816:; Witte Memorial Museum, San Antonio, Texas;
1642:Teenage Couple on Hudson Street, N.Y.C., 1963
1620:Arbus's most well-known photographs include:
601:that lack of money was a persistent concern.
7476:. New York: Routledge, 1996. Pages 167â172.
6484:"Women photographers in the IVAM Collection"
5962:"Fotomuseum Winterthur â Vorschau/RĂckschau"
5681:
5627:
5625:
5623:
5621:
5619:
5617:
5615:
5613:
5611:
5609:
4884:, vol. 2, no. 3, pp. 289â302, November 2009.
4788:"A Big Gift for the Met: the Arbus Archives"
4687:
4619:. Göteborg, Sweden: Hasselblad Center, 2004.
4512:
4510:
4508:
4506:
4504:
3966:
3937:, May 15, 1992. Retrieved February 12, 2010.
3884:
3882:
3880:
3341:"The Cost of Diane Arbus's Life on the Edge"
3042:
3040:
3038:
3036:
3034:
3032:
3030:
3028:
3026:
2964:
2962:
2960:
2958:
2956:
2954:
2952:
2823:
2802:
2665:
2663:
2661:
2659:
2657:
2655:
2603:
2601:
2599:
2597:
2595:
1868:Diane Arbus: Vintage Unpublished Photographs
1822:Berkeley Art Museum and Pacific Film Archive
7717:, vol. 18, no. 9, pp. 66â71, May 1980.
5917:"Fraenkel Gallery Pairs Sculptor and Arbus"
5868:
5765:Bishop, Louise. "The Challenge of Beauty".
5756:, number 47, pages 177â183, September 1996.
5598:: CS1 maint: numeric names: authors list (
5535:: CS1 maint: numeric names: authors list (
5425:: CS1 maint: numeric names: authors list (
5380:
5330:: CS1 maint: numeric names: authors list (
5267:
5265:
5263:
5209:
5200:. November 2, 2003, ProQuest. March 2, 2017
5146:, May 12, 2005. Retrieved February 3, 2010.
5055:
4752:
4750:
4463:
4248:
4080:
3787:"Portraits on Assignment (Press Release)".
3573:O'Neill, Alistair. "A Young Woman, N.Y.C."
3441:
3439:
3407:, August 27, 2006. Retrieved March 5, 2010.
2653:
2651:
2649:
2647:
2645:
2643:
2641:
2639:
2637:
2635:
2072:Diane Arbus: People and Other Singularities
1931:Diane Arbus: The Untitled Series, 1970â1971
1772:
1626:Child with Toy Hand Grenade in Central Park
7532:Sicherman, Barbara, and Carol Hurd Green.
7091:Everett-Green, Robert (November 5, 2012).
5833:, March 2005. Retrieved February 10, 2010.
5571:
5464:April 8, 2008. Retrieved February 7, 2010.
5390:. May 4, 2004. Retrieved February 6, 2010.
5351:, vol. 5, issue 1, pp. 69â76, Spring 1982.
5303:
5244:, 2003, p. 164, and online in the article
5171:
5046:, vol. 8, issue 4, pp. 345â347, Fall 2007.
5016:
5014:
4876:
4874:
4864:Kramer, Hilton. "From fashion to freaks".
4536:
4189:
3940:
3866:
3864:
3862:
3706:
3580:
3564:
3334:
3332:
3330:
3328:
3305:
3298:Rubinfien, Leo. "Where Diane Arbus Went".
3176:
3069:
2744:
2736:: CS1 maint: location missing publisher (
2577:"Diane Arbus, her vision, life, and death"
2570:
2517:
2289:Maison Europeene de la Photographie, Paris
1926:. Ydessa Hendeles Art Foundation, Toronto.
1600:Identical Twins, Roselle, New Jersey, 1967
1128:In her review of the traveling exhibition
907:was selected as one of the most important
547:in 1954. However, it was her studies with
31:
7990:20th-century American women photographers
7940:American people of Russian-Jewish descent
7519:Writing of Women: Essays in a Renaissance
6644:"Diane Arbus | Milwaukee Art Museum"
5606:
5343:
5341:
4928:, vol. 34, issue 1, pp. 30â35, Fall 1974.
4763:Fur: An Imaginary Portrait of Diane Arbus
4501:
4490:
4488:
4228:
4226:
3877:
3808:
3724:
3722:
3716:December 3, 2006, ProQuest. March 2, 2017
3685:
3602:10.1093/gao/9781884446054.article.T003644
3524:
3522:
3520:
3390:
3388:
3386:
3081:John Simon Guggenheim Memorial Foundation
3023:
2968:
2949:
2924:
2898:. New York: Little, Brown, 2005. p. 143.
2592:
2373:Museo Nacional Centro de Arte Reina SofĂa
1942:The Movies: Photographs from 1956 to 1958
1518:. San Francisco: Fraenkel Gallery, 2015.
1223:Fur: An Imaginary Portrait of Diane Arbus
1045:In his review of the 1972 retrospective,
971:Fur: An Imaginary Portrait of Diane Arbus
5472:
5470:
5260:
5129:
5127:
5125:
5123:
5121:
4747:
4696:
4588:
4365:. The Practical Art World. June 19, 2011
3920:
3918:
3916:
3614:
3514:, vol. 25, no. 1, pp. 1â37, Summer 2005.
3436:
3357:
3311:
3214:
2874:. New York: W. W. Norton, 2005. p. 250.
2632:
1902:State University of New York at Purchase
1605:
1593:
1580:
1333:Child With a Toy Grenade in Central Park
7960:Ethical Culture Fieldston School alumni
7613:, vol. 12, no. 2, pp. 50â70, 1997.
7462:. New York: Aperture Foundation, 2009.
7376:. New York: Aperture Foundation, 2006.
7239:Diane Arbus: Portrait of a Photographer
6602:
6459:
6090:"Diane Arbus: A box of ten photographs"
5056:Koestenbaum, Wayne (December 2, 2013).
5011:
4918:
4871:
4805:
4257:
4198:
3859:
3856:. New York: Museum of Modern Art, 1973.
3814:"Diane Arbus, a Hunter Wielding a Lens"
3506:
3504:
3502:
3500:
3480:
3478:
3476:
3474:
3472:
3470:
3468:
3325:
2969:Crookston, Peter (September 30, 2005).
2809:. New York: Routledge. pp. 51â56.
2326:Museum of Contemporary Art, Los Angeles
1898:California State University, Long Beach
1650:â Three girls sit at the head of a bed.
371:â who lived in New York City and owned
279:writes in his review of the exhibition
7965:Drug-related suicides in New York City
7897:
7568:Icons of Photography: the 20th Century
6605:"Diane Arbus | LACMA Collections"
6165:
5820:"Diane Arbus's Noah's Ark of Humanity"
5338:
5105:
5081:
4937:
4893:
4725:
4674:International Photography Hall of Fame
4657:"American Photography. DVD/VHS Videos"
4516:
4485:
4383:
4333:
4223:
4164:
4126:
4018:
4003:
3946:
3773:"Guggenheim Fund Grants $ 1,380,000".
3719:
3591:
3551:
3517:
3416:
3383:
3194:"Looking Back: Diane Arbus at the Met"
3104:
2793:magazine. Retrieved December 13, 2017.
2700:
2607:
1696:A Naked Man Being a Woman, N.Y.C. 1968
1576:
1328:photo. Arbus photographed him in 1963.
1176:, and in the virginal waitress at the
1148:'s work "filled with life and energy."
1121:, saying, "The extraordinary power of
534:'s noted 1955 photography exhibition,
455:
7319:Herstory: Women who Changed the World
7177:. Reprinted by W. W. Norton in 1995,
6224:"Diane Arbus: Photographs, 1956â1971"
5879:"Diane Arbus: a Flash of Familiarity"
5512:"Diane Arbus, A Jewish Giant at Home"
5467:
5400:Christie's, Lot 117 (April 6, 2016).
5118:
4978:
4849:
4840:, vol. 204, pp. 571â573, May 1, 1967.
4628:
3972:
3913:
3888:
3747:
3741:
3686:Krasinski, Jennifer (July 26, 2016).
3662:"Diane Arbus Photography, Bio, Ideas"
3577:, vol. 1, no. 1, pp. 7â20, July 2008.
3417:McGill, Douglas C. (April 24, 1987).
3156:
3107:"Arbus Photos, at Venice, Show Power"
3046:
2996:
2836:
2669:
2589:, May 13, 1984. Accessed May 10, 2017
2281:KMS Fine Art Group, Baar, Switzerland
2270:John and Mable Ringling Museum of Art
2119:Diane Arbus: A Box of ten photographs
1982:, London; CaixaForum, Barcelona; and
1544:Diane Arbus: A box of ten photographs
1489:("In the darkroom"); a chronology by
1154:, in a 2005 review of the exhibition
998:
950:In 1986, Arbus was inducted into the
322:, the director of photography at the
239:
7995:Drug-related deaths in New York City
7797:, John Jacob with Jeffrey Fraenkel,
7504:Photographers of Genius at the Getty
7317:Ashby, Ruth, and Deborah Gore Ohrn.
7299:. Göttingen, Germany: Steidl, 2005.
7268:Diane Arbus, ou, le RĂȘve du Naufrage
7106:– via www.theglobeandmail.com.
5510:Christie's, Lot 25B (May 17, 2017).
4655:Traditional Fine Arts Organization.
3634:
3497:
3465:
3445:
2397:National Museum of Modern Art, Tokyo
2010:Diane Arbus: Other Faces Other Rooms
1896:, Lexington; University Art Museum,
1882:Diane Arbus: Magazine Work 1960â1971
1832:, University of Illinois, Champaign.
1648:Triplets in Their Bedroom, N.J. 1963
1498:Diane Arbus: A Chronology, 1923â1971
472:, and learn about the photographers
7975:20th-century American photographers
7169:. (Reprinted by Heinemann in 1985,
5988:"Exhibitions: Museumsportal Berlin"
4952:
4573:Caslin, Jean, and D. Clarke Evans.
4340:"Diane Arbus's Carnival of Cruelty"
4004:Leider, Philip (October 16, 2004).
3338:
3157:Baker, Kenneth (October 19, 2003).
2407:New York Public Library Main Branch
2252:International Center of Photography
2148:Diane Arbus: Photographs, 1956â1971
1802:Museum of Contemporary Art, Chicago
1673:Identical Twins, Roselle, N.J. 1967
922:Masters of Photography: Diane Arbus
574:Around 1962, Arbus switched from a
460:Arbus received her first camera, a
13:
7124:
6557:"Diane Arbus Fine Art Invest Fund"
6113:
5782:"Art; Diane Arbus's Family Values"
4466:"Diane Arbus: humanist or voyeur?"
4292:. aPhotoEditor. September 18, 2012
4114:Museum of Contemporary Art Chicago
3358:Hinckley, David (April 23, 2013).
2840:Diane Arbus: An Aperture Monograph
2454:Art Gallery, Sweet Briar, Virginia
2428:San Francisco Museum of Modern Art
2332:Museum of Contemporary Photography
2107:. Fraenkel Gallery, San Francisco.
2012:. Robert Miller Gallery, New York.
1960:San Francisco Museum of Modern Art
1944:. Robert Miller Gallery, New York.
1346:Diane Arbus: An Aperture Monograph
963:San Francisco Museum of Modern Art
905:Diane Arbus: An Aperture Monograph
894:Diane Arbus: An Aperture Monograph
796:On July 26, 1971, while living at
393:Washington University in St. Louis
353:Diane Arbus: An Aperture Monograph
14:
8021:
7801:, Karan Rinaldo, Jeff Rosenheim,
7728:
7219:Lee, Anthony W., and John Pultz.
6716:. Modernamuseet.se. April 3, 1958
5769:, vol. 17, no. 63, December 1997.
5184:, vol. 66, pp 28â54, Autumn 1993.
5106:Lehrer, Adam (November 6, 2018).
5044:Studies in Gender & Sexuality
4979:Prose, Francine (November 2003).
4953:Als, Hilton (November 27, 1995).
4806:Padnani, Amisha (March 8, 2018).
4419:. Smithsonian American Art Museum
4411:Smithsonian American Art Museum.
3975:"Five Photographs by Diane Arbus"
3947:Lehrer, Adam (November 6, 2018).
3839:"The Other Side of Diane Arbus".
3748:Prose, Francine (November 2003).
2085:, Paris; Fotomuseum, Winterthur;
2083:Galerie nationale du Jeu de Paume
1894:University of Kentucky Art Museum
1782:. Museum of Modern Art, New York.
407:family and her lavish childhood.
16:American photographer (1923â1971)
7935:Photographers from New York City
7782:
7311:
7110:
7084:
7056:
7031:
7010:
6999:
6982:
6965:
6954:
6939:
6914:
6889:
6863:
6841:
6819:
6794:
6772:
6760:. Mfastpete.org. October 4, 2015
6750:
6728:
6706:
6680:
6658:
6636:
6619:
6596:
6571:
6549:
6524:
6502:
6476:
6453:
6431:
6410:
6384:
6358:
6333:
6307:
6285:
6263:
6241:
6216:
6190:
6159:
6133:
6107:
6082:
6057:
6032:
6006:
5980:
5954:
5928:
5909:
5890:
5855:
5836:
5812:
5793:
5772:
5759:
5746:
5733:
5716:
5701:
5565:
5543:
5503:
5483:
5454:
5433:
5393:
5354:
5297:
5234:
5187:
5149:
4637:. The Metropolitan Museum of Art
4260:The Print Collector's Newsletter
3714:The Atlanta Journal Constitution
3419:"Margaret Israel, 57, An Artist"
3105:Kramer, Hilton (June 17, 1972).
2559:. New York: Random House, 2003.
2285:Los Angeles County Museum of Art
2189:BibliothĂšque nationale de France
1995:Mount Holyoke College Art Museum
1964:Los Angeles County Museum of Art
1787:Diane Arbus Portfolio: 10 Photos
448:Arbus was close to photographer
412:Ethical Culture Fieldston School
358:
197:
119:
7910:American portrait photographers
7849:How Diane Arbus Became 'Arbus'"
7682:"Arbus, Untitled and Unearthly"
7350:2005, p. 413 (in German).
6897:"You searched for Arbus, Diane"
6094:Smithsonian American Art Museum
6040:"diane arbus: in the beginning"
5865:, vol. 47, no. 8, p. 183, 2009.
5099:
5075:
5049:
5036:
4998:
4972:
4946:
4931:
4887:
4858:
4843:
4827:
4799:
4780:
4662:
4649:
4622:
4609:
4575:Building a Photographic Library
4567:
4464:O'Hagan, Sean (July 26, 2011).
4457:
4431:
4404:
4377:
4351:
4278:
4158:
4120:
4105:
3997:
3894:"Arbus, Untitled and Uneartlhy"
3846:
3833:
3780:
3767:
3679:
3654:
3628:
3608:
3446:Ault, Alicia (April 24, 2018).
3410:
3351:
3315:(May 13, 1984). "Diane Arbus".
3246:
3150:
3124:
3098:
2990:
2885:
2803:Somers-Davis, Lynne M. (2006).
2708:(1st ed.). New York City.
2434:Smithsonian American Art Museum
2201:Center for Creative Photography
2091:Foam Fotografiemuseum Amsterdam
1727:'s then-infant son, the future
1485:("The question of belief") and
1339:
270:article, "Arbus Reconsidered",
115:
7950:American fashion photographers
7135:Arbus, Doon, and Diane Arbus.
6994:National Galleries of Scotland
6631:National Galleries of Scotland
6488:Institut ValenciĂ d'Art Modern
6396:Frances Lehman Loeb Art Center
5290:2005, p. 413 (in German), and
4659:. Retrieved February 12, 2010.
3635:Wood, Gaby (October 8, 2016).
3221:Diane Arbus : A Biography
2861:
2796:
2694:
2498:Ydessa Hendeles Art Foundation
2492:Williams College Museum of Art
2462:National Galleries of Scotland
2258:Institut ValenciĂ d'Art Modern
2224:Frances Lehman Loeb Art Center
2158:
1717:A Very Young Baby, N.Y.C. 1968
1:
7905:American contemporary artists
4445:. Yale University Art Gallery
4439:"Yale University Art Gallery"
3364:actor Allan Arbus dead at 95"
2785:"A Fresh Look at Diane Arbus"
2511:
2494:, Williamstown, Massachusetts
2468:Tokyo Metropolitan Art Museum
2385:National Gallery of Australia
2137:Diane Arbus: In the Beginning
2098:diane arbus: in the beginning
1951:. Galleria Photology, London.
1530:diane arbus: in the beginning
961:, which was organized by the
749:(1967) alongside the work of
690:Rhode Island School of Design
615:in rural South Carolina (for
604:In 1963, Arbus was awarded a
40:
7890:Diane Arbus at David Zwirner
7773:Resources in other libraries
7754:Resources in other libraries
6996:. Accessed November 23, 2016
6979:. Accessed November 23, 2016
6633:. Accessed November 23, 2016
6016:. Foam Press. Archived from
5831:New England Antiques Journal
5554:"The Arbus Traveling Circus"
5294:(condensed English version).
5160:"Wrestling with Diane Arbus"
5025:"Art in Review; Diane Arbus"
4904:The New York Review of Books
4711:10.1080/03087298.2012.703401
4363:www.thepracticalartworld.com
3870:Metropolitan Museum of Art.
3339:Mar, Alex (March 11, 2017).
2424:, Amsterdam, the Netherlands
2367:Musée National d'Art Moderne
2344:Museum of Fine Arts, Houston
2304:Minneapolis Institute of Art
1968:Museum of Fine Arts, Houston
1890:Minneapolis Institute of Art
1826:Museum of Fine Arts, Houston
1564:. New York: Aperture, 2022.
1546:. New York: Aperture, 2018.
1500:. New York: Aperture, 2011.
1435:. Edited by Doon Arbus and
1220:'s 2006 review of the movie
968:In 2006, the fictional film
825:in a November 1972 issue of
7:
8010:Artists who died by suicide
7813:Diane Arbus on The Red List
7582:
7570:. New York: Prestel, 1999.
7442:Dictionary of Women Artists
7414:. Oxford: Blackwell, 2008.
7338:Allgemeines KĂŒnstlerlexikon
7208:. Orlando: Harcourt, 2008.
6536:Kalamazoo Institute of Arts
5964:(in German). Archived from
5349:Journal of American Culture
5278:Allgemeines KĂŒnstlerlexikon
5062:Los Angeles Review of Books
3533:"The Velazquez of New York"
3318:The New York Times Magazine
3095:Retrieved February 4, 2010.
2783:DeCarlo, Tessa (May 2004).
2680:The New York Times Magazine
2415:, San Francisco, California
2338:Museum of Fine Arts, Boston
2320:Morgan Library & Museum
2276:Kalamazoo Institute of Arts
1908:Museum, Massachusetts; and
1331:Colin Wood, the subject of
1235:Los Angeles Review of Books
1004:In a 1967 review of MoMA's
711:people, posthumously named
397:United States Poet Laureate
10:
8026:
7970:People with mood disorders
7321:. New York: Viking, 1995.
7221:Diane Arbus: Family Albums
7137:Diane Arbus: the Libraries
5801:"The World of Diane Arbus"
3789:Robert Miller Gallery, Inc
3224:. New York: W. W. Norton.
3091:November 25, 2010, at the
3001:Diane Arbus: Magazine Work
2480:Victoria and Albert Museum
2446:Stedelijk Museum Amsterdam
2391:National Gallery of Canada
2293:Metropolitan Museum of Art
1991:Diane Arbus: Family Albums
1980:Victoria and Albert Museum
1972:Metropolitan Museum of Art
1910:Philadelphia Museum of Art
1837:Diane Arbus: Retrospective
1810:National Gallery of Canada
1453:New York: Aperture, 2011.
1442:New York: Aperture, 1995.
1404:New York: Aperture, 1984.
1399:Diane Arbus: Magazine Work
1366:New York: Aperture, 1997.
1326:New York Times Book Review
1292:Adam Lehrer wrote, in his
1142:Diane Arbus: Family Albums
853:as a point of reference."
851:two identical twin sisters
798:Westbeth Artists Community
688:in New York City, and the
416:college-preparatory school
8005:Photography controversies
8000:Suicides in New York City
7768:Resources in your library
7749:Resources in your library
7408:Art and Ethical Criticism
7161:. New York: Knopf, 1984.
6901:New Orleans Museum of Art
6875:New Orleans Museum of Art
5741:Daily News of Los Angeles
4882:Photography & Culture
4359:"The Practical Art World"
4237:"Art: to Hades with Lens"
4008:. Sotheby's. p. 150.
3973:Arbus, Diane (May 1971).
3575:Photography & Culture
2402:New Orleans Museum of Art
2266:, Los Angeles, California
2050:Artist Rooms: Diane Arbus
1818:New Orleans Museum of Art
1814:Detroit Institute of Arts
816:
668:, and Marguerite Oswald (
568:The Sunday Times Magazine
543:She studied briefly with
367:couple â immigrants from
161:
140:
129:
97:
89:
73:
50:
37:Photograph by Allan Arbus
30:
23:
7700:Pierpont, Claudia Roth.
7628:"Diane Arbus, 1923â1971"
7354:(subscription required).
7159:Diane Arbus: a Biography
7129:
6951:. Accessed March 7, 2018
6366:"Photographs after 1950"
5826:August 15, 2010, at the
5242:Diane Arbus: Revelations
4554:The Photobook: a History
3049:A box of ten photographs
2872:Diane Arbus: a Biography
2613:"Diane Arbus, 1923â1971"
2557:Diane Arbus: Revelations
2369:, Centre Pompidou, Paris
2195:Birmingham Museum of Art
2180:Art Institute of Chicago
2112:Diane Arbus: In the Park
2105:Diane Arbus: 1971 â 1956
1956:Diane Arbus: Revelations
1875:Diane Arbus: Photographs
1773:Notable solo exhibitions
1751:A box of ten photographs
1510:Diane Arbus: Revelations
1467:Diane Arbus: Revelations
980:Diane Arbus: A Biography
780:
771:A box of ten photographs
725:A box of ten photographs
694:Providence, Rhode Island
682:Parsons School of Design
7945:Jewish American artists
7517:Rose, Phyllis, editor.
7460:Photography After Frank
7297:Arbus, Model, Strömholm
6607:. Collections.lacma.org
6345:Cleveland Museum of Art
6341:"Search the Collection"
5922:San Francisco Chronicle
5849:San Francisco Chronicle
4629:Staff, The Met (2005).
4443:www.artgallery.yale.edu
4413:"Exhibition Press Kits"
3539:March 27, 2010, at the
3047:Jacob, John P. (2018).
2379:National Gallery of Art
2207:Cleveland Museum of Art
2114:, LĂ©vy Gorvy, New York.
2054:National Museum Cardiff
1861:Frankfurter Kunstverein
1847:, Birmingham, England;
1562:Diane Arbus Revelations
1526:. By Alexander Nemerov.
1156:Diane Arbus Revelations
1130:Diane Arbus Revelations
974:was released, starring
959:Diane Arbus Revelations
709:intellectually disabled
526:, and over 80 pages in
332:along with the work of
281:Diane Arbus Revelations
267:New York Times Magazine
7867:Jewish Virtual Library
7787:Quotations related to
7722:History of Photography
7695:History of Photography
7662:History of Photography
7648:History of Photography
7641:History of Photography
7618:History of Photography
7604:History of Photography
7590:History of Photography
7340:(Artists of the World)
7335:. "Arbus, Diane". In:
7270:. Paris: ChĂȘne, 1985.
6806:www.museoreinasofia.es
6688:"Unique collaboration"
6228:Art Gallery of Ontario
5863:Artforum International
5496:June 10, 2010, at the
5280:(Artists of the World)
4699:History of Photography
4615:Roth, Andrew, editor.
4594:Roth, Andrew, editor.
4417:www.americanart.si.edu
4127:Warren, Lynne (2006).
3854:From the Picture Press
3085:"Fellows. Diane Arbus"
2673:(September 14, 2003).
2504:Yokohama Museum of Art
2174:Art Gallery of Ontario
2152:Art Gallery of Ontario
2043:Timothy Taylor Gallery
1999:Portland Museum of Art
1859:, Wuppertal, Germany;
1617:
1603:
1591:
1082:'s 1992 review of the
944:unauthorized biography
494:U.S. Army Signal Corps
136:(1959â1971; her death)
7980:The New Yorker people
7860:Oppenheimer, Daniel.
7817:Austin, Hillary Mac.
7282:Schultz, William Todd
7043:egallery.williams.edu
7018:"Vanartgallery.bc.ca"
6949:Spencer Museum of Art
6583:collection.kiarts.org
6441:. Harvard Art Museums
6439:"Harvard Art Museums"
6372:, Wesleyan University
6169:(February 12, 2019).
5722:Dault, Gary Michael.
5304:Christie's, Lot 26A.
5253:May 12, 2016, at the
4897:(November 15, 1973).
4770:June 5, 2011, at the
3892:(November 15, 2018).
3561:, September 21, 1986.
2997:Arbus, Diane (1984).
2837:Arbus, Diane (1972).
2474:Vancouver Art Gallery
2440:Spencer Museum of Art
2387:, Canberra, Australia
2232:, Rochester, New York
2218:Fotomuseum Winterthur
2197:, Birmingham, Alabama
2130:David Zwirner Gallery
2032:Kadist Art Foundation
1886:Spencer Museum of Art
1849:Scottish Arts Council
1749:In addition, Arbus's
1609:
1597:
1584:
1481:. Includes essays by
1263:In a 2018 review for
1092:Diane Arbus: Untitled
860:In 2011, a review in
638:Madalyn Murray O'Hair
606:Guggenheim Fellowship
316:Guggenheim Foundation
305:Sunday Times Magazine
7955:Street photographers
7690:, November 15, 2018.
7655:Photographic Journal
7072:. September 18, 2016
6736:"Diane Arbus âą MOCA"
6694:. September 22, 2008
6692:Moderna Museet Malmö
6646:. Collection.mam.org
5968:on December 15, 2012
5779:Woodward, Richard B.
5572:Christie's, Lot 23.
5213:(October 25, 2016).
4319:www.dazeddigital.com
4061:Museum of Modern Art
2675:"Arbus Reconsidered"
2361:Museum of Modern Art
2309:Moderna Museet Malmö
2299:Milwaukee Art Museum
2264:J. Paul Getty Museum
2230:George Eastman House
2126:Diane Arbus Untitled
1900:; Neuberger Museum,
1888:, Lawrence, Kansas;
1857:Von der Heydt Museum
1798:Worcester Art Museum
1703:by Sandro Botticelli
872:William Todd Schultz
741:Museum of Modern Art
391:, taught English at
324:Museum of Modern Art
262:people with dwarfism
118: 1941;
7425:Felder, Deborah G.
7117:Yokohama.art.museum
6418:"Sammlung-goetz.de"
6273:. Kunstforumwien.at
6204:. February 16, 2019
5818:Decoteau, Randall.
5480:, January 11, 1991.
5143:The Washington Post
4868:, November 5, 1972.
4757:Zacharek, Stephanie
3812:(January 9, 2004).
3694:. The Village Voice
3692:thevillagevoice.com
3369:New York Daily News
3053:Aperture Foundation
3007:Aperture Foundation
2845:Aperture Foundation
2464:, UK (jointly held)
2452:Sweet Briar College
2413:Pier 24 Photography
2242:Harvard Art Museums
2003:Portland Art Museum
1830:Krannert Art Museum
1719:â A photograph for
1577:Notable photographs
785:Arbus experienced "
743:in the influential
456:Photographic career
410:Arbus attended the
285:marginalized groups
254:carnival performers
84:New York City, U.S.
68:New York City, U.S.
7883:The New York Times
7854:The New York Times
7837:Davies, Christie.
7828:Bissell, Gerhard.
7687:The New York Times
7633:The New York Times
7372:Bunnell, Peter C.
7357:Bunnell, Peter C.
7155:Bosworth, Patricia
7097:The Globe and Mail
6877:. October 28, 2013
6370:Davison Art Center
6251:. Akron Art Museum
6020:on October 7, 2012
5806:The Register-Guard
5787:The New York Times
5739:"Weekend's Best".
5713:, August 31, 1980.
5710:The New York Times
5682:Fraenkel Gallery.
5490:"The Jewish Giant"
5388:"Art Market Watch"
5368:on August 22, 2011
5271:Bissell, Gerhard.
5030:The New York Times
4866:The New York Times
4813:The New York Times
4793:The New York Times
4741:The New York Times
4496:The New York Times
4390:www.guggenheim.org
4209:The New York Times
4175:The New York Times
4029:The New York Times
3899:The New York Times
3852:Szarkowski, John.
3819:The New York Times
3810:Kimmelman, Michael
3775:The New York Times
3621:The New York Times
3545:The Jerusalem Post
3423:The New York Times
3404:The New York Times
3313:Bosworth, Patricia
3216:Bosworth, Patricia
3138:. October 18, 1997
3111:The New York Times
2935:The New York Times
2928:(March 11, 2005).
2926:Kimmelman, Michael
2868:Bosworth, Patricia
2618:The New York Times
2586:The New York Times
2436:, Washington, D.C.
2381:, Washington, D.C.
2212:Davison Art Center
2087:Martin-Gropius-Bau
1978:, Essen, Germany;
1949:Diane Arbus: Women
1935:Jan Kesner Gallery
1789:. Venice Biennale.
1701:The Birth of Venus
1618:
1604:
1592:
1483:Sandra S. Phillips
1266:The New York Times
1218:Stephanie Zacharek
999:Critical reception
992:The New York Times
934:Mariclare Costello
766:The New York Times
666:Coretta Scott King
478:Timothy O'Sullivan
395:and was appointed
7735:Library resources
7468:978-1-59711-095-2
7440:Gaze, Delia, ed.
7420:978-1-4051-3483-5
7257:Roegiers, Patrick
7251:978-0-06-223432-2
7214:978-0-15-101233-6
7204:Gibson, Gregory.
7139:. San Francisco:
6946:Spencerart.ku.edu
6044:www.metmuseum.org
5578:www.christies.com
5516:www.christies.com
5406:www.christies.com
5310:www.christies.com
5085:(July 21, 2016).
4985:Harper's Magazine
4836:. "Photography".
4635:www.metmuseum.org
4523:www.cheimread.com
4321:. October 2, 2017
4202:(March 8, 2018).
4168:(March 8, 2018).
4144:978-1-57958-393-4
4084:(July 20, 2010).
3934:Los Angeles Times
3777:, April 29, 1963.
3754:Harper's Magazine
3728:Lacayo, Richard.
3559:The Seattle Times
3486:"Woman's Studies"
3321:. pp. 42â59.
3190:Schjeldahl, Peter
3132:"Woman's studies"
3062:978-1-59711-439-4
3016:978-0-89381-233-1
2816:978-1-135-20543-0
2715:978-0-06-223432-2
2611:(March 8, 2018).
2581:Patricia Bosworth
2506:, Yokohama, Japan
2448:, The Netherlands
2260:, Valencia, Spain
1984:Walker Art Center
1906:Wellesley College
1806:Walker Art Center
1800:, Massachusetts;
1725:Gloria Vanderbilt
1506:978-1-59711-179-9
1491:Elisabeth Sussman
1459:978-1-59711-190-4
1448:978-0-89381-623-0
1410:978-0-89381-233-1
1391:978-1-59711-175-1
1383:978-1-59711-174-4
1269:on Diane Arbus's
1230:Wayne Koestenbaum
1196:Flannery O'Connor
1169:Michael Kimmelman
940:Patricia Bosworth
670:Lee Harvey Oswald
658:Gloria Vanderbilt
537:The Family of Man
401:Alexander Nemerov
277:Michael Kimmelman
190:
189:
175:Alexander Nemerov
8017:
7825:, March 1, 2009.
7786:
7636:, March 8, 2018.
7502:Naef, Weston J.
7342:, Supplement I,
7333:Bissell, Gerhard
7295:Tellgren, Anna.
7265:
7141:Fraenkel Gallery
7119:
7114:
7108:
7107:
7105:
7103:
7088:
7082:
7081:
7079:
7077:
7060:
7054:
7053:
7051:
7049:
7035:
7029:
7028:
7026:
7024:
7014:
7008:
7003:
6997:
6986:
6980:
6969:
6963:
6958:
6952:
6943:
6937:
6936:
6934:
6932:
6918:
6912:
6911:
6909:
6907:
6893:
6887:
6886:
6884:
6882:
6867:
6861:
6860:
6858:
6856:
6845:
6839:
6838:
6836:
6834:
6823:
6817:
6816:
6814:
6812:
6798:
6792:
6791:
6789:
6787:
6776:
6770:
6769:
6767:
6765:
6754:
6748:
6747:
6745:
6743:
6732:
6726:
6725:
6723:
6721:
6710:
6704:
6703:
6701:
6699:
6684:
6678:
6677:
6675:
6673:
6662:
6656:
6655:
6653:
6651:
6640:
6634:
6623:
6617:
6616:
6614:
6612:
6600:
6594:
6593:
6591:
6589:
6575:
6569:
6568:
6566:
6564:
6553:
6547:
6546:
6544:
6542:
6528:
6522:
6521:
6519:
6517:
6506:
6500:
6499:
6497:
6495:
6480:
6474:
6473:
6471:
6469:
6457:
6451:
6450:
6448:
6446:
6435:
6429:
6428:
6426:
6424:
6414:
6408:
6407:
6405:
6403:
6398:, Vassar College
6388:
6382:
6381:
6379:
6377:
6362:
6356:
6355:
6353:
6351:
6337:
6331:
6330:
6328:
6326:
6321:on March 9, 2018
6311:
6305:
6304:
6302:
6300:
6289:
6283:
6282:
6280:
6278:
6267:
6261:
6260:
6258:
6256:
6245:
6239:
6238:
6236:
6234:
6220:
6214:
6213:
6211:
6209:
6194:
6188:
6187:
6185:
6183:
6163:
6157:
6156:
6154:
6152:
6137:
6131:
6130:
6128:
6126:
6111:
6105:
6104:
6102:
6100:
6086:
6080:
6079:
6077:
6075:
6061:
6055:
6054:
6052:
6050:
6036:
6030:
6029:
6027:
6025:
6010:
6004:
6003:
6001:
5999:
5994:on June 25, 2012
5990:. Archived from
5984:
5978:
5977:
5975:
5973:
5958:
5952:
5951:
5949:
5947:
5942:on June 17, 2012
5938:. Archived from
5932:
5926:
5915:Baker, Kenneth.
5913:
5907:
5894:
5888:
5875:
5866:
5859:
5853:
5842:Baker, Kenneth.
5840:
5834:
5816:
5810:
5797:
5791:
5776:
5770:
5763:
5757:
5750:
5744:
5737:
5731:
5720:
5714:
5705:
5699:
5698:
5696:
5694:
5688:Fraenkel Gallery
5679:
5604:
5603:
5597:
5589:
5587:
5585:
5569:
5563:
5559:The New York Sun
5550:Pollock, Lindsay
5547:
5541:
5540:
5534:
5526:
5524:
5522:
5507:
5501:
5487:
5481:
5474:
5465:
5458:
5452:
5451:
5449:
5447:
5437:
5431:
5430:
5424:
5416:
5414:
5412:
5397:
5391:
5384:
5378:
5377:
5375:
5373:
5364:. Archived from
5358:
5352:
5345:
5336:
5335:
5329:
5321:
5319:
5317:
5301:
5295:
5282:, Supplement I,
5269:
5258:
5238:
5232:
5231:
5229:
5227:
5207:
5201:
5191:
5185:
5178:
5169:
5153:
5147:
5131:
5116:
5115:
5103:
5097:
5096:
5092:The Boston Globe
5079:
5073:
5072:
5070:
5068:
5053:
5047:
5040:
5034:
5018:
5009:
5002:
4996:
4995:
4993:
4991:
4976:
4970:
4969:
4967:
4965:
4950:
4944:
4943:
4935:
4929:
4922:
4916:
4915:
4913:
4911:
4891:
4885:
4878:
4869:
4862:
4856:
4855:
4847:
4841:
4831:
4825:
4824:
4822:
4820:
4803:
4797:
4784:
4778:
4754:
4745:
4729:
4723:
4722:
4694:
4685:
4684:
4682:
4680:
4666:
4660:
4653:
4647:
4646:
4644:
4642:
4626:
4620:
4613:
4607:
4592:
4586:
4571:
4565:
4543:
4534:
4533:
4531:
4529:
4514:
4499:
4498:, June 17, 1972.
4492:
4483:
4482:
4480:
4478:
4461:
4455:
4454:
4452:
4450:
4435:
4429:
4428:
4426:
4424:
4408:
4402:
4401:
4399:
4397:
4381:
4375:
4374:
4372:
4370:
4355:
4349:
4345:Evening Standard
4337:
4331:
4330:
4328:
4326:
4311:
4302:
4301:
4299:
4297:
4290:aphotoeditor.com
4282:
4276:
4275:
4255:
4246:
4230:
4221:
4220:
4218:
4216:
4196:
4187:
4186:
4184:
4182:
4162:
4156:
4155:
4153:
4151:
4124:
4118:
4117:
4112:"News Release".
4109:
4103:
4102:
4100:
4098:
4078:
4072:
4071:
4069:
4067:
4058:
4050:
4041:
4040:
4038:
4036:
4022:(July 9, 2007).
4016:
4010:
4009:
4001:
3995:
3994:
3992:
3990:
3970:
3964:
3963:
3961:
3959:
3944:
3938:
3922:
3911:
3910:
3908:
3906:
3886:
3875:
3868:
3857:
3850:
3844:
3837:
3831:
3830:
3828:
3826:
3806:
3793:
3792:
3784:
3778:
3771:
3765:
3764:
3762:
3760:
3745:
3739:
3726:
3717:
3710:
3704:
3703:
3701:
3699:
3683:
3677:
3676:
3674:
3672:
3658:
3652:
3651:
3649:
3647:
3632:
3626:
3625:
3612:
3606:
3605:
3589:
3578:
3571:
3562:
3555:
3549:
3526:
3515:
3508:
3495:
3482:
3463:
3462:
3460:
3458:
3443:
3434:
3433:
3431:
3429:
3414:
3408:
3392:
3381:
3380:
3378:
3376:
3355:
3349:
3348:
3336:
3323:
3322:
3309:
3303:
3296:
3269:
3268:
3266:
3264:
3250:
3244:
3243:
3212:
3203:
3187:
3174:
3173:
3171:
3169:
3154:
3148:
3147:
3145:
3143:
3128:
3122:
3121:
3119:
3117:
3102:
3096:
3078:
3067:
3066:
3044:
3021:
3020:
3004:
2994:
2988:
2987:
2985:
2983:
2971:"Extra Ordinary"
2966:
2947:
2946:
2944:
2942:
2922:
2907:
2889:
2883:
2865:
2859:
2858:
2834:
2821:
2820:
2800:
2794:
2781:
2742:
2741:
2735:
2727:
2704:(June 7, 2016).
2698:
2692:
2691:
2689:
2687:
2667:
2630:
2629:
2627:
2625:
2605:
2590:
2574:
2568:
2554:
2357:, Essen, Germany
2340:, Massachuesetts
2236:Goetz Collection
2169:Akron Art Museum
2023:, San Francisco.
2021:Fraenkel Gallery
1253:in the beginning
1248:The Boston Globe
1152:Peter Schjeldahl
877:
809:told journalist
583:twin-lens reflex
545:Alexey Brodovich
470:Alfred Stieglitz
385:Great Depression
247:
237:
236:
233:
232:
229:
226:
223:
220:
216:
215:
212:
209:
206:
203:
123:
121:
117:
80:
64:
62:
45:
42:
35:
21:
20:
8025:
8024:
8020:
8019:
8018:
8016:
8015:
8014:
7895:
7894:
7886:, May 19, 1989.
7779:
7778:
7777:
7759:
7758:
7743:
7742:
7738:
7731:
7702:"Full Exposure"
7585:
7566:Stepan, Peter.
7314:
7259:
7132:
7127:
7125:Further reading
7122:
7115:
7111:
7101:
7099:
7089:
7085:
7075:
7073:
7062:
7061:
7057:
7047:
7045:
7037:
7036:
7032:
7022:
7020:
7016:
7015:
7011:
7004:
7000:
6987:
6983:
6970:
6966:
6959:
6955:
6944:
6940:
6930:
6928:
6920:
6919:
6915:
6905:
6903:
6895:
6894:
6890:
6880:
6878:
6869:
6868:
6864:
6854:
6852:
6847:
6846:
6842:
6832:
6830:
6825:
6824:
6820:
6810:
6808:
6800:
6799:
6795:
6785:
6783:
6778:
6777:
6773:
6763:
6761:
6756:
6755:
6751:
6741:
6739:
6734:
6733:
6729:
6719:
6717:
6712:
6711:
6707:
6697:
6695:
6686:
6685:
6681:
6671:
6669:
6664:
6663:
6659:
6649:
6647:
6642:
6641:
6637:
6624:
6620:
6610:
6608:
6601:
6597:
6587:
6585:
6577:
6576:
6572:
6562:
6560:
6555:
6554:
6550:
6540:
6538:
6532:"Bed in Mirror"
6530:
6529:
6525:
6515:
6513:
6508:
6507:
6503:
6493:
6491:
6482:
6481:
6477:
6467:
6465:
6458:
6454:
6444:
6442:
6437:
6436:
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5767:Creative Review
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5743:, May 29, 1992.
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3613:
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2509:
2355:Museum Folkwang
2278:, Kalamazoo, MI
2254:, New York City
2248:, Cambridge, MA
2161:
2141:Hayward Gallery
1976:Museum Folkwang
1892:, Minneapolis;
1853:Van Gogh Museum
1841:Hayward Gallery
1808:, Minneapolis;
1775:
1733:Anderson Cooper
1721:Harper's Bazaar
1678:Stanley Kubrick
1579:
1342:
1198:of photography.
1014:Garry Winogrand
1010:Lee Friedlander
1001:
896:, published by
883:Venice Biennale
875:
843:Stanley Kubrick
819:
807:Joel Meyerowitz
783:
759:John Szarkowski
755:Lee Friedlander
751:Garry Winogrand
705:developmentally
674:photojournalism
662:Anderson Cooper
650:Eugene McCarthy
646:Jayne Mansfield
563:Harper's Bazaar
532:Edward Steichen
466:Berenice Abbott
458:
361:
345:Venice Biennale
338:Garry Winogrand
334:Lee Friedlander
320:John Szarkowski
299:Harper's Bazaar
217:
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122: 1969)
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39:(a film test),
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7874:Smith, Roberta
7871:
7858:
7842:
7835:
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7815:
7810:
7792:
7776:
7775:
7770:
7764:
7762:By Diane Arbus
7760:
7757:
7756:
7751:
7745:
7744:
7733:
7732:
7730:
7729:External links
7727:
7726:
7725:
7718:
7711:
7707:The New Yorker
7698:
7691:
7675:
7665:
7658:
7651:
7644:
7637:
7621:
7614:
7607:
7600:
7597:Art in America
7593:
7584:
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7580:
7579:
7564:
7553:Shari Benstock
7545:
7530:
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7500:
7485:
7470:
7456:Gefter, Philip
7453:
7438:
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7404:
7385:
7370:
7355:
7352:Online edition
7330:
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7083:
7069:The New Yorker
7055:
7030:
7009:
6998:
6981:
6964:
6961:Oldweb.sdc.edu
6953:
6938:
6913:
6888:
6862:
6840:
6818:
6802:"Arbus, Diane"
6793:
6782:. Tampabay.com
6771:
6749:
6727:
6705:
6679:
6657:
6635:
6618:
6595:
6570:
6548:
6523:
6512:. The Ringling
6501:
6475:
6452:
6430:
6409:
6383:
6357:
6332:
6306:
6284:
6262:
6240:
6215:
6189:
6167:Searle, Adrian
6158:
6132:
6114:Lehrer, Adam.
6106:
6081:
6056:
6031:
6005:
5979:
5953:
5927:
5908:
5896:Cooper, Neil.
5889:
5877:Davies, Lucy.
5867:
5854:
5835:
5811:
5792:
5771:
5758:
5745:
5732:
5715:
5700:
5605:
5564:
5542:
5502:
5482:
5466:
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5432:
5392:
5379:
5353:
5337:
5296:
5273:"Arbus, Diane"
5259:
5233:
5202:
5186:
5170:
5148:
5117:
5098:
5074:
5048:
5035:
5010:
4997:
4971:
4959:The New Yorker
4945:
4930:
4917:
4886:
4870:
4857:
4842:
4826:
4798:
4786:Vogel, Carol.
4779:
4746:
4724:
4705:(4): 422â438.
4686:
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4648:
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4566:
4535:
4500:
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4456:
4430:
4403:
4376:
4350:
4332:
4303:
4277:
4266:(6): 128â130.
4247:
4233:Hughes, Robert
4222:
4188:
4157:
4143:
4119:
4104:
4073:
4042:
4020:Gefter, Philip
4011:
3996:
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3550:
3516:
3496:
3464:
3435:
3409:
3395:Gefter, Philip
3382:
3350:
3324:
3304:
3300:Art in America
3270:
3245:
3230:
3204:
3199:The New Yorker
3175:
3149:
3123:
3097:
3068:
3061:
3022:
3015:
2989:
2948:
2908:
2892:Gaines, Steven
2884:
2860:
2854:978-0912334400
2853:
2822:
2815:
2795:
2743:
2714:
2693:
2631:
2591:
2569:
2515:
2513:
2510:
2508:
2507:
2501:
2495:
2489:
2486:Whitney Museum
2483:
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2314:Moderna Museet
2311:
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2255:
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2227:
2226:, Poughkeepsie
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2133:
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2108:
2101:
2094:
2089:, Berlin; and
2075:
2068:
2061:
2046:
2035:
2024:
2013:
2006:
1987:
1986:, Minneapolis.
1952:
1945:
1938:
1937:, Los Angeles.
1927:
1920:
1913:
1878:
1871:
1864:
1833:
1824:, California;
1790:
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1578:
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1574:
1573:
1559:
1552:978-1597114394
1541:
1538:978-1588395955
1527:
1524:978-1881337416
1513:
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1396:
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1394:
1375:
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1341:
1338:
1337:
1336:
1329:
1319:
1316:Germaine Greer
1312:
1304:
1303:
1290:
1261:
1240:
1227:
1214:
1199:
1189:
1166:
1161:The New Yorker
1149:
1144:found her and
1138:
1134:Francine Prose
1126:
1118:The New Yorker
1106:
1088:
1077:
1074:Judith Goldman
1071:
1064:
1059:On Photography
1051:
1043:
1031:
1022:
1000:
997:
932:and voiced by
841:, directed by
835:When the film
818:
815:
782:
779:
652:, billionaire
630:Harriet Nelson
457:
454:
450:Richard Avedon
389:Howard Nemerov
360:
357:
314:. In 1963 the
188:
187:
185:
184:
178:
172:
169:Howard Nemerov
165:
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83:
81:(aged 48)
75:
71:
70:
67:
65:March 14, 1923
54:
52:
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47:
36:
28:
27:
24:
15:
9:
6:
4:
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2:
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7985:Russek family
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7930:1971 suicides
7928:
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7875:
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7869:
7868:
7863:
7862:"Diane Arbus"
7859:
7857:May 26, 2016.
7856:
7855:
7850:
7846:
7845:Lubow, Arthur
7843:
7840:
7836:
7833:
7832:
7827:
7824:
7820:
7819:"Diane Arbus"
7816:
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7678:Lubow, Arthur
7676:
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7663:
7659:
7656:
7652:
7649:
7645:
7642:
7638:
7635:
7634:
7629:
7625:
7624:Estrin, James
7622:
7619:
7615:
7612:
7611:Art Criticism
7608:
7605:
7601:
7598:
7594:
7591:
7587:
7586:
7577:
7576:3-7913-2001-7
7573:
7569:
7565:
7562:
7561:0-8135-2032-0
7558:
7554:
7550:
7546:
7543:
7542:0-674-62733-4
7539:
7535:
7531:
7528:
7527:0-8195-5131-7
7524:
7520:
7516:
7513:
7512:0-89236-748-2
7509:
7505:
7501:
7498:
7497:0-262-02288-5
7494:
7490:
7486:
7483:
7482:0-415-91412-4
7479:
7475:
7471:
7469:
7465:
7461:
7457:
7454:
7451:
7450:1-884964-21-4
7447:
7443:
7439:
7436:
7435:0-8065-1726-3
7432:
7428:
7424:
7421:
7417:
7413:
7412:Garry Hagberg
7409:
7405:
7402:
7401:0-914357-74-3
7398:
7394:
7390:
7386:
7383:
7382:1-59711-021-3
7379:
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7367:0-521-32751-2
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7331:
7328:
7327:0-670-85434-4
7324:
7320:
7316:
7315:
7312:Book chapters
7306:
7305:3-86521-143-7
7302:
7298:
7294:
7291:
7290:1-60819-519-8
7287:
7283:
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7276:2-85108-374-0
7273:
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7235:Lubow, Arthur
7233:
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7229:0-300-10146-5
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7200:
7199:0-09-947036-5
7196:
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7183:0-393-31207-0
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7167:0-394-50404-6
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7149:1-881337-19-7
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6709:
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6683:
6667:
6666:"Diane Arbus"
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6645:
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6628:
6622:
6606:
6603:Diane Arbus.
6599:
6584:
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6574:
6558:
6552:
6537:
6533:
6527:
6511:
6505:
6489:
6485:
6479:
6463:
6460:Diane Arbus.
6456:
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6413:
6397:
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6065:"diane arbus"
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6014:"Diane Arbus"
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5936:"Diane Arbus"
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5292:"Diane Arbus"
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4670:"Diane Arbus"
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4519:"Diane Arbus"
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4116:. March 1973.
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2022:
2018:
2014:
2011:
2007:
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1996:
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1973:
1969:
1965:
1961:
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1780:New Documents
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55:Diane Nemerov
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7803:Neil Selkirk
7799:John Gossage
7791:at Wikiquote
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7241:. New York:
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7102:November 11,
7100:. Retrieved
7096:
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7074:. Retrieved
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7021:. Retrieved
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6929:. Retrieved
6926:artfacts.net
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6904:. Retrieved
6900:
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6881:November 11,
6879:. Retrieved
6874:
6865:
6853:. Retrieved
6851:. Gallery.ca
6843:
6831:. Retrieved
6829:. Gallery.ca
6821:
6811:November 11,
6809:. Retrieved
6805:
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6784:. Retrieved
6774:
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6752:
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6696:. Retrieved
6682:
6672:February 17,
6670:. Retrieved
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6648:. Retrieved
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6514:. Retrieved
6504:
6492:. Retrieved
6478:
6466:. Retrieved
6455:
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4926:Art Journal
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4296:November 1,
4006:Photography
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3428:November 6,
3116:November 1,
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2790:Smithsonian
2686:November 1,
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2476:, Vancouver
2422:Rijksmuseum
2316:, Stockholm
2246:Fogg Museum
2159:Collections
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2096:2016â2017:
2079:Diane Arbus
2077:2011â2013:
2048:2009â2018:
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1917:Diane Arbus
1880:1984â1987:
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1080:David Pagel
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838:The Shining
775:Bea Feitler
486:Bill Brandt
482:Paul Strand
420:Allan Arbus
302:, London's
193:Diane Arbus
104:Allan Arbus
44: 1949
25:Diane Arbus
7899:Categories
7551:edited by
7549:On Fashion
7410:edited by
7243:Ecco Press
6738:. Moca.org
6392:"Facebook"
6024:August 16,
5972:August 16,
5946:August 16,
5728:C Magazine
4838:The Nation
4133:. London:
3231:0393326616
2512:References
2488:, New York
2442:, Lawrence
2409:, New York
2363:, New York
2322:, New York
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1102:Nan Goldin
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636:, atheist
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586:Rolleiflex
90:Occupation
61:1923-03-14
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6579:"eMuseum"
6559:. Faif.ch
6464:. Icp.org
5372:March 19,
5226:August 9,
4819:March 24,
4775:Salon.com
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4215:March 16,
4181:March 16,
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3263:March 26,
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1835:1973â79:
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660:'s baby,
571:in 1959.
513:Seventeen
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7583:Articles
7245:, 2016.
7143:, 2004.
6855:March 9,
6833:March 9,
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6182:March 9,
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5903:The List
5824:Archived
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5494:Archived
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5251:Archived
4940:Artforum
4768:Archived
4679:July 23,
4272:44129496
4054:"No. 21"
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3646:March 7,
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1433:Untitled
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1355:, 1972.
1353:Aperture
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