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|Author||: Arthur Lubow|
The definitive biography of the beguiling Diane Arbus, one of the most influential and important photographers of the twentieth century, a brilliant and absorbing exposition that links the extraordinary arc of her life to her iconic photographs. Diane Arbus brings to life the full story of one of the greatest American artists of the twentieth century, a visionary who revolutionized photography and altered the course of contemporary art with her striking, now iconic images. Arbus comes startlingly to life on these pages, a strong-minded child of unnerving originality who grew into a formidable artist and forged an intimacy with her subjects that has inspired generations of artists. Arresting, unsettling, and poignant, her photographs stick in our minds. Why did these people fascinate her? And what was it about her that captivated them? It is impossible to understand the transfixing power of Arbus’s photographs without understanding her life story. Arthur Lubow draws on exclusive interviews with Arbus’s friends, lovers, and colleagues, on previously unknown letters, and on his own profound critical understanding of photography, to explore Arbus’s unique perspective. He deftly traces Arbus’s development from a wealthy, sexually precocious free spirit into first a successful New York fashion photographer, and then a singular artist who coaxed hidden truths from her subjects. Lubow reveals that Arbus’s profound need not only to see her subjects but to be seen by them drove her to forge unusually close bonds with these people, helping her discover the fantasies, pain, and heroism within each of them. Diane Arbus is the definitive biography of this unique, hugely influential artist. This magnificently absorbing, sensitive treatment of a singular personality brushes aside the clichés that have long surrounded Arbus and her work to capture a brilliant portrait of this seminal artist whose work has immeasurably shaped art and modern culture. Lubow’s Diane Arbus finally does justice to Arbus, and brings to life the story and art of one of the greatest American artists in history. Diane Arbus includes a 16-page black-and-white photo insert.
|Author||: Diane Arbus,Doon Arbus|
This 25th anniversary edition celebrates one of the most important photographic books in history on the work of a single artist. Every image has been printed from a new 300-line screen duotone film, bringing to the reproductions clarity and brilliance unattainable before.
|Author||: Patricia Bosworth|
|Editor||: Open Road Media|
“A spellbinding portrait” of the tumultuous life and artistic career of one of the most creative photographers of the 1960s (New York magazine). Diane Arbus became famous for her intimate and unconventional portraits of twins, dwarfs, sideshow performers, eccentrics, and everyday “freaks.” Condemned by some for voyeurism, praised by others for compassion, she was nonetheless a transformative figure in twentieth-century photography and hailed by all for her undeniable genius. Her life was cut short when she committed suicide in 1971 at the peak of her career. In the first complete biography of Arbus, author Patricia Bosworth traces the arc of Arbus’s remarkable life: her sheltered upper-class childhood and passionate, all-consuming marriage to Allan Arbus; her roles as wife and devoted mother; and her evolution from fashion photographer to critically acclaimed artist—one who forever altered the boundaries of photography.
|Author||: Diane Arbus|
With Essays by Sandra Phillips, Neil Selkirk and Doon Arbus and a 100-page chronology of the life of Diane Arbus by Doon Arbus.Between 1954 and her suicide in 1971 Diane Arbus took some 150,000 photographs. She had grown up in the same New York milieu as her friend Richard Avedon. She was the daughter of an upper middle class Jewish family that owned a Fifth Avenue clothing store. Her posthumous retrospective exhibition at the Museum of Modern Art in New York in 1972 showed some 150 portraits upon which her reputation was built and has been sustained ever since. Her subjects ranged from anonymous strangers found on the street to celebrities, freaks, circus people and nudists. They are some of the most powerful photographs ever made. The 1972 MoMA catalogue has never been out of print and has sold unparalleled quantities. The great retrospective drawn from her entire career has until now remained unpublished. This is a milestone book for which we have been waiting years. The book is published on the occasion of a retrospective exhibition starting in San Francisco in September 2003. It will come to the V&A in London in October 2005 and will run there until January 2006.
|Author||: Jeff L. Rosenheim,Karan Rinaldo|
|Editor||: Metropolitan Museum of Art|
Diane Arbus (1923–1971) is one of the most distinctive and provocative artists of the twentieth century. Her photographs of children and eccentrics, couples and circus performers, female impersonators and nudists, are among the most recognizable images of our time. This book is the definitive study of the artist’s first seven years of work, from 1956 to 1962. Drawn primarily from the rich holdings of the Metropolitan Museum’s Diane Arbus Archive—a remarkable treasury of photographs, negatives, appointment books, notebooks, and correspondence—it is an essential contribution to our understanding of Arbus and her oeuvre. diane arbus: in the beginning showcases over 100 of the artist’s early photographs, more than half of which are published here for the first time. The book provides a crucial, in-depth presentation of the artist’s genesis, showing Arbus as she developed her evocative and often haunting imagery. The photographs featured in this handsome volume reveal an artist defining her style, honing her subject matter, and in full possession of the many gifts for which she is now recognized the world over.
|Author||: Diane Arbus,John P. Jacob|
In 1971, with an advertisement in the June issue of Artforum, Diane Arbus announced the offering of her limited-edition portfolio, A box of ten photographs. At the time of her death, one month later, only four were sold. Two were purchased from Arbus by Richard Avedon; another by Jasper Johns. The last of the four was purchased by Bea Feitler, art director at Harper's Bazaar. Arbus signed the prints in all four sets, and each was accompanied by an overlying vellum sheet inscribed with an extended caption. For Feitler, Arbus added an eleventh photograph. This is the first publication to focus exclusively on A box of ten photographs, using the eleven-print set that Arbus assembled for Feitler. It was acquired by the Smithsonian American Art Museum, Washington, D.C., in 1986, and is the only one of the four portfolios completed and sold by Arbus that is publicly held. This publication examines this unique object as the sole body of images selected by Arbus herself, and considers its legacy as a key document of her enduring impact on contemporary photographic practice. An in-depth essay features new and compelling scholarship by John P. Jacob, the McEvoy Family Curator for Photography at the Smithsonian American Art Museum. The book is published in conjunction with the exhibition Diane Arbus: A box of ten photographs, on view at the museum from April through September of 2018.
|Author||: Diane Arbus,Doon Arbus,Yolanda Cuomo|
Untitled is the third volume of Diane Arbuss work and the only one devoted exclusively to a single project. The photographs were taken at residences for the mentally retarded between 1969 and 1971, in the last years of Arbuss life. Although she considered doing a book on the subject, the vast majority of these pictures remained unpublished prior to this volume. These photographs achieve a lyricism, an emotional purity that sets them apart from all her other accomplishments. Finally what Ive been searching for, she wrote at the time. The product of her consistently unflinching regard for reality as she found it, the images in this book have less in common with the documentary than with the mythic. Untitled may well be Arbuss most transcendent, most romantic vision. It is a celebration of the singularity and connectedness of each and every one of us. For Diane Arbus, this is what making pictures was all about. This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessey using prints by Neil Selkirk.
|Author||: Frederick Gross|
|Editor||: U of Minnesota Press|
Monografie over het werk van de Amerikaanse fotografe (1923-1971) en hoe zich dit verhoudt tot andere kunstzinige en maatschappelijke ontwikkelingen in de zestiger jaren van de twintigste eeuw.
|Author||: Elisabeth Sussman,Diane Arbus,Doon Arbus,Jeff Rosenheim|
For more information, please contact Kellie McLaughlin T (212) 946-7130 E firstname.lastname@example.org Distributed by Thames & Hudson Ltd. c/o Littlehampton Book Services, Faraday Close, Durrington, Worthing, West Sussex BN13 3RB England Customer Service T +44 (0) 1903 828 501 E email@example.com Direct Order Desk T +44 (0) 1903 828 511 F +44 (0) 1903 828 801/02 E firstname.lastname@example.org Diane Arbus A Chronology Diane Arbus: A Chronology is the closest thing possible to reading a contemporaneous diary by one of the most daring, influential, and controversial artists of the twentieth century. Drawn primarily from Arbuss extensive correspondence with friends, family, and colleagues; personal notebooks; and other unpublished writings, this beautifully produced volume exposes the private thoughts and motivations of an artist whose astonishing vision derived from the courage to see things as they are and the grace to permit them simply to be. Further rounding out Arbuss life and work are exhaustively researched footnotes that amplify the entire Chronology. A section at the end of the book provides biographies for fifty-five personalities, family members, friends, and colleagues, from Marvin Israel and Lisette Model to Weegee and August Sander. Describing the Chronology in Art in America, Leo Rubinfien noted that Arbus . . . wrote as well as she photographed, and her letters, where she heard each nuance of her words, were gifts to the people who received them. Once one has been introduced to it, the beauty of her spirit permanently changes and deepens ones understanding of her pictures . . . The texts in Diane Arbus: A Chronology originally appeared in Diane Arbus Revelations. This volume makes this invaluable text available in an accessible, paperback volume for the very first time.
|Author||: William Todd Schultz|
|Editor||: Bloomsbury Publishing USA|
Diane Arbus was one of the most brilliant and revered photographers in the history of American art. Her portraits, in stark black and white, seemed to reveal the psychological truths of their subjects. But after she committed suicide at the age of 48, the presumed chaos and darkness of her own inner life became, for many viewers, inextricable from her work. In the spirit of Janet Malcolm's classic examination of Sylvia Plath, The Silent Woman, William Todd Schultz's An Emergency in Slow Motion reveals the creative and personal struggles of Diane Arbus. Schultz, an expert in personality psychology, veers from traditional biography to look at Arbus's life through the prism of five central mysteries: her childhood, her outcast affinity, her sexuality, her time in therapy, and her suicide. He seeks not to give Arbus some definitive diagnosis, but to ponder some of the private motives behind her public works and acts. In this approach, Schultz not only goes deeper into her life than any previous writing, but provides a template to think about the creative life in general. Schultz's careful analysis is informed, in part, by the recent release of Arbus's writing by her estate, as well as interviews with Arbus's last therapist. An Emergency in Slow Motion combines new revelations and breathtaking insights into a must-read psychobiography about a monumental artist -- the first new look at Arbus in 25 years.
|Author||: Alexander Nemerov|
Silent Dialogues, by art historian Alexander Nemerov, is a probing, intimate reflection about photographer Diane Arbus, the author's aunt, and her brother, Pulitzer Prize–winning poet Howard Nemerov, the author's father. "I have no memories of Diane Arbus," begins Alexander Nemerov in the first of two meditative essays that comprise this book. "A Resemblance" examines Howard Nemerov's complicated responses to his sister's photography. "The School" focuses on a body of Arbus' work known as the Untitled series, photographs made at residences for the mentally disabled between 1969 and 1971, in the last years of her life. Through their work, the author explores the siblings' disparate and distinct sensibilities, and in doing so uncovers signs of an unexpected aesthetic kinship. Illustrations complementing the essays include numerous examples of Arbus' photographs; paintings by artists as diverse as Pieter Brueghel, Norman Rockwell, Paul Feeley and Johannes Vermeer; and a selection of poems by Howard Nemerov, chosen by his son.
|Author||: Diane Arbus|
Gathers a chronological selection of portraits Arbus produced on assignment for Esquire, Harper's Bazaar, the Sunday Times magazine of London, and other magazines.
|Author||: Martha Kreisel,Martha Moss|
|Editor||: Greenwood Publishing Group|
A bibliography of over 1,000 sources for over 600 female photographers from the late 19th century to the present.
|Author||: Delia Gaze|
This book includes some 200 complete entries from the award-winning Dictionary of Women Artists, as well as a selection of introductory essays from the main volume.
|Author||: Richard Bolton|
|Editor||: MIT Press|
Photography's great success gives the impression that the major questions that have haunted the medium are now resolved. On the contrary, the most important questions about photography are just beginning to be asked. These fourteen essays, with over 200 illustrations, critically examine prevailing beliefs about the medium and suggest new ways to explain the history of photography. They are organized around the questions: What are the social consequences of aesthetic practice? How does photography construct sexual difference? How is photography used to promote class and national interests? What are the politics of photographic truth? The Contest of Meaning summarizes the challenges to traditional photographic history that have developed in the last decade out of a consciously political critique of photographic production. Contributions by a wide range of important Americans critics reexamine the complex—and often contradictory—roles of photography within society. Douglas Crimp, Christopher Phillips, Benjamin Buchloh, and Abigail Solomon Godeau examine the gradually developed exclusivity of art photography and describe the politics of canon formation throughout modernism. Catherine Lord, Deborah Bright, Sally Stein, and Jan Zita Grover examine the ways in which the female is configured as a subject, and explain how sexual difference is constructed across various registers of photographic representation. Carol Squiers, Esther Parada, and Richard Bolton clarify the ways in which photography serves as a form of mass communication, demonstrating in particular how photographic production is affected by the interests of the powerful patrons of communications. The three concluding essays, by Rosalind Krauss, Martha Rosler, and Allan Sekula, critically examine the concept of photographic truth by exploring the intentions informing various uses of "objective" images within society.
|Author||: George Cotkin|
|Editor||: Oxford University Press|
In 1952, John Cage shocked audiences with 4'33," his composition showcasing the power of silence. From Cage's minimalism to Chris Burden's radical performance art two decades later, the post-war avant-garde sought to liberate the art world by shattering the divide between high and low art. Feast of Excess presents an engaging and accessible portrait of the cultural extremism that emerged in the United States after World War II. This "New Sensibility," as termed by Susan Sontag, was predicated upon excess, pushing and often crossing boundaries whether in the direction of minimalism ormaximalism. Through brief vignette profiles of prominent figures in literature, music, visual art, poetry, theater and journalism, George Cotkin leads readers on a focused journey through the interconnected stories of prominent figures such as Andy Warhol, Anne Sexton, John Cage, John Coltrane, BobDylan, Erica Jong, and Chris Burden, among many others, who broke barriers between artist and audience with their bold, shocking, and headline-grabbing performances. This inventive narrative captures the sentiment of liberation from high and low culture in artistic endeavors spanning from the 1950s to the 1970s and reveals the establishment of excess in American culture as the norm. A detailed emersion in the history of cultural extremism, Feast of Excess leavesreaders to consider the provocative revelation that the essence of excess remains in our culture today, for good and ill.
|Author||: Gregory Gibson|
|Editor||: Houghton Mifflin Harcourt|
Traces the efforts of Bob Langmuir to authenticate photographs he discovered in the Hubert's Museum archives that he believed to be prints by a legendary photographer.
|Author||: Lynne Warren|
The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.
|Author||: Garry L. Hagberg|
|Editor||: John Wiley & Sons|
Through a series of essays, Art and Ethical Criticism explores the complex relationship between the arts and morality. Reflects the importance of a moral life of engagement with works of art Forms part of the prestigious New Directions in Aesthetics series, which confronts the most intriguing problems in aesthetics and the philosophy of art today
|Author||: Claire Raymond|
|Editor||: Springer Nature|
This book argues for a renewed understanding of the fundamentally uncanny quality of the medium of photography. It especially makes the case for the capacity of certain photographs—precisely through their uncanniness—to contest structures of political and social dominance. The uncanny as a quality that unsettles the perception of home emerges as a symptom of modern and contemporary society and also as an aesthetic apparatus by which some key photographs critique the hegemony of capitalist and industrialist domains. The book’s historical scope is large, beginning with William Henry Fox Talbot and closing with contemporary indigenous photographer Bear Allison and contemporary African American photographer Devin Allen. Through close readings, exegesis, of individual photographs and careful deployment of contemporary political and aesthetic theory, The Photographic Uncanny argues for a re-envisioning of the political capacity of photography to expose the haunted, homeless, condition of modernity.