Diane Arbus Documents

Description

Known for her evocative portraits, Diane Arbus is a pivotal figure in American postwar photography. Undeniably striking, Arbus's black-and-white photographs capture a unique gaze. Criticized as well as lauded for her photographs of people deemed "outsiders," Arbus continues to attract a diversity of opinions surrounding her subjects and practice. Critics and writers have described her work as "sinister" and "appalling" as well as "revelatory," "sincere," and "compassionate." In the absence of Arbus's own voice, art criticism and cultural shifts have shaped the language attributed to her work. Organized in eleven sections that focus on major exhibitions and significant events in Arbus's life, as well as on her practice and her subjects, the seventy facsimiles of articles and essays--an archive by all accounts--trace the discourse on Diane Arbus, contextualizing her hugely successful oeuvre. Also with an annotated bibliography of more than six hundred entries and a comprehensive exhibition history, Documents serves as an important resource for photographers, researchers, art historians, and art critics, in addition to students of art criticism and the interested reader alike.

Diane Arbus (1923-1971) is one of the most original and influential photographers of the twentieth century. She studied photography with Berenice Abbott, Alexey Brodovitch, and Lisette Model and had her first published photographs appear in Esquire in 1960. In 1963 and 1966 she was awarded John Simon Guggenheim Fellowships and was one of three photographers whose work was the focus of New Documents, John Szarkowski's landmark exhibition at The Museum of Modern Art, New York, in 1967. Arbus's depictions of couples, children, female impersonators, nudists, New York City pedestrians, suburban families, circus performers, and celebrities, among others, span the breadth of the postwar American social sphere and constitute a diverse and singularly compelling portrait of humanity. Max Rosenberg is an art historian and associate director of research and exhibitions at David Zwirner. He has worked with the Estate of Diane Arbus since 2018. In that year, he helped organize Diane Arbus: Untitled, the gallery's inaugural exhibition of Arbus's work. He has received grants and awards from the Dedalus Foundation, the Fulbright Program, the German Academic Exchange Service (DAAD), and the Getty Research Institute, among other institutions. His writings have appeared in various publications, including The Getty Research Journal, Texte zur Kunst, and Art in America.

"It's at once a valuable resource for historians and students of art history as well as a fascinating read for fans of contemporary photography." -- "The Strategist, New York Magazine" "A valuable resource for historians and students of art history as well as a fascinating read for fans of contemporary photography."-- "The Strategist, New York Magazine" "By foregrounding the literature on Arbus, the show acknowledged that the artist's reputation has often overshadowed her images. Thankfully, it also allowed the photographs to speak for themselves."-- "Art in America" "a lavishly produced compendium of Arbus criticism over the last half-century."--Arthur Lubow "The New York Times" "...a look back at how one single museum showing proved to the public that photography merits the status of fine art." --Stephanie Eckardt "W Magazine" "...[the book is] even more illuminating when it comes to illustrating Arbus's impact...includes commentary from no fewer than 55 esteemed artists and critics...the book illustrates one of the most striking things about the polemic nature of Arbus's work."--Stephanie Eckardt "W Magazine" "'MoMA just thought this [their groundbreaking 1972 Arbus retrospective] was going to be another show, ' said Jeffrey Fraenkel, the dealer who co-represents Arbus's estate. But 'it was an earthquake, ' a once-in-a-generation moment. This week, for its 50th anniversary, Fraenkel and David Zwirner gallery are restaging the exhibition at Zwirner's West 20th Street outpost in Manhattan. They are also publishing a 500-page book of writings about Arbus called 'Documents'...MoMA's Arbus show has since taken on an element of myth, but 'Documents' also chronicles a significant backlash."--M.H. Miller "T: The New York Times Style Magazine" "A doorstop scrapbook that reproduces a half-century's worth of writing about an artist who, as Avedon once observed, 'made the act of looking an act of such intelligence, that to look at so-called ordinary things is to become responsible for what you see.'"-- "The New Yorker" "A vast, absorbing bibliography of the critical writings published over the last five decades, Documents is testament to Arbus's enduring legacy, an artist who has continuously been a part of the conversation about looking and feeling."-- "Cultured Magazine" "To engage with Arbus's pictures is to engage with what it means to take a photograph of another human."-- "Artnet News"