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A pivotal figure in contemporary documentary photography, Diane Arbus produced a substantial body of work before her suicide in 1971. Her unrelentingly direct photographs of people who live on the edge of societal acceptance, as well as those photographs depicting supposedly "normal" people in a way that sharply outlines the cracks in their public masks, were controversial at the time of their creation and remain so today.

Arbus was born Diane Nemerox, to a wealthy family in New York City. Her father owned a fashionable Fifth Avenue department store. She was educated at the Ethical Culture School, a progressive institution. At age 18 she married Allan Arbus and began to express an interest in photography. Her father asked Diane and her husband to make advertising photographs for his store. The couple collaborated as photographers from then on, eventually producing fashion pictures for Harper's Bazaar.

Between 1955 and 1957 Arbus studied under Lisette Model. Model encouraged Arbus to concentrate on personal pictures and to further develop what Model recognized as a uniquely incisive documentary eye. Soon after Arbus began her studies with Lisette Model, she began to devote herself fully to documenting transvestites, twins, midgets, people on the streets and in their homes, and asylum inmates. Arbus's pictures are almost invariably confrontational: the subjects look directly at the camera and are sharply rendered, lit by direct flash or other frontal lighting. Her subjects appear to be perfectly willing, if not eager, to reveal themselves and their flaws to her lens.

She said of her pictures, "What I'm trying to describe is that it's impossible to get out of your skin into somebody else's.... That somebody else's tragedy is not the same as your own." And of her subjects who were physically unusual, she said, "Most people go through life dreading they'll have a traumatic experience. [These people] were born with their trauma. They've already passed their test in life. They're aristocrats."

Arbus's photographs drew immediate attention from the artistic community. She was awarded Guggenheim Fellowships in 1963 and 1966 to continue her work. In 1967 her work was mounted in the New Documents show at the Museum of Modern Art, New York, along with the work of two other influential, new photographers: Gary Winogrand and Lee Friedlander. For the most part, the exhibition received extremely good reviews.

In 1970 Arbus made a limited portfolio containing 10 photographs; by then she had established an international reputation as one of the pioneers of the "new" documentary style. Her work was often compared with that of August Sander, whose Men Without Masks expressed similar concerns, although in a seemingly less ruthless manner. In July 1971 Diane Arbus took her own life in Greenwich Village, New York. Her death brought even more attention to her name and photographs. In the following year Arbus became the first American photographer to be represented at the Venice Biennale. A major retrospective at the Museum of Modern Art, New York, in 1972, which traveled throughout the U.S. and Canada, was viewed by over 7.25 million people. The next year, a Japanese retrospective traveled through Western Europe and the Western Pacific. The 1972 Aperture monograph Diane Arbus, now in its twelfth edition, has sold more than 100,000 copies.

Biography

Diane Arbus (née Nemerov) was born in New York City into a wealthy Jewish family, ^[1] the younger sister of Howard Nemerov, who served as United States Poet Laureate on two separate occasions. She attended the Fieldston School for Ethical Culture.

Marriage

She fell in love with future actor Allan Arbus at age 14, and married him in 1941, soon after turning 18, despite her parents' objections. When her husband began training as a photographer for the US Army, he shared his lessons with Diane. As a husband-wife team, the Arbuses became successful in the fashion world. As Diane began to take her own photographs, she took formal lessons with Lisette Model at The New School in New York. Edward Steichen's noted photo exhibit, The Family of Man, included a photograph credited to the couple.^[2] Together the Arbuses had two daughters, photographer Amy Arbus and writer and art director Doon Arbus. Allan and Diane Arbus had separated by 1959.

Photojournalism

After separating from her husband, Arbus studied with Alexey Brodovitch and Richard Avedon. Beginning in 1960, Arbus worked extensively as a photojournalist, her photos appearing in Esquire, The New York Times Magazine, Harper's Bazaar and Sunday Times magazines, among others. Her first public work was an assignment by Esquire editor and art director Robert Benton. Published under the title, "The Vertical Journey: Six Movements of a Moment Within the Heart of the City", consisting of six portraits of an assortment of New Yorkers. Arbus would go on to collaborate with Hayes and Benton (and Benton's successors) for 31 photographs in 18 articles.^{[citations needed]}

Early work

Identical Twins, Roselle, New Jersey, 1967, on the cover of Diane Arbus: An Aperture Monograph.

Arbus' early work was created using 35mm cameras, but by the 1960s Arbus adopted the Rolleiflex medium format twin-lens reflex. This format provided a square

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aspect ratio, higher image resolution, and a waist-level viewfinder that allowed Arbus to connect with her subjects in ways that a standard eye-level viewfinder did not. Arbus also experimented with the use of flashes in daylight, allowing her to highlight and separate her subjects from the background.

Grants

In 1963, Arbus received a Guggenheim Fellowship grant. Arbus received a second Guggenheim grant in 1966. The Museum of Modern Art, in 1967, staged Arbus' first museum show as the New Documents show which included the work of Garry Winogrand and Lee Friedlander. She also taught photography at The Parsons School for Design in NYC and Hampshire College in Amherst, Massachusetts.

Death

In July 1971, Arbus committed suicide in Greenwich Village at the age of 48 by ingesting a large quantity of barbiturates and then slashing her wrists.

Legacy

MoMA curator John Szarkowski prepared to stage a retrospective in 1972, but the accompanying Diane Arbus catalog proposal was turned down by all major publishing houses. Aperture magazine's Michael E. Hoffman accepted the challenge, producing an influential photography book. The Aperture monograph has since been reprinted 12 times, selling more than 100,000 copies. The MoMA retrospective traveled throughout North America attracting more than 7 million viewers. Also in 1972, Arbus became the first American photographer to be represented at the Venice Biennale. Arbus' photograph Identical Twins is tenth on the list of most expensive photographs having sold in 2004 for $478,400.

In 2006, the film Fur: An Imaginary Portrait of Diane Arbus was released, starring Nicole Kidman as Arbus. Though it is a highly fictionalized account of a period in her life, it used Patricia Bosworth's book Diane Arbus: A Biography as a source.

Overview of Arbus' work

Arbus' voyeuristic approach has been criticized as demeaning to her subjects, ^[3] based around a major London retrospective of her works. Admirers of Arbus' work, such as filmmaker Todd Solondz, were also interviewed by the BBC and defended her work.

In an effort to dispel this image, Diane Arbus undertook a study of "conventional" people, including Gloria Vanderbilt's infant son, future CNN anchorman Anderson Cooper, for Harper's Bazaar.^[4]

Famous photographs

Arbus' Child with Toy Hand Grenade in Central Park, New York City (1962)

Child with Toy Hand Grenade in Central Park,^[5] New York City (1962) — A scrawny boy, 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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grenade in his right hand and holding his left hand in a claw-like gesture, his facial expression is maniacal. Arbus captured this photograph by having the boy stand while moving around him, claiming she was trying to find the right angle. The boy became impatient and told her to "Take the picture already!" This photo was also used, without permission, on the cover of punk band SNFU's first studio album, And No One Else Wanted to Play.

Identical Twins, Roselle, New Jersey, 1967 — Young twin sisters are seen standing side by side in corduroy dresses. One slightly smiles and the other slightly frowns. This photo is echoed in Stanley Kubrick's film The Shining, which features twins in an identical pose.

Jewish Giant at Home with His Parents in The Bronx, NY^[6] (1970) — Eddie Carmel, the "Jewish Giant", stands in his family's apartment with his much shorter mother and father.