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Diane Arbus redefined the concerns and the range of the art she practiced. Her bold subject matter and photographic approach have established her preeminence in the world of the visual arts. Her gift for rendering strange those things we consider most familiar, and uncovering the familiar within the exotic, enlarges our understanding of ourselves.
Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world.
The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, “The Question of Belief,” by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and “In the Darkroom,” a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, illustrated by more than three hundred additional images and composed mainly of previously unpublished excerpts from the artist’s letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.
Diane Arbus Revelations affords the first opportunity to explore the origins, scope, and aspirations of what is a wholly original force in photography. Arbus’s frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world.
The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career, many of them never before seen. It also includes an essay, “The Question of Belief,” by Sandra S. Phillips, senior curator of photography at the San Francisco Museum of Modern Art, and “In the Darkroom,” a discussion of Arbus’s printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. A 104-page Chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist’s eldest daughter, illustrated by more than three hundred additional images and composed mainly of previously unpublished excerpts from the artist’s letters, notebooks, and other writings, amounts to a kind of autobiography. An Afterword by Doon Arbus precedes biographical entries on the photographer’s friends and colleagues by Jeff L. Rosenheim, associate curator of photographs at The Metropolitan Museum of Art. These texts help illuminate the meaning of Diane Arbus’s controversial and astonishing vision.
著者について
I want to photograph the considerable ceremonies of our present because we tend while living here and now to perceive only what is random and barren and formless about it. While we regret that the present is not like the past and despair of its ever becoming the future, its innumerable inscrutable habits lie in wait for their meaning...These are our symptoms and our monuments. I want simply to save them, for what is ceremonious and curious and commonplace will be legendary.
Diane Arbus–born Diane Nemerov in New York City in 1923–first began taking pictures in the early 1940s following her marriage to Allan Arbus. She studied photography with Berenice Abbott, Alexey Brodovitch, and Lisette Model. Her first published photographs appeared in Esquire in 1960. Over the next ten years her work continued to appear in Esquire, Harper’s Bazaar, and other magazines.
In 1963 and 1966 she was awarded John Simon Guggenheim Fellowships. She was one of three photographers whose work was the focus of New Documents, a 1967 exhibition at The Museum of Modern Art. In 1970 Arbus made a portfolio of prints entitled A box of ten photographs, which was to be the first of a series of similar limited editions of her work. She taught photography in the late sixties at Parsons School of Design, Rhode Island School of Design, and Cooper Union, and, in 1971, gave a private master class at the artists’ cooperative where she lived.
A year after her death in 1971, her work was selected for inclusion at the Venice Biennale–the first work of an American photographer to be so honored. The Museum of Modern Art hosted a major retrospective that traveled throughout the United States and Canada from 1972 to 1975. The three books of her work, Diane Arbus: An Aperture Monograph (1972), Diane Arbus: Magazine Work (1984), and Untitled: Diane Arbus (1995), were published posthumously and have remained continuously in print. Diane Arbus Revelations, in conjunction with the first major international retrospective of her work in thirty years, is the only comprehensive and intimate study of this singularly daring photographic artist.
Diane Arbus–born Diane Nemerov in New York City in 1923–first began taking pictures in the early 1940s following her marriage to Allan Arbus. She studied photography with Berenice Abbott, Alexey Brodovitch, and Lisette Model. Her first published photographs appeared in Esquire in 1960. Over the next ten years her work continued to appear in Esquire, Harper’s Bazaar, and other magazines.
In 1963 and 1966 she was awarded John Simon Guggenheim Fellowships. She was one of three photographers whose work was the focus of New Documents, a 1967 exhibition at The Museum of Modern Art. In 1970 Arbus made a portfolio of prints entitled A box of ten photographs, which was to be the first of a series of similar limited editions of her work. She taught photography in the late sixties at Parsons School of Design, Rhode Island School of Design, and Cooper Union, and, in 1971, gave a private master class at the artists’ cooperative where she lived.
A year after her death in 1971, her work was selected for inclusion at the Venice Biennale–the first work of an American photographer to be so honored. The Museum of Modern Art hosted a major retrospective that traveled throughout the United States and Canada from 1972 to 1975. The three books of her work, Diane Arbus: An Aperture Monograph (1972), Diane Arbus: Magazine Work (1984), and Untitled: Diane Arbus (1995), were published posthumously and have remained continuously in print. Diane Arbus Revelations, in conjunction with the first major international retrospective of her work in thirty years, is the only comprehensive and intimate study of this singularly daring photographic artist.
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17 人中、13人の方が、｢このレビューが参考になった｣と投票しています。
形式:ハードカバー
残念ながら、まだ実際に「Revelations」展には行っていないのだが、さすがに過去最大の回顧展である。本書の内容も、彼女の作品のみにとどまらず、彼女の歴史、日記、暗室の作業についてなどなど、魅力的なものになっているし、総351ページはかなり読みごたえがあるはずだ。私は本書を卒業論文の資料として活用しているが、ダイアンについて書かれた「炎のごとく ー写真家ダイアン・アーバス」よりも、本書はダイアンの経歴について信頼が持てるだろう。ただ、彼女の生きた時代の雰囲気を知る上で、この著書は重要だ。こちらの本も合わせて読むことをお勧めしたい。とは言っても、彼女を知るにはまずは作品を実際に見ることから。来年からまたアメリカで巡回し始めるこの回顧展は、是非チェックしたいところである。
本書のタイトル、「啓示」というのが少々、彼女の人生と作品を神話化し過ぎている象徴とも読めるが、彼女に興味がある方なら、図書館から借りる一冊ではなく、是非手元に置いておきたい一冊である。
本書のタイトル、「啓示」というのが少々、彼女の人生と作品を神話化し過ぎている象徴とも読めるが、彼女に興味がある方なら、図書館から借りる一冊ではなく、是非手元に置いておきたい一冊である。
Amazon.com で最も参考になったカスタマーレビュー (beta)
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5つ星のうち 4.8
22件のカスタマーレビュー
77 人中、76人の方が、｢このレビューが参考になった｣と投票しています。
5つ星のうち 4.0
Arbus according to Arbus
2003/10/27
By D. Johnson
- (Amazon.com)
形式:ハードカバー
This is the catalog for a show that opened this week at SFMOMA. It is also a document of considerable authority and very little of the cult shrine that is part of the show. There is no doubt that this is a thorough assessment of Arbus' place in the history of her medium. The first chapter of of the written material is scholarly and completely devoid of the overstatement usually plastered on Diane Arbus. Instead, the author relates her work to that of her various teachers and influences, Lisette Model, Gary Winogrand, Lee Friedlander, August Sander, and many others. There are numerous references to and from her notebooks as well as the notes of others but the writing is neither superfluous nor voyeuristic. It is art history at its best.
The selection of her photographs is comprehensive and well organized as you would expect from her estate which owns them all. No doubt the Fraenkel Gallery near SFMOMA had a lot to do with the quality of the show and book. Read it before you attend the show and you will learn a lot even if you've never heard of her.
Coupled with the detailed chronology of her life, the images give a clear picture of a character which has been obscured by mythology and rumor for 30 years. I am not a fan of Diane Arbus (and certainly not a detractor) but I gained a lot of respect for her as an artist as I read her notes and quotes about her own work.
If you are looking for a biography of a brave young woman artist in the mid-twentieth century, this one is good. It is thorough and not editorialized with adjulation. The only gratuitious facts that I would have left out are the cold details of her death in the coroner's reports at the end of the book. Yet I get the impression this is the way she would have wanted it. This is the book she would have written. Absent some equal scholarship to the contrary, this is the truth about Diane Arbus.
56 人中、54人の方が、｢このレビューが参考になった｣と投票しています。
5つ星のうち 5.0
Revealing, revalatory
2003/11/18
By Ian Muldoon
- (Amazon.com)
形式:ハードカバー|Amazon.co.jpで購入済み
I own two Arbus monographs and have lived with them for over 20 years. Many of those works are reproduced in this volume. There is a lot of talk about "the human condition" and I suppose all artists in one way or another wrestle with the notion. Arbus has always meant to me someone who seemed to reveal who we are beneath the fashion, the roles, the sex, the culture. I used one of her images as a means to illuminate a poster for a Sam Shepard play called Icarus' Mother - it was of a very young New York boy holding a toy hand grenade in a threatening way during play in Central Park - once seen never forgotten.
Nor will I forget her self portrait, naked pregnant, in this latest volume. So much. So much. This is the volume Arbus lovers have been waiting for. Printed in Germany, beautifully bound, positively packed with images, diary entries, extracts from letters, comment. A bargain.
Nor will I forget her self portrait, naked pregnant, in this latest volume. So much. So much. This is the volume Arbus lovers have been waiting for. Printed in Germany, beautifully bound, positively packed with images, diary entries, extracts from letters, comment. A bargain.
20 人中、19人の方が、｢このレビューが参考になった｣と投票しています。
5つ星のうち 5.0
The Monograph as Art Form
2004/6/9
By Grady Harp
- (Amazon.com)
形式:ハードカバー
DIANE ARBUS: REVELATIONS is one of the most beautiful monographs of an artist I have ever seen or read. This over-sized, beautifully bound, highest quality paper, extraordinarily fine reproductions of photogravure, and sensitively designed and written catalogue for the touring museum exhibition of Diane Arbus Photographs is simply magnificent and well worth the rather steep price. But a state-of-the-art monograph would be of little consequence were it not about one of the most controversial and phenomenally gifted photographers of the last century. Arbus had an affinity for capturing people she encountered because they produced a source of wonder in her. Her eyes were attracted to the edges of normal appearance and anatomy where she captured luminously tender photographs of developmentally challenged fellow human beings. There are countless images of children and adults who have survived a life of 'non-normalcy' and she framed them in her camera's eye with no sense of the voyeur, but instead with a great sense of humanism. Here are portraits of giants with their parents, patients from mental institutions, carnival folk, transvestites, anatomic wonders, as well as simple twins, people she found fascinating, populated places that struck her imagination. The photogrpahs of Diane Arbus have become icons and the contributors to this volume help to propel her already praiseworthy status to that of a genius: Sandra Phillips' essay 'The Question of Belief', photographer Neil Selkirk's intimate 'In the Darkroom' (Selkirk is the only person allowed to develop prints of Arbus' output), and the beautifully conceptualized and constructed Chronology by Doon Arbus and Elisabeth Sussman bringing to us rarely seen portions of Arbus' output and thoughts - all of these are rendered in the best of taste and finest of scholarship. Finally, here is a volume that fleshes out the magnificence of the art of Diane Arbus. This bibliophile's dream of a book deserves awards and most important, deserves your attention. Highly recommended as a true collector's item.
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