Reflecting on and Remembering Diane Arbus

"I want to photograph the considerable ceremonies of our present. I want to gather them, like

somebody

'

s grandmother putting up preserves, because they will have been so beautiful.

"

--Diane Arbus

Arbus was born March 14th, 1923, raised in a moderately wealthy and uncouth

household where she would be brought up by mainly maids and nannies. Her parents

were both Soviet Russian Immigrants, who had their own battles with mental health.

Even at a young age there was something wondrous and genuine about her approach to

life.

At 18 years old, she wed her highschool boyfriend, and soon after she was given her

first Graflex medium format film camera where she began her self discovery.

Though this camera was a starter tool to develop craft, Arbus became partial to a 35m

Nikon as she roamed the streets of New York, finding her visionary influences for the

first time. Doing so, she learned quickly about the outside world, what was constructed

beauty, and what was outside the social norm. Conceptually, the outcasts were those

she saw the most glamour and truth from therefore she photographed them. Hoping to

express intentions that would allow society to view every human as their own individual

deserving of recognition and respect. Photographing the disabled, unconventionally

featured, middle-class families, mothers, children, the elderly, and mere acquaintances

within the City. These were the ideas that brought her hope for the future but also grief

for the pain they were in at times in the turbulent times of the 1960s.

Arbus stands as one the most memorable photographers in history, and paved the way

for impactful work like that of Nan Goldin, Sally Mann, and Cindy Sherman. Proving

that with a sympathetic and intrepid approach, we can evolve the criteria for what is

deemed as esteemed in the field. Through projects of traveling carnivals, nudists,

drag-shows, and women of all walks of life, she humanized each subject to the masses.Though her methods of profit are somewhat questionable, which has been a topic of

conversation in recent years, there is still an undeniable intimacy in her pioneering

black and white portraits. Still, it is important to gracefully glance back at her quotes

and work itself to solve for yourself the true intentions of Diane Arbus. Those

intentions may still be hers to have, even years after her passing.

Hoping a reflection to grasp you, and to research her many collections, exhibitions,

books, and memoriam, there is so much young photographers can learn from Arbus.

From inspiring the use of twins in Stanley Kubrick'

s The Shining with her notable

"Identical Twins, Roselle, New Jersey, 1967" to the many Solo Exhibitions after

her death.

"Arbus’s photographs can be found in the collections of numerous institutions around the world,

including Art Gallery of Ontario, Canada; Art Institute of Chicago; Bibliotheque Nationale, Paris;

Fotomuseum, Winterthur; J. Paul Getty Museum, Los Angeles; Metropolitan Museum of Art, New

York; Moderna Museet, Stockholm; Museum of Contemporary Art, Los Angeles; Museum of Fine

Arts, Boston; The Museum of Modern Art, New York; Musée National d’Art Moderne, Centre

Pompidou, Paris; National Museum of Modern Art, Tokyo; National Gallery of Art, Washington,

DC; San Francisco Museum of Modern Art; Smithsonian American Art Museum, Washington, DC;

Stedelijk Museum, Amsterdam; Tate Gallery, London; and the Whitney Museum of American Art,

New York.

"

- https://fraenkelgallery.com/artists/diane-arbusBox of ten photographs, 1970 by Diane Arbus, silver gelatin prints