Content Label: Mature: Sexual Themes
Content Label: Mature
Sexual themes
Organised by The Metropolitan Museum of Art, New York and adapted for Hayward Gallery, diane arbus: in the beginning takes an in-depth look at the formative first half of Arbus’ career, during which the photographer developed the direct, psychologically acute style for which she later became so widely celebrated.
The exhibition features more than 100 photographs, the majority of which are vintage prints made by the artist, drawn from the Diane Arbus Archive at The Metropolitan Museum of Art, New York. More than two-thirds of these photographs have never been seen before in the UK...
From Top: Ruth Bernhard/Diane Arbus/Hiroshi Sugimoto
Diane Arbus. 1971
Eva Rubinstein
While we regret that the present is not 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 simply want to save them, for what is ceremonial and curious and commonplace will be legendary.
Diane Arbus
(Light Matters. Writings on Photography. Vicki Goldberg)
Diane Arbus
You see someone on the street and essentially what you notice about them is the flaw.
Diane Arbus
(Light Matters. Writings on Photography. Vicki Goldberg)
One of the things I felt I suffered as a kid was I never felt adversity. I was confirmed in a sense of unreality which I could only feel as unreality. And the sense of being immune was, ludicrous as it seems, a painful one. It was as if I didn't inherit my own kingdom for a long time. The world seemed to belong to the world. I could learn things, but they never seemed to be my own experience.
Diane Arbus
(Light Matters. Writings on Photography. Vicki Goldberg)
Diane Arbus
…Arbus did not steal her subjects' souls; they lent them to her, with interest. Her pictures are dialogues, her subjects as curious about her as she is about them. She was perfectly aware of the photographer’s advantage and the camera’s rudeness, and once told a reporter that 'the camera is cruel, so I try to be as good a person as I can to make things even.’ Seeking revelations that only intimacy, however momentary, could provide, she rarely made her subjects ugly but frequently permitted them to be complex.
Light Matters. Writings on Photography
Vicki Goldberg
Diane Arbus
Most people go through life dreading they'll have a traumatic experience. Freaks were born with their trauma. They've already passed their test in life. They're aristocrats.
Diane Arbus
(Light Matters. Writings on Photography. Vicki Goldberg)
notesonphotography reblogged
Diane Arbus: In The Beginning
The newly opened Met Breuer hosts unseen early works by the inimitable American photographer
Two Girls in Curlers, N.Y.C., 1963
Diane Arbus
Most of Arbus’s work lies within the Warhol aesthetic, that is, defines itself in relation to the twin poles of boringness and freakishness; but it doesn’t have the Warhol style. Arbus had neither Warhol’s narcissism and genius for publicity nor the self-protective blandness with which he insulates himself from the freaky nor his sentimentality.
On Photography
Susan Sontag
‘Photography was a license to go wherever I wanted and to do what I wanted to do,’ Arbus wrote. The camera is a kind of passport that annihilates moral boundaries and social inhibitions, freeing the photographer from any responsibility toward the people photographed.
On Photography
Susan Sontag