Diane Arbus: Documents

Le livre

Surtout connue pour ses images profondes explorant ce que signifie être humain, Diane Arbus est une figure charnière et singulière de la photographie américaine d'après-guerre. Les photographies en noir et blanc d'Arbus démolissent les conventions esthétiques et bouleversent toutes les certitudes. Tant félicitée que critiquée pour ses photographies de personnes considérées comme des « étrangers », Arbus continue d'être un paratonnerre pour un large éventail d'opinions sur son sujet et son approche. Les critiques et les écrivains ont qualifié son travail de « sinistre » et de « consternant », de « révélateur », de « sincère » et de « compatissant ». A travers un assemblage d'articles, de critiques et d'essais de 1967 à aujourd'hui, Diane Arbus Documents retrace la réception du travail du photographe révolutionnaire.. Éclairant cinquante ans d'évolution dans le domaine de la critique d'art, Documents fournit un nouveau modèle pour comprendre le travail de tout artiste formidable. Organisés en onze sections qui se concentrent sur les grandes expositions et les événements importants émergeant de l'oeuvre d'Arbus, ainsi que sur ses méthodes et ses intentions, les soixante-neuf fac-similés d'articles et d'essais publiés précédemment - une archive par tous les comptes - retracent le discours sur Arbus, contextualisant son oeuvre inimitable. Complété par une bibliographie annotée de plus de six cents entrées et une histoire complète de l'exposition, Documents sert de ressource importante pour les photographes, les chercheurs, les historiens de l'art, et critiques d'art, en plus des étudiants de la critique d'art et le lecteur intéressé.. . Best known for her penetrating images exploring what it means to be human, Diane Arbus is a pivotal and singular figure in American postwar photography. Arbus's black-and-white photographs demolish aesthetic conventions and upend all certainties. Both lauded and criticized for her photographs of people deemed "outsiders," Arbus continues to be a lightning rod for a wide range of opinions surrounding her subject matter and approach. Critics and writers have described her work as "sinister" and "appalling" as well as "revelatory," "sincere," and "compassionate." Through an assemblage of articles, criticism, and essays from 1967 to the present, Diane Arbus Documents charts the reception of the revolutionary photographer's work.. Illuminating fifty years of evolution in the field of art criticism, Documents provides a new template for understanding the work of any formidable artist. Organized in eleven sections that focus on major exhibitions and significant events emerging from Arbus's work, as well as on her methods and intentions, the sixty-nine facsimiles of previously published articles and essays--an archive by all accounts--trace the discourse on Arbus, contextualizing her inimitable oeuvre. Supplemented by 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. Dates de prises de vue : 1960 Auteurs des textes : ALS Hilton/COLEMAN A.D./COTTER Holland/DESCHIN Jacob/FRAENKEL Jeffrey/GREER Germaine/KRAMER Hilton/LUBOW Arthur/MALCOLM Janet/PROSE Francine/ROSENBERG Max/SANDHU Sukhdev/SCHJELDAHL Peter/SEARLE Adrian/SONTAG Susan/TILLMAN Lynne/TÓIBÍN Colm/ZWIRNER Lucas/et alli Types de document : Monographie, Fac-simile Lieu d'édition : New York (USA) Nationalité du photographe : Américaine Sommaire / Synopsis : FOREWORD Jeffrey Fraenkel and Lucas Zwier. EDITOR'S NOTE Max Rosenberg. THINGS THEY SAID. THINGS SHE SAID. . ON NEW DOCUMENTS. Jacob Deschin: People Seen As Curiosity. The New York Times, 1967. Ann Ray Martin: Telling It As It Is. Newsweek, 1967. Marion Magid: Diane Arbus in "New Documents". Arts Magazine, 1967. Philip Gefter: The Exhibit That Transformed Photography. The New Yorker, 2017. . ON A BOX OF TEN PHOTOGRAPHS. Diane Arbus: Five Photographs by Diane Arbus She Shot Photography into Respect. Artforum, 1971. Mark Jenkins: She shot Photography into Respect. The Washington Post, 2018. . BIBLIOTHÈQUE NATIONALE DE FRANCE CORRESPONDENCE. Diane Arbus and Jean-Claude Lemagny : Correspondence. 1969- 1970. . IN THE IMMEDIATE AFTERMATH. A. D. Coleman: Diane Arbus: The Mirror Is Broken. The Village Voice, 1971. Harold T. Hayes: Editor's Notes. Esquire, 1971. Hilton Kramer: Arbus Photos, at Venice, Show Power. The New York Times, 1972. . ON THE 1972 RETROSPECTIVE AND THE MONOGRAPH. A. D. Coleman: Diane Arbus: Her Portraits Are Self-Portraits. The New York Times, 1972. Hilton Kramer: From Fashion to Freaks. The New York Times Magazine, 1972. Robert Hughes: To Hades with Lens. Time, 1972. Shows We've Seen: Diane Arbus Photographs. Popular Photography, 1973. Lou Stettner: Speaking Out: Politics of Despair. Camera 35, 1973. Amy Goldin: Diane Arbus: Playing with Conventions. Art in America, 1973. Flaw Show. The Sunday Times Magazine (London), 1974. . ON SONTAG AND ARBUS AND THE QUESTION OF "FREAKS". Gene Thornton: Diane Arbus: The Subject Was Freaks. The New York Times, 1971. Susan Sontag: Freak Show. The New York Review of Books, 1973. Adam Phillips: Thwarted Closeness. London Reviews of Books, 2006. Lisa A. Baird: Susan Sontag and Diane Arbus: The Siamese Twins of Photographic Art. Women's Studies, 2008. Sarah Parsons: Sontag's Lament: Emotion, Ethics, and Photography. Photography and Culture, 2000. Hilton Als: The Art of Difference. The New York Review of Books, 2017. Neil Selkirk: The Language of Diane Arbus. The New York Review of Books, 2017. . ON UNTITLED. Doon Arbus: Afterword. Untitled Diane Arbus, 1995. Hilton Als: Unmasked. The New Yorker, 1995. A. D. Coleman: Why I'm Saying No to This New Arbus Book. The New York Observer, 1995. A. D. Coleman and Mark Power: At Odds: A. D. Coleman and Mark Power on Aperture's Untitled: Diane Arbus. Photo Review, 1996. Elsa Dorfman: Where Anonymous Was a Woman. The Women's Review of Books, 1996. Janet Malcolm: Aristocrats. The New York Review of Books, 1996. Jacqui Palumbo: Revisiting Diane Arbus's Final and Most Controversial Series. Artsy, 2018. Arthur Lubow: Arbus's Wide Eye for Beauty. The New York Times, 2018. Pepper Stetler: Disability Seen Through Photographs, Darkly. Gulf Coast, 2019. . ON REVELATIONS. Doon Arbus: Afterword. Diane Arbus Revelations, 2003. Arthur Lubow: Arbus Reconsidered. The New York Times Magazine, 2003. Francine Prose: Revisiting the Icons The Intimate Photography of Diane Arbus. Harper's Magazine, 2003. Vick Goldberg: The Discomfort of Strangers. Vanity Fair, 2001. Janet Malcolm: Good Pictures. The New York Review of Books, 2004. Michael Kimmelman: The Profound Vision of Diane Arbus. Flaws in Beauty, Beauty in Flaws.. The New York Times, 2005. Peter Schjeldahl: Looking Back. The New Yorker, 2005. Rachel Adams: Bringing out the Dead: Inside the Arbus Archive. American Quarterly, 2005. Kevin Jackson: Photography on the Very Edge. The Independent, 2005. Leo Rubinfien: Where Diane Arbus Went. Art in America, 2005. Lynne Tillman: Point of View. Frieze, 2011. . ON IN THE BEGINNING. Jason Farago: Diane Arbus: In the Beginning Review - A More Sympathetic Eye on America. The Guardian, 2016. Holland Cotter: Previously Unseen Arbus. Unearthed Years After Her Death.The New York Times, 2016. Richard B. Woodward: "Diane Arbus: In the Beginning" Review: America's Lonely Heart. The Wall Street Journal, 2016. Sukhdev Sandhu: Blurring Boundaries. Apollo, 2016. Adrian Searle: Diane Arbus In the Beginning Review-A Genius Who Made Every Picture a Story. The Guardian, 2019. Lara Cumming: Diane Arbus: In the Beginning, Don McCallan Heview - Two Lone Souls Out in the World (Arbus review only). The Guardian, 2019. . ON THE PHOTOGRAPH AND THE SUBJECT. Greg Williams: Artus Revealed. The Tampa Tribune, 2004. Lauren Collins: Where They Are Now. The New Yorker, 2006. Germaine Greer: Wrestling with Diane Arbus. The Guardian, 2005. Arthur Lubow: The Woman and the Giant (No Fable). The New York Times, 2014. Reuven Fenton: Found My Father-in-Law in The New Yorker. New York Post, 2016. James Sullivan: The Untold Story of a Legendary Diane Arbus Photograph. Literary Hub, 2016. . ON PHILOSOPHY AND TECHNIQUE. Peter C. Bunnell: Diane Arbus. The Print Collector's Newsletter 1973. Richard Schickel: The Art of Diane Arbus. Commentary, 1973. Carol Armstrong: Biology, Destiny, Photography: Difference According to Diane Arbus. October, 1900. Lauryl Tucker: Like Family. Bookforum, 2003. Vince Aletti: Diane Arbus The Libraries. Photo-Eye, 2004. Mark Haworth-Booth: Picture Books. V&A Magazine, 2005. Neil Selkirk: In the Darkroom. V&A Magazine, 2005. Philip Charrier: On Diane Arbus Establishing a Revisionist Framework of Analysis. History of Photography, 2012. Prudence Peiffer: Open Secret. Bookforum, 2016. Colm Toibin: Buy Birthday Present, Go to Morgue. London Review of Books, 2017. Deborah Nelson: Diane Arbus A Feeling for the Camera. Tough Enough: Arbus, Arendt, Didion, McCarthy, Sontag, Weil, 2017. Marco Heleno Barreto: Soul Making As a Fatal Endeavor A Few Comments on Diane Arbus's Work. Diane Arbus Documents, 2022. . SELECTED BIBLIOGRAPHY. EXHIBITION HISTORY. Solo Exhibitions. Selected Group Exhibitions. ACKNOWLEDGMENTS. INDEX Mentions d'édition : Première édition. Type de présentation : Broché , paperback , softcover Mots-clés : Analyse de l'image , Picture analysis, Archives, Essai , Essay, Réflexion sur la représentation , Thoughts on representation, Presse , Press, Femme et photographie , Women and photography, Portrait : femme , Portrait: woman, Documentation-Archivage , Documents-archives, Rétrospective , Retrospective Lieux de prises de vues : Etats-Unis, Amérique du Nord