Diane Arbus: Monograph (Aperture Monograph) [Paperback]

Marvin Israel (Author), Diane Arbus (Photographer), Doon Arbus (Contributor)

Book Description

Publication Date: March 30, 1997 | Series: Aperture Monograph

New technology has made possible this lustrous new printing from all new film. These landmark images now have a clarity and depth not achievable in earlier editions.

Editorial Reviews

Amazon.com Review

Diane Arbus: An Aperture Monograph was originally published in 1972, one year after the artist's death, in conjunction with a retrospective of her work at the Museum of Modern Art. Edited and designed by Arbus's daughter, Doon, and her friend and colleague, painter Marvin Israel, the monograph contains eighty of her most masterful photos. The images in this newly published edition, marking the twenty-fifth anniversary of the collection's original publication, were printed from new three-hundred-line-screen duotone film, allowing for startlingly clear reproduction. The impact of the collection is heightened by the introduction, which contains excerpts of audio tapes in which Arbus discusses her experiences as a photographer and her feelings about the often bizarre nature of her subjects. Diane Arbus's work has indelibly impacted modern visual sensibilities, evidenced by the intensely personal moments captured in this powerful group of photographs.

Review

"Diane Arbus was no a theorist but an artist. Her concern was not to buttress philosophical positions but to make pictures. She loved photography for the miracles it performs each day by accident, and respected it for the precise intentional tool that it could be, given talent, intelligence, dedication and discipline. Her pictures are concerned with private rather than social realities, with psychological rather than visual coherence, with the prototypical and mythic rather than the topical and temporal. Her real subject is no less than the unique interior lives of those she photographed."--John Szarkowski, 1972, Director, Department of Photography, The Museum of Modern Art

"I have never seen pictured like them before, and I am sure I will never see their equal again. They are the product of something beyond the camera, the result of a long, complex and intensely human process. No one can go into the street tomorrow and take a Diane Arbus photograph. That would be merely adjusting a lens and pressing a button. What made her pictures great was everything that happened before she pressed the button."--Douglas Davis, Newsweek, 1984

"Diane Arbus is one of our legends, her monograph a pivotal classic that changed the direction of photography in America. She captures the complexity and the art in reality. The quality that defines her work and separates it from almost all other photography is her ability to empathize on a level far beyond language."--Nan Goldin, Bookforum, 1995

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Product Details

• Paperback: 182 pages
• Publisher: Aperture; 25 Anniversary edition (March 30, 1997)
• Language: English
• ISBN-10: 0893816949
• ISBN-13: 978-0893816940
• Product Dimensions: 9.2 x 0.6 x 11 inches
• Shipping Weight: 2.3 pounds
• Average Customer Review: 4.7 out of 5 stars  See all reviews (24 customer reviews)
• Amazon Best Sellers Rank: #598,936 in Books (See Top 100 in Books)

Most Helpful Customer Reviews

50 of 53 people found the following review helpful

5.0 out of 5 stars the normalcy in life's freaks, the freakishness in normalcy July 8, 2001

By Peter Shelley

Format:Paperback

This collection of 81 black and white photographs by Diane Arbus was edited and designed by her daughter, Doon and friend Marvin Israel and published in 1972 after her suicide the previous year. The photographs are preceeded by text of tape recordings of classes that the photographer gave the year she died, as well as excerpts from interviews and some of her own writings on photography. The text illuminates Arbus' concerns about her art and her subjects. Although she did do studies of objects, such as Disneyland, a hotel lobby, and a Xmas tree, Arbus was more interested in people, in particular the kind of people she had never seen before. Coming from a wealthy Park Avenue background, existing in an unreal environment, cocooned from adversity, Arbus felt her immunity painful, which explains her attraction to marginalised groups. One can compare Arbus' studies to those of Robert Mapplethorpe. Mapplethorpe moved from harsh presentations of marginalised gay men's sexuality to soft focus celebrity portraiture. Arbus moved in the opposite direction, from glamour fashion photography with her then husband Alan, to her reality marginalised portraiture. Arbus' experience with fashion provides her composition and while her camera can scrutinise, her photos never patronise. Perhaps this is due to the complicitity apparent from the subjects. These people want to be photographed, and Arbus presents them with dignity. But what makes them compelling is the what Arbus described as the gap between intention and effect, what you want people to know about you and what you can't help people knowing about you. Sometimes, often the thing we see is sadness, but we can't laugh at these people because they are so unguarded. Arbus' photos aren't posed. She tells us how she arranged her view rather than arranging her subject, so that they are planned observations. The photographs here taken between 1962 and 1970 cover the range of her interest in marginalised subjects including the freaks she classified as "aristocrats" who were born with their trauma so had passed their test in life, and made her feel a mix of shame and awe. Midgets, dwarfs, nudists, transvestites, identical twins and triplets, a giant with his parents, musclemen, carnival performers, a woman with her baby monkey, and the untitled retards. This is the world Arbus entered into. It's hard not to consider her suicide as being related to the subjects of her work. Arbus was interested in exposing the flaw, and her camera gave her licence to privacy, however the cold scrutiny of her camera may have been too much when it was focused upon herself. The self portraits I have seen show her looking uncomfortable, the photographer clearly lacking the skills she would apply to her own subjects. There is a rumour that Arbus set up a camera to photograph her own death, mentioned in the Patricia Bosworth biography, though no evidence was found when her body was discovered. Like the great ones, Arbus received acclaim posthumously, and this book is an ode to her genius.

27 of 28 people found the following review helpful

5.0 out of 5 stars I read this book and found myself in it...literally. March 13, 1999

By A Customer

Format:Paperback

A friend working in bookstore asked why I'd never mentioned being in Diane Arbus' "book of freaks". Until that moment I didn't know but of course I knew she'd photographed me. (There's a hint!) It was without a doubt one of the most intense experiences of my life. That she often saw what others could not is reflected on every page. She called her subjects aristocrats. I think you must be one to see that quality in another. The photographs taken thirty years ago are timeless.Although the clothing, hairstyles and makeup are from a definite era (sixties) one can hardly imagine the subjects dressed any other way. Arbus has created a nation of anachronisms in her book. There is a definite sense of family, of community from page to page; from a Brooklyn bedroom to a Greenwich Village park bench to a lawn party at Willowbrook. Someone asked me how it felt to be in this "book of freaks". I couldn't answer then. But now I can: Even if your face is not on the pages of Monograph you will find yourself there. Just look.

14 of 14 people found the following review helpful

5.0 out of 5 stars Ultimately Inspiring November 7, 2002

By "ultraeric2"

Format:Paperback

Quite literally, this book made me want to be a photographer.

I remember seeing this book at my aunt and uncle's house when I was quite young (maybe 5 or 6). Flipping its pages as an adult is quite an experience, but as a child I was equal parts totally enthralled, disturbed, confused and yet completely smitten. I remember becoming quite familiar with the book's many characters, and always looked at this book when I visited their house.

When I started experimenting in photography in my mid-teens, I became re-aquainted with it from visiting bookstores and libraries, and through art history courses.

Her images I think speak more about who she is than who her subjects are, but in a way that is brutally revealing. On the surface, these photographs represent a cross-section of fringe society, with all of its inherant complexity and grit. Cross dressers, midgets, nudists, drug addicts, "dancers" and the like. But they become quite revealing about her psyche during the period she was creating this amazing body of work.
She approaches each subject not at a distance, but with the sensitivity and affection of someone who really cares and is invested in these relationships. She lived with a few of these people, hung out with many others...it was the kind of company she prefered, even after being raised in a very wealthy Jewish family who owned a department store.
The images are confrontational, sensational, unnerving, and a little disturbing. And some have really become icons of modern photography (the boy holding the grenade, the triplets on their bed, and many more).

But what really affected me the most was the exerps collected posthumously in the beginning of the book, in which Arbus describes her method and some of the mantras of her craft. There are so many powerful statements in this preface, all of which further support the understanding of her importance in the medium. Two of her most powerful statements:

"You don't put into a photograph what's going to come out. Or vice versa, what comes out is not what you put in. I have never taken a picture I've intended. They're always better or worse."

"I really believe there are things which nobody would see unless I photographed them."

These statements really speak volumes about the responsibilty of an artist, and how everybody has a different slant about what's in front of them. Her words occasionally provide fuel for me to take initiative in my own work and take more risks and less excuses.

Definately of of the finest groups of photographs in modern art history. Hugely influential and succesful, and totally unequalled in its genre (except maybe by Nan Goldin).