A groundbreaking publication offering insight into the critical conversations and misconceptions around this unrivaled artist's works.
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.
Diane Arbus (1923-1971) is one of the most original and influential artists of the twentieth century. She studied photography with Berenice Abbott, Alexey Brodovitch, and Lisette Model and had her first published photographs appear in Esquire in 1960. In 1963 and 1966 she was awarded John Simon Guggenheim Fellowships and was one of three photographers whose work was the focus of New Documents, John Szarkowski's landmark exhibition at The Museum of Modern Art, New York, in 1967. Arbus's depictions of couples, children, female impersonators, nudists, New York City pedestrians, suburban families, circus performers, and celebrities, among others, span the breadth of the postwar American social sphere and constitute a diverse and singularly compelling portrait of humanity.
Max Rosenberg is an art historian and associate director of research and exhibitions at David Zwirner. He has worked on exhibitions on Josef Albers, Philip-Lorca diCorcia, William Eggleston, Paul Klee, Giorgio Morandi, Raymond Pettibon, and Christopher Williams, among others. He has received grants and awards from the Dedalus Foundation, the Fulbright Program, the German Academic Exchange Service (DAAD), and the Getty Research Institute, among other institutions. His writings have appeared in various publications, including
The Getty Research Journal,
Texte zur Kunst, and
Art in America.
Lucas Zwirner is Head of Content at David Zwirner where he oversees all aspects of gallery publishing through books, web, video, and the podcast
Dialogues. Lucas has contributed texts to gallery publications, including
Rudolf Zwirner: Give Me the Now (2021),
A Balthus Notebook (2020), and
Tell Me Something Good: Artist Interviews from The Brooklyn Rail (2017). At David Zwirner Books, he began the
ekphrasis series, dedicated to publishing short texts on visual culture by artists and writers, rarely available in English. He has also written on contemporary art and literature for publications
The Drift and
The Paris Review, and translated books from German and French. His translation of Elias Cannetti's
The Profession of the Poet is forthcoming in
I WANT TO KEEP SMASHING MYSELF UNTIL I'M WHOLE: An Elias Canetti Reader, edited by Josh Cohen and published by Farrar, Straus and Giroux.
Since founding Fraenkel Gallery in San Francisco in 1979,
Jeffrey Fraenkel has presented almost 400 exhibitions about photography and its interconnections to the other arts.
