DOCSLIB.ORG

Biography • Diane Arbus Diane Arbus • Biography

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Biography • Diane Arbus Diane Arbus • Biography BIOGRAPHY • DIANE ARBUS DIANE ARBUS • BIOGRAPHY 1923 March 14, Born in New York City 1928-1940 Ethical Culture School and Fieldston School, NY 1955-1957 Studied photography with Lisette Model, NY 1971 July 2, Died in New York City Solo exhibitions: 2019 Diane Arbus: Photographs, 1956-1971, Art Gallery of Ontario, Toronto 2018 Diane Arbus Untitled, David Zwirner, New York Diane Arbus: A box of 10 photographs, Smithsonian American Art Museum 2017 Diane Arbus: In the Park, Lévy Gorvy, New York 2016-2019 diane arbus: in the beginning, The Metropolitan Museum of Art, New York, NY; traveled to The San Francisco Museum of Modern Art, San Francisco, CA; Malba, Buenos Aires, Argentina 2016-2018 Diane Arbus: American portraits, National Gallery of Australia, Canberra [itinerary: Lake Macquarie City Art Gallery, Booragul, Australia; Heide Museum of Modern Art, Bulleen, Australia,; Art Gallery of South Australia, Adelaide, Australia,] [organ- ized by National Gallery of Australia, Canberra] 2013 Diane Arbus: 1971 – 1956, Fraenkel Gallery, San Francisco, CA 2012 Diane Arbus: Affinities, Timothy Taylor Gallery, London, UK Diane Arbus: Guggenheim Grants, 1963-1967, KMR Arts, Washington Depot, CT 2011-2013 Diane Arbus Retrospective, Jeu de Paume, Paris; Fotomuseum, Winterthur, Zu- rich, Switzerland; Martin-Gropius-Bau, Berlin, Germany; FOAM, Amsterdam, Netherlands 2011 Diane Arbus and August Sander, Edwynn Houk Gallery, Zurich, Switzerland Diane Arbus: People and Other Singularities, Gagosian Gallery, Beverly Hills, CA Diane Arbus, Peder Lund, Oslo, Norway 2010 Diane Arbus: Christ in a lobby and Other Unknown or Almost Known Works Se- lected by Robert Gober, Fraenkel Gallery, San Francisco, CA Diane Arbus: In the Absence of Others, Cheim & Read, New York, NY 2 Diane Arbus, La Fabrica Galleria, Madrid, Spain 2009-2018 ARTIST ROOMS: Diane Arbus, National Museum Wales [itinerary: Scottish Na- tional Gallery of Modern Art, Edinburgh; Nottingham Contemporary, Nottingham, England; Aberdeen Art Gallery, Aberdeen, Scotland; Tate Modern, London; Kirk- caldy Museum & Art Gallery, Kirkcaldy, Scotland; Burton Art Gallery and Museum] 2009 Diane Arbus, Timothy Taylor Gallery, London, UK (60 photographs) Artist Rooms: Diane Arbus, National Museum, Cardiff, UK (69 photographs) 2008-2009 Diane Arbus: A Printed Retrospective, 1960-1971, Kadist Art Foundation, Paris, France (selected Arbus photographs as reproduced in their original magazine for- mat, curated by Pierre Leguillon) 2007 Something Was There: Early Work by Diane Arbus, Fraenkel Gallery, San Fran- cisco, CA (60 photographs) 2005 Diane Arbus: Other Faces, Other Rooms, Robert Miller Gallery, New York, NY (49 photographs) 2004 Diane Arbus: Family Albums, Mount Holyoke College Art Museum; Grey Art Gal- lery, New York, NY; Portland Art Museum, Portland, Maine; Spencer Museum of Art, Lawrence, Kansas 2003-2006 Diane Arbus: Revelations, (200 photographs and supplementary ephemera) San Francisco Museum of Modern Art, San Francisco, CA; Los Angeles County Mu- seum of Art, Los Angeles, CA; Museum of Fine Arts, Houston, TX; The Metropoli- tan Museum of Art, New York, NY; Museum Folkwang, Essen, Germany; Victoria & Albert Museum, London, UK; Fundació la Caixa, Barcelona, Spain; Walker Art Center, Minneapolis, MN 2001 Diane Arbus: A Box of Ten Photographs, Fraenkel Gallery, San Francisco, CA 2000 Diane Arbus: Untitled 1969-1971, Galerie Karsten Greve, Cologne, Germany Fairy Tales for Grown-Ups: The Photographs of Diane Arbus, National Gallery of Canada, Ontario Diane Arbus, Galerie Rodolphe Janssen, Brussels, Belgium 1997 Diane Arbus: Women, Galleria Photology, Milan, Italy 1996 Diane Arbus: Women, Robert Miller Gallery, New York, NY Untitled: Diane Arbus, PaceWildenstein, Los Angeles, CA 1995 The Movies: Photographs from 1956 to 1958, Robert Miller Gallery, New York, NY 1992 Diane Arbus: Untitled 1970-71, Jan Kesner Gallery, Los Angeles, CA 3 Diane Arbus and Manuel Neri, Ginny Williams Gallery, Denver, 1992 [itinerary: Tavelli Williams Gallery, Aspen, Colorado] [two-person exhibition] 1991 Diane Arbus, Fraenkel Gallery, San Francisco, CA Diane Arbus, Ydessa Hendeles Art Foundation, Toronto, Canada (90 photographs curated by Ydessa Hendeles) Diane Arbus, Jane Corkin Gallery, Toronto, Canada [includes Portfolio] Diane Arbus: Photographs, Edwynn Houk Gallery, Chicago, IL Diane Arbus: Untitled 1970-71, Robert Miller Gallery, New York, NY 1990 Alfred Stieglitz, Diane Arbus, G. Ray Hawkins, Los Angeles [two-person exhibition] Arbus and Weegee: Photographs, Robert Klein Gallery, Boston 1989 Diane Arbus: Nineteen Faces, Fraenkel Gallery, San Francisco, CA Alice Neel and Diane Arbus: Children, Robert Miller Gallery, New York, NY Diane Arbus, Fay Gold Gallery, Atlanta, GA 1988 Diane Arbus, Hiram Butler Gallery, Houston, TX 1987 Diane Arbus: Couples, Fraenkel Gallery, San Francisco, CA Diane Arbus: Untitled Photographs 1970-71, Fraenkel Gallery, San Francisco, CA Diane Arbus: Early Works 1956-1962, Robert Miller Gallery, New York, NY Diane Arbus, Michael Kohn Gallery, Los Angeles, CA Diane Arbus, Helios Gallery, New York, NY 1986 Diane Arbus, American Center, Paris, [curated by Madeleine Deschamps and Doon Arbus] Diane Arbus, La Fundacion “la Caixa”, Barcelona, Spain [curated by Alain Dupuy]; (traveled to La Fundacion “la Caixa”, Madrid, Spain Diane Arbus, Robert Klein Gallery, Boston, MA Diane Arbus, Light Factory, Charlotte, NC 1985 Diane Arbus, G.H. Dalsheimer Gallery, Baltimore, MD 1984-1987 Diane Arbus: Magazine Work 1960-1971, Helen Foresman Spencer Museum of Art, The University of Kansas, Lawrence, KS (traveled to: Minneapolis Institute of Arts, Minneapolis, MN; University of Kentucky Museum, Lexington, KY; University Art Museum, California State University, Long Beach, CA; Neuberger Museum, State University of New York at Purchase, Purchase, NY; Wellesley College Mu- seum, Wellesley College, Wellesley, MA; The Philadelphia Museum of Art, Phila- delphia, PA) 1984 Diane Arbus: Portraits on Assignment, Robert Miller Gallery, New York, NY (trave- led to Fraenkel Gallery, San Francisco) Diane Arbus, The Baker Gallery, Kansas City, MO Diane Arbus, Palazzo Fortuny, Venice, Italy 4 1983 Diane Arbus: Photographs, Palazzo della Cento Finestre, Florence, Italy 60 Fotog- raphie [under the auspices of Idea Books, curated by Doon Arbus]; (traveled to Palazzo Fortuny, Venice and Pallazzo della Esposizioni, Milan) Diane Arbus: Photographs, Carl Soloway Gallery, Cincinnati, OH 1982 Diane Arbus, Berner Photo-Gallery, Bern, Switzerland Diane Arbus: Published and Unpublished Images, Edwynn Houk Gallery, Chicago, IL Diane Arbus, Yuen Lui Gallery, Seattle, WA 1981 Diane Arbus, Carl Soloway Gallery, Cincinnati, OH 1980 Diane Arbus: Vintage Unpublished Photographs, Fraenkel Gallery, San Francisco, CA Diane Arbus, Centre Georges Pompidou, Paris, France Diane Arbus: Vintage Unpublished Photographs, Robert Miller Gallery, New York, NY Diane Arbus (with Deborah Baker), David Dawson Gallery, London, UK 1978 Diane Arbus, Allan Frumkin Gallery, Chicago, IL Diane Arbus,” Fotografie Forum, Frankfurt, Germany (with Robert Frank) 1977 Diane Arbus, Lunn Gallery, Washington, D.C. Diane Arbus, Rosalind Solomon a la Galerie Zabriskie, Paris, France Diane Arbus, Phoenix Gallery, New York Diane Arbus, Helios Gallery, NY 1976 Diane Arbus, Galerie Schellmann und Kluser, Munich, Germany 1973-1979 Diane Arbus: Retrospective, Seibu Museum, Tokyo, [118 photographs; curated by Doon Arbus and Marvin Israel]; (traveled to: Hayward Gallery, Arts Council of Great Britain, London (1974); Ikon Gallery, Birmingham, England (1974); Scottish Arts Council, Edinburgh, Scotland (1974); Van Abbe Museum, Eindhoven, The Nether- lands (1974); Rijksmuseum Vincent Van Gogh, Amsterdam (1974); Lenbachhaus Städtische Galerie, Munich (1975); Von der Heydt Museum, Wupperthal, Germany (1975); Frankfurter Kunstverein, Frankfurt (1976); 1976-78 toured fourteen galler- ies and museums throughout Australia under the auspices of the Australian Arts Council, including the Australian Centre for Photography, Sydney (1977); 1978-79 toured seven galleries and museums throughout New Zealand under the auspices of the Arts Council of New Zealand) 1973 Diane Arbus: 10 Photos, Martin Gallery, Minneapolis, MN Diane Arbus, Helios Gallery, New York, NY Diane Arbus: Photographs, Lunn Gallery, Washington, D.C. 1972-1975 Diane Arbus, Museum of Modern Art, New York, [125 photographs, curated by 5 John Szarkowski); (traveled to: Baltimore (1973); Worcester Art Museum, Worces- ter, MA (1973); Museum of Contemporary Art, Chicago (1973); Walker Art Center, Minneapolis (1974); The National Gallery of Canada, Ottawa (1974); Detroit Insti- tute of Arts, Detroit (1974); Witte Memorial Museum, San Antonio, TX (1974); New Orleans Art Museum, New Orleans (1974); University Art Museum, University of California, Berkeley (1975); Museum of Fine Arts, Houston (1975); Florida Center for the Arts, University of South Florida, Tampa (1975); Krannert Art Museum, University of Illinois, Champaign (1975) 1972 Diane Arbus Portfolio: 10 Photos, Venice Biennale, Venice, Italy Group exhibitions: 2019 Pan y Circo: Appease, Distract, Disrupt, ANOTHER SPACE, New York Fil Noir, Maison Européenne de la Photographie, Paris, France [collection display] Visions of the Self: Rembrandt and Now, Gagosian Gallery, London, UK [in col- laboration with English Heritage] ARTIST ROOMS: Woodman, Arbus, and Mapplethorpe, Scottish National Portrait Gallery, Edinburgh, Scotland God Made My Face: A Collective Portrait of James Baldwin, David Zwirner,
Load more

Recommended publications
  • University Microfilms International 300 N
    THE CRITICISM OF ROBERT FRANK'S "THE AMERICANS" Item Type text; Thesis-Reproduction (electronic) Authors Alexander, Stuart Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 11:13:03 Link to Item http://hdl.handle.net/10150/277059 INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame.
    [Show full text]
  • From the Museum to the Street: Garry Winogrand's Public Relations and the Actuality of Protest
    arts Article From the Museum to the Street: Garry Winogrand’s Public Relations and the Actuality of Protest Simon Constantine Department of History of Art, University College London, London WC1E 6BT, UK; [email protected] Received: 12 March 2019; Accepted: 16 April 2019; Published: 3 May 2019 Abstract: Focusing on Garry Winogrand’s Public Relations (1977), this article explores the problematic encounter between street photography and protest during the Vietnam War era. In doing so, it considers the extent to which Winogrand’s engagement with protest altered the formalist discourse that had surrounded his practice and the ‘genre’ of street photography more broadly since the 1950s. It is suggested that, although Winogrand never abandoned his debt to this framework, the logic of protest also intensified its internal contradictions, prompting a new attitude towards the crowd, art institution, street and mass media. By exploring this shift, this article seeks to demonstrate that, while the various leftist critiques of Winogrand’s practice remain valid, Public Relations had certain affinities with the progressive artistic and political movements of the period. Keywords: street photography; Winogrand; formalism; protest; Vietnam War; documentary 1. Introduction In her 1981 essay, ‘In, Around and Afterthoughts (on Documentary Photography)’, Martha Rosler sought to reinvent documentary practice through a Marxist critique of its traditions, truth claims and political assumptions. However, in doing so, she also stressed the difference between this project and a second, reactionary attack upon photographic credibility; one conducted by a postwar art establishment, which sought to secure ‘the primacy of authorship’ and avoid the social by isolating images ‘within the gallery–museum–art–market nexus’ (Rosler 1992, p.
    [Show full text]
  • Photographer Profile - Richard Sandler: "I Was a Street Kid - That World Subscribe to Profiles Was My World" Enter Your Email Address
    Sign In Register Photographer Profile - Richard Sandler: "I was a street kid - that world Subscribe to Profiles was my world" enter your email address By David Schonauer Tuesday January 17, 2017 Subscribe Richard Sandler’s book The Eyes of the City Search: came as a revelation when it was released late last year. Time, for instance, called Sandler the “unsung street photographer of 1980s New York.” His pictures, wrote Alexandra Genova, Most Recent: captured “a visceral cross section of fabulous wealth and terrible misfortune, often found in the Photographer Profile - same frame.” Others found sorrow and joy in his Richard Sandler: "I was a photographs of a New York that no longer exists. street kid - that world was Almost all remarked on the intelligence and my world" beauty of his black-and-white images. “I was very happy with the way the work was Illustrator Profile - Laurie received, especially since back in the ’80s, when Rosenwald: "I love to the pictures were fresh, nobody wanted any part work" of them,” Sandler says. Photographer Profile - Sandler’s newfound renown is a case study in David Yarrow: "People the vagaries of taste. In 1967, the landmark respond to the stories Museum of Modern Art exhibition “New Documents” identified behind the pictures" what curator John Szarkowski called “a shift in emphasis” and “a new direction” in photography — documentary photography that Illustrator Profile - R. had the feel of snapshots. The exhibition featured the work of Kikuo Johnson: "You'll three relatively unknown photographers — Diane Arbus, Garry never regret making the Winogrand, and Lee Friedlander.
    [Show full text]
  • New Documents
    he Museum of Modern Art No. 21 ?» FOR RELEASE: |l West 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Tuesday, February 28, I96T PRESS PREVIEW: Monday, February 27, I96T 11 a.m. - k p.m. HEW DOCUMENTS, an exhibition of 90 photographs by three leading representatives of a new generation of documentary photographers -- Diane Arbus, Lee Friedlander and Garry Winogrand — will be on view at The Museum of Modern Art from February 28 through May 7. John Szarkowski, Director of the Department of Photography, writes in his intro- this duction to the exhibition, "In the past decade/new generation of photographers has redirected the technique and aesthetic of documentary photography to more personal ends. Their aim has been not to reform life but to know it, not to persuade but to understand. The world, in spite of its terrors, is approached as the ultimate source of wonder and fascination, no less precious for being irrational and inco* herent." Their approach differs radically from the documentary photographers of the thirties and forties, when the term was relatively new. Then, photographers used their art as a tool of social reform; "it wac their hope that their pictures would make clear what was wrong with the world, and persuade their fellows to take action and change it," according to Szarkowski, "VJhat unites these three photographers," he says, "is not style or sensibility; each has a distinct and personal sense of the use of photography and the meanings of the world. What is held in common is the belief that the world is worth looking at, and the courage to look at it without theorizing," Garry Winogrand*a subjects range from a group of bathers at Eastharapton Beach on Long Island to a group of tourists at Forest Lawn Cemetery in Los Angeles and refer to much of contemporary America, from the Beverly Hilton Hotel in California to peace marchers in Cape Cod, (more) f3 -2- (21) Winograod was born in New York City in I928 and b3gan photographing while in the Air Force during the second World War.
    [Show full text]
  • Introduction Case Study: Photography Into Sculpture
    INTROduCTION Case Study: Photography into Sculpture In 1979, Peter Bunnell, the David Hunter McAlpin Professor of the History of Pho- tography and Modern Art at Princeton University, gave a lecture at Tucson’s Center for Creative Photography (CCP) titled “The Will to Style: Observations on Aspects of Contemporary Photography.”1 James Enyeart, the CCP’s director, introduced Bunnell and listed his many accomplishments, including his tenure as a curator of photography at the Museum of Modern Art (1966– 72), noting in particular his 1970 exhibition there Photography into Sculpture. Enyeart called it “one of the preeminent exhibitions of the decade.” But at the end of the talk, the focus of which was not photo sculpture or other experimental forms, but straight photography, Bunnell offered his own assessment of the exhibition, which was decidedly less positive. In his complex and carefully argued lecture, Bunnell defended Garry Winogrand and Lee Friedlander, whose work had recently come under attack by Janet Malcolm in her New Yorker essay “Diana and Nikon” for making presumably style-less photographs that were “indistinguishable” from snapshots and just as unsophisticated and offhand as those made by amateur photographers.2 Bunnell argued that Winogrand’s and Fried- lander’s photographs were absolutely not snapshots, and demonstrated the point by com- paring them to actual snapshots taken by random amateurs who had participated in Ken Ohara’s Snapshot Project.3 Citing the Russian formalist Victor Shklovsky and the Marxist cultural critic Fredric Jameson, Bunnell asserted that “defamiliarization” was one of the primary strategies deployed by Winogrand and Friedlander, noting that “in their hands, defamiliarization became an attack .
    [Show full text]
  • 1 LEE FRIEDLANDER Born, 1934, Aberdeen, Washington Lives In
    LEE FRIEDLANDER Born, 1934, Aberdeen, Washington Lives in New City, New York AWARDS & HONORS 2018 Lucie Award for Lifetime Achievement in Photography 2010 Lead Award Gold Medal, MONOPOL Magazine 2006 Lifetime Achievement Award, The International Center of Photography, Infinity Awards 2005 Erna and Victor Hasselblad Foundation International Award in Photography Doctor of Fine Arts, The Art Center School of Design, Pasadena, CA 2004 Doctor of Fine Arts, University of Pennsylvania Doctor of Fine Arts, Yale University 1999 Fellow of the American Academy of Arts and Sciences French Chevalier of the Order of Arts and Letters 1990 John D. and Catherine T. MacArthur Foundation Award 1986 Edward MacDowell Medal 1981 Medal of the City of Paris 1980 National Endowment for the Arts Grant Friends of Photography Peer Award 1979 National Endowment for the Arts Grant 1978 National Endowment for the Arts Grant 1977 National Endowment for the Arts Grant John Simon Guggenheim Memorial Foundation Fellowship Mellon Chair, Rice University 1972 National Endowment for the Arts Grant 1962 John Simon Guggenheim Memorial Foundation Fellowship 1960 John Simon Guggenheim Memorial Foundation Fellowship SELECTED SOLO EXHIBITIONS 2020 Lee Friedlander, Luhring Augustine, New York, NY 2019 Lee Friedlander: Dog’s Best Friend, Andrew Smith Gallery, Tucson, AZ Signs, Fraenkel Gallery, San Francisco, CA 2018 Lee Friedlander / MARIA, Deborah Bell Photographs, New York, NY Lee Friedlander in Louisiana, New Orleans Museum of Art, New Orleans, LA 1 Lee Friedlander: American Musicians,
    [Show full text]
  • Street Photography Reframed
    arts Editorial Street Photography Reframed Stephanie Schwartz Department of History of Art, University College London, London WC1E 6BT, UK; [email protected] Afraid of contagion? Stand six feet from the next protester, and it will only make a more powerful image on TV. But we need to reclaim the street. Davis(2020a) When I began writing this Introduction in April 2020, the streets were empty. Or, to be more precise, this was what I was seeing in the many photographs that were making up the daily news. Day after day, photographs of empty piazzas in Rome and Venice were filling up my news feed. I was seeing or being shown the impact of the spread of the coronavirus on public spaces. There was no traffic on the Brooklyn Bridge and no footfall through London’s Trafalgar Square. New York’s Times Square also appeared to be at a complete and total standstill (Figure1). As of March 2020, public life in the streets of most financial capitals had been put on hold for the foreseeable future. It was eerie—or so I was told. This was the word being used over and over again in the headlines.1 It seems that those sitting Citation: Schwartz, Stephanie. 2021. at home needed to be haunted—though not necessarily by what once was. They needed Arts 2021, 10, x FOR PEER REVIEW 3 of 13 Street Photography Reframed. Arts to be haunted by what might no longer be: living in public, being in the streets, loitering, 10: 29. https://doi.org/ meandering, and shopping.2 10.3390/arts10020029 Received: 7 April 2021 Accepted: 8 April 2021 Published: 28 April 2021 Publisher’s Note: MDPI stays neutral with regard to jurisdictional claims in published maps and institutional affil- iations.
    [Show full text]
  • Diane Arbus Born 1923 in New York
    This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Diane Arbus Born 1923 in New York. Died 1971 in New York. EDUCATION 1955-1957 Studied photography with Lisette Model, New York 1928-1940 Ethical Culture Fieldston School, New York SOLO EXHIBITIONS 2020 Diane Arbus: Photographs, 1956-1971, Art Gallery of Ontario, Toronto, February 22 – May 17, 2020 2019 Our Lady of the Flowers: Diane Arbus | Carol Rama, Lévy Gorvy, Hong Kong, September 26 – November 16, 2019 [two-person exhibition] 2018 Diane Arbus Untitled, David Zwirner, New York, November 2 – December 15, 2018 Diane Arbus: A box of 10 photographs, Smithsonian American Art Museum, April 6, 2018 – January 27, 2019 [catalogue] 2017 Diane Arbus: In the Park, Lévy Gorvy, New York, May 2 – June 28, 2017 2016-2019 diane arbus: in the beginning, The Metropolitan Museum of Art, New York, July 12 – November 27, 2016 [itinerary: San Francisco Museum of Modern Art, San Francisco, January 21 – April 30, 2017; Museo de Arte Latinoamericano de Buenos Aires Malba, Buenos Aires, July 14 – October 9, 2017; Hayward Gallery, London, February 13 – May 6, 2019] [catalogue] 2016-2018 Diane Arbus: American portraits, National Gallery of Australia, Canberra, June 6 – October 30, 2016 [itinerary: Lake Macquarie City Art Gallery, Booragul, Australia, July 9 – August 20, 2017; Heide Museum of Modern Art, Bulleen, Australia, March 17 – June 17, 2018; Art Gallery of South Australia, Adelaide, Australia, July 16 – September
    [Show full text]
  • Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End
    Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End by A. D. Coleman The "New Documents" exhibition opened at New York's Museum of Modern Art on February 28, 1967, almost exactly a third of a century ago. Organized by John Szarkowski for the museum's Department of Photography, this show featured almost 100 prints by three relatively unrecognized younger photographers from the east coast of the U.S. — Diane Arbus, Lee Friedlander, and Garry Winogrand — and came as a watershed moment in the evolution of contemporary photography.1 What exactly did this exhibition signify? MoMA's Department of Photography was at that point one of the few departments devoted to that medium in any art museum in the world, and inarguably the most powerful of all. Its director, John Szarkowski, installed in 1963, had by then fulfilled all the curatorial commitments of his predecessor Edward Steichen and had begun to mount shows that he'd conceived and organized himself. Shortly after he'd assumed what Christopher Phillips has called "the judgment seat of photography,"2 he'd offered what numerous people in the field took as a full-blown theory of photography, enunciated in the 1964 exhibition "The Photographer's Eye" and the subsequent book version thereof.3 That exhibit included not just prints by recognized photographers — Edward Weston, Aaron Siskind, Harry Callahan — but also imagery by lesser-known 1 The three had appeared together at that venue once before — in the 1965 "Recent Acquisitions" show curated by Szarkowski. For more on this see Patricia Bosworth, Diane Arbus: A Biography (New York: W.
    [Show full text]
  • Modern Photographs the Thomas Walther Collection 1909 – 1949
    abbaspour Modern Photographs Daffner The Thomas Walther Collection hambourg 1909 – 1949 Modern Photographs OBJECT Mitra Abbaspour is Associate Curator of Photography, The period between the first and second world wars saw The Museum of Modern Art. a dynamic explosion of photographic vision on both sides of the Atlantic. Imaginative leaps fused with tech- Lee Ann Daffner is Andrew W. Mellon Conservator of nological ones, such as the introduction of small, fast, Photography, The Museum of Modern Art. easily portable cameras, to generate many novel ways Maria Morris Hambourg, the founding curator of the of taking and making images. These developments— Department of Photographs at The Metropolitan which constitute a key moment in modern art, and are Museum of Art, is Senior Curator for the Walther project, the foundation of today’s photo-based world—are dra- The Museum of Modern Art. matically captured in the 341 photographs in the Thomas Walther Collection at The Museum of Modern Art. Object:Photo explores these brilliant images using Quentin Bajac is Joel and Anne Ehrenkranz Chief Curator : The Thomas Walther Collection Collection Walther Thomas The a new approach: instead of concentrating on their con- of Photography, The Museum of Modern Art. tent it also considers them as objects, as actual, physical PHOTO Jim Coddington is Agnes Gund Chief Conservator, the things created by individuals using specific techniques Department of Conservation, The Museum of Modern Art. at particular places and times, each work with its own unique history. Essays by both conservators and histori- Ute Eskildsen is Deputy Director and Head of ans provide new insight into the material as well as the Photography emeritus, Museum Folkwang, Essen.
    [Show full text]
  • GARRY WINOGRAND Page 1
    GARRY WINOGRAND page 1 GARRY WINOGRAND 14 January 1928 – 19 March 1984 Born in New York, New York AWARDS 1978 John Simon Guggenheim Memorial FoundaHon Fellowship 1975 NaHonal Endowment for the Arts Fellowship 1972 New York State Council on the Arts Grant 1969 John Simon Guggenheim Memorial FoundaHon Fellowship 1964 John Simon Guggenheim Memorial FoundaHon Fellowship SELECTED INDIVIDUAL EXHIBITIONS 2021 Garry Winogrand, KBr Photography Center, Fundación MAPFRE, Barcelona, Spain (11 June – 5 September) 2013-14 Garry Winogrand, San Francisco Museum of Modern Art, San Francisco, CA; traVeled to: Metropolitan Museum of Art, New York, NY; NaHonal Gallery of Art, Washington DC; Jeu de Paume, Paris, France; Fundacion Mapfre, Madrid, Spain 2012 Circa 1969, Fraenkel Gallery, San Francisco, CA 2010 Public RelaHons, Galerie Thomas Zander, Köln, Germany 2009 Women are Beau5ful, CincinnaH Art Museum, CincinnaH, OH; traVeled to: Fundacio Foto ColecHana, Barcelona, Spain (2011); DenVer Art Museum, DenVer, CO (2012) FRAENKELGALLERY.COM [email protected] GARRY WINOGRAND page 2 2008 The Six5es, Fraenkel Gallery, San Francisco, CA 2007 Four Edges & the Facts, Phoenix Art Museum, Phoenix, AZ 2005 The Wedding, Howard Greenberg Gallery, New York, NY 2004 Airports & Animals, Fraenkel Gallery, San Francisco, CA 2002 Winogrand 1964, Center for CreaHVe Photography, UniVersity of Arizona, Tucson, AZ 2001 The Garry Winogrand Game of Photography Part I: The Known & Part II: The New, Center for CreaHVe Photography, UniVersity of Arizona, Tucson, AZ; traVeled
    [Show full text]
  • Diane Arbus Born 1923 in New York
    This document was updated March 4, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Diane Arbus Born 1923 in New York. Died 1971 in New York. EDUCATION 1955-1957 Studied photography with Lisette Model, New York 1928-1940 Ethical Culture Fieldston School, New York SOLO EXHIBITIONS 2020 Diane Arbus: Photographs, 1956-1971, Art Gallery of Ontario, Toronto, February 22 – May 17, 2020 2019 Our Lady of the Flowers: Diane Arbus | Carol Rama, Lévy Gorvy, Hong Kong, September 26 – November 16, 2019 [two-person exhibition] 2018 Diane Arbus Untitled, David Zwirner, New York, November 2 – December 15, 2018 Diane Arbus: A box of 10 photographs, Smithsonian American Art Museum, April 6, 2018 – January 27, 2019 [catalogue] 2017 Diane Arbus: In the Park, Lévy Gorvy, New York, May 2 – June 28, 2017 2016-2019 diane arbus: in the beginning, The Metropolitan Museum of Art, New York, July 12 – November 27, 2016 [itinerary: San Francisco Museum of Modern Art, San Francisco, January 21 – April 30, 2017; Museo de Arte Latinoamericano de Buenos Aires Malba, Buenos Aires, July 14 – October 9, 2017; Hayward Gallery, London, February 13 – May 6, 2019] [catalogue] 2016-2018 Diane Arbus: American portraits, National Gallery of Australia, Canberra, June 6 – October 30, 2016 [itinerary: Lake Macquarie City Art Gallery, Booragul, Australia, July 9 – August 20, 2017; Heide Museum of Modern Art, Bulleen, Australia, March 17 – June 17, 2018; Art Gallery of South Australia, Adelaide, Australia, July 16 – September
    [Show full text]