Diane Arbus (New York, 1923–1971) revolutionized the art she practiced. Her bold subject matter and photographic approach produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Her gift for rendering strange those things we consider most familiar, and for uncovering the familiar within the exotic, enlarges our understanding of ourselves.
Arbus found most of her subjects in New York City, a place that she explored as both a known geography and as a foreign land, photographing people she discovered during the 1950s and 1960s. She was committed to photography as a medium that tangles with the facts. Her contemporary anthropology — portraits of couples, children, carnival performers, nudists, middle-class families, transvestites, zealots, eccentrics, and celebrities — stands as an allegory of the human experience, an exploration of the relationship between appearance and identity, illusion and belief, theater and reality.
In this first major retrospective in France, Jeu de Paume presents a selection of two hundred photographs that affords an opportunity to explore the origins, scope, and aspirations of a wholly original force in photography. It includes all of the artist’s iconic photographs as well as many that have never been publicly exhibited. Even the earliest examples of her work demonstrate Arbus’s distinctive sensibility through the expression on a face, someone’s posture, the character of the light, and the personal implications of objects in a room or landscape. These elements, animated by the singular relationship between the photographer and her subject, conspire to implicate the viewer with the force of a personal encounter.
— Text by Jeu de Paume
The Jeu de Paume will feature the Diane Arbus retrospective from October 18 through February 5, 2012.
The photobook was front and center once again at this year's Paris Photo—these four books came out with top honors.
Left: Imaginary Club © Oliver Sieber
The award-winning Polish cinematographer talks about the tremendous importance of still photography in creating his movies — especially his latest film, Ida, shot in luscious black-and-white.
These intimate, up-close portraits of people in the streets of Tokyo speak for themselves. We love the direct gaze, the honesty and humanity of these photographs.