Jeu de paume pr diane arbus


Published on

Published in: Art & Photos, Business
  • Be the first to comment

  • Be the first to like this

No Downloads
Total Views
On Slideshare
From Embeds
Number of Embeds
Embeds 0
No embeds

No notes for slide

Jeu de paume pr diane arbus

  1. 1. DIANE ARBUS Press KitOctober 18, 2011 - February 5, 2012 1 place de la Concorde · Paris 8 E· · M° Concorde –
  2. 2. INSTITUTIONAL PARTNERS This exhibition has been organized by Jeu de Paume, Paris, in collaboration with The Estate of Diane Arbus LLC, and with the participation of Martin-Gropius-Bau Berlin, Fotomuseum Winterthur and Foam_Fotografiemuseum Amsterdam. The exhibition is supported by La Manufacture JAEGER-LECOULTRE, major partner of Jeu de Paume. Acknowledgments to the Embassy of the United States of America in Paris, France. Special thanks to the Hyatt Regency Paris-Madeleine. Jeu de Paume receives a subsidy from the ministry of Culture and Communication. It gratefully acknowledges support from NEUFLIZE VIE, its global partner. MEDIA PARTNERS À Nous Paris, Arte, Artinfo, Azart Photographie, Courrier international, de l’air, La Tribune, Polka Magazine, Vogue Paris and FIP. EXHIBITION VENUES Fotomuseum, Winterthur (March 3 – May 27, 2012) Martin-Gropius-Bau, Berlin (June 22 – September 24, 2012) Foam_Fotografiemuseum, Amsterdam (October 26, 2012 – January 13, 2013)Front Cover: Child with a toy hand grenade in Central Park, N.Y.C. 1962
  3. 3. Untitled (6) 1970–71 1
  4. 4. Identical twins, Roselle, N.J. 19672
  5. 5. THE EXHIBITIONDiane Arbus (New York, 1923–1971) revolutionized the art she practiced. Her bold subject matter andphotographic approach produced a body of work that is often shocking in its purity, in its steadfast celebrationof things as they are. Her gift for rendering strange those things we consider most familiar, and for uncoveringthe 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 andas a foreign land, photographing people she discovered during the 1950s and 1960s. She was committed tophotography 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 andidentity, illusion and belief, theater and reality.In this first major retrospective in France, Jeu de Paume presents a selection of two hundred photographs thataffords 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. Eventhe 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 toimplicate the viewer with the force of a personal encounter. 3
  6. 6. BIOGRAPHY Diane Arbus was born in New York City on March 14, 1923, and attended the Ethical Culture and Fieldston Schools. At the age of eighteen she married Allan Arbus. Although she first started taking pictures in the early 1940s and studied photography with Alexey Brodovitch in 1954, it was not until 1955-57, while enrolled in courses taught by Lisette Model, that she began to seriously pursue the work for which she has come to be known. Her first published photographs appeared in Esquire in 1960 under the title The Vertical Journey. From that point on she continued to work intermittently as a free-lance photographer for Esquire, Harper’s Bazaar, Show, The London Sunday Times, and a number of other magazines, doing portraits on assignment as well as photographic essays, for several of which she wrote accompanying articles. During the 1950s, like most of her contemporaries, she had been using a 35mm camera, but in 1962 she began working with a 6x6 Rolleiflex. She once said, in accounting for the shift, that she had grown impatient with the grain and wanted to be able to decipher in her pictures the actual texture of things. The 6x6 format contributed to the refinement of a deceptively simple, formal, classical style that has since been recognized as one of the distinctive features of her work. She received Guggenheim Fellowships in 1963 and 1966 for projects on “American Rites, Manners and Customs” and spent several summers during that period traveling across the United States, photographing contests, festivals, public and private gatherings, people in the costumes of their professions or avocations, the hotel lobbies, dressing rooms and living rooms she had described as part of “the considerable ceremonies of our present.” “These are our symptoms and our monuments,” she wrote in her original application. “I want simply to save them, for what is ceremonious and curious and commonplace will be legendary.” The photographs she produced in those years attracted a great deal of attention when a selected group of them were exhibited, along with the work of two other photographers, in the 1967 “New Documents” show at the Museum of Modern Art. Nonetheless, although several institutions subsequently purchased examples of her work for their permanent collections, her photographs appeared in only two other major exhibitions during her lifetime, both of them group shows. In the late 1960s she taught photography courses at Parsons School of Design, the Rhode Island School of Design and Cooper Union and in 1971 gave a master class at Westbeth, the artists cooperative in New York City where she then lived. During the same period she initiated the concept and did the basic research for the Museum of Modern Art’s 1973 exhibition on news photography, “From the Picture Press.” She made a portfolio of ten photographs in 1970, printed, signed and annotated by her, which was to be the first of a series of limited editions of her work. She committed suicide on July 26, 1971 at the age of forty-eight. The following year the ten photographs in her portfolio became the first work of an American photographer to be exhibited at the Venice Biennale. In the course of a career that may be said to have lasted little more than fifteen years, she produced a body of work whose style and content have secured her a place as one of the most significant and influential photographers of our time. The major retrospective mounted by the Museum of Modern Art in 1972 was attended by more than a quarter of a million people in New York before it began its tour of the United States and Canada. The Aperture monograph Diane Arbus, published in conjunction with the show has sold over 300,000 copies. Beginning in 2003, Diane Arbus Revelations, an international retrospective organized by The San Francisco Museum of Modern Art travelled to museums throughout the United States and Europe between 2003 and 2006. Major exhibitions devoted exclusively to her work have toured much of the world including, Australia, Germany, Italy, Japan, the Netherlands, New Zealand, Spain, and the United Kingdom.4
  7. 7. A young man in curlers at home on West 20th Street, N.Y.C. 1966 5
  8. 8. QUOTES ON THE SUBJECT OF . . . PLATO: “There are and have been and will be an infinite number of things on earth. Individuals all different, all wanting different things, all knowing different things, all loving different things, all looking different. Everything that has been on earth has been different from any other thing. That is what I love: the differentness, the uniqueness of all things and the importance of life... I see something that seems wonderful; I see the divineness in ordinary things.” – November 28, 1939, paper on Plato, senior English seminar, Fieldston School AMERICAN RITES, MANNERS AND CUSTOMS: “I want to photograph the considerable ceremonies of our present because we tend while living here and now to perceive only what is random and barren and formless about it. While we regret that the present is not like the past and despair of its ever becoming the future, its innumerable inscrutable habits lie in wait for their meaning. I want to gather them, like somebody’s grandmother putting up preserves, because they will have been so beautiful. There are the Ceremonies of Celebration (the Pageants, the Festivals, the Feasts, the Conventions) and the Ceremonies of Competition (Contests, Games, Sports), the Ceremonies of Buying and Selling, of Gambling, of the Law and the Show; the Ceremonies of Fame in which the Winners Win and the Lucky are Chosen or Family Ceremonies or Gatherings (the Schools, the Clubs, the Meetings). Then they are Ceremonial Places (The Beauty Parlor, The Funeral Parlor or, simply The Parlor) and Ceremonial Costumes (what waitresses wear, or Wrestlers), Ceremonies of the Rich, like the Dog Show, and of the Middle Class, like the Bridge Game. Or, for example: the Dancing Lesson, the Graduation, the Testimonial Dinner, the Séance, the Gymnasium and the Picnic, and perhaps the Waiting Room, the Factory, the Masquerade, the Rehearsal, the Initiation, the Hotel Lobby and the Birthday Party. The etcetera. I will write whatever is necessary for the further description and elucidation of these Rites and I will go wherever I can to find them. These are our symptoms and our monuments. I want simply to save them, for what is ceremonious and curious and commonplace will be legendary.” – Guggenheim proposal, Plan for a Photographic Project, “American Rites, Manners and Customs” FREAKS: “There’s a quality of legend about freaks. Like a person in a fairy tale who stops you and demands that you answer a riddle. Most people go through life dreading they’ll go through a traumatic experience. Freaks were born with their trauma. They’ve already passed their test in life. They’re aristocrats.” “If you’ve ever talked to somebody with two heads you know they know something you don’t.” NUDIST CAMPS: It’s a little bit like walking into an hallucination without being quite sure whose it is...It gets to seem as if way back in the Garden of Eden after the fall, Adam and Eve had begged the Lord to forgive them and He, in his boundless exasperation had said, “All right, then. Stay, Stay in the Garden. Get civilized. Procreate. Muck it up.” And they did. THE GAP BETWEEN ATTENTION AND AFFECT: “You see someone on the street and essentially what you notice about them is the flaw. It’s just extraordinary that we should have been given these peculiarities. And, not content with what we were given, we create a whole other set. Our whole guise is like giving a sign to the world to think of us in a certain way but there’s a point between what you want people to know about you and what you can’t help people knowing about you. And that has to do with what I’ve always called the gap between intention and effect. I mean if you scrutinize reality closely enough, if in some way you really, really get to it, it becomes fantastic.”6
  9. 9. OTHER THOUGHTS:“The Chinese have a theory that you pass through boredom into fascination and I think it’s true. I would neverchoose a subject for what it means to me or what I think about it. You’ve just got to choose a subject, and whatyou feel about it, what it means, begins to unfold if you just plain choose a subject and do it enough.”“The thing that’s important to know is that you never know. You’re always sort of feeling your way.”“Nothing is ever the same as they said it was. It’s what I’ve never seen before that I recognize.”“A photograph is a secret about a secret. The more it tells you the less you know.”“For me the subject of the picture is always more important than the picture. And more complicated. I do havea feeling for the print but I don’t have a holy feeling for it. I really think what it is, is what it’s about. I mean ithas to be of something. And what it’s of it always more remarkable than what it is.”“I really believe there are things which nobody would see unless I photographed them.”PHOTOGRAPHS:“They are the proof that something was there and no longer is. Like a stain. And the stillness of them isboggling. You can turn away but when you come back they’ll still be there looking at you.”— in response to request for a brief statement about photographs, March 15, 1971 Boy with a straw hat waiting to march in a pro-war parade, N.Y.C. 1967 7
  10. 10. CHRONOLOGY 1923 Diane Nemerov, second child of Gertrude (née photographers who interest her most in this Russek) and David Nemerov, is born in New period are Matthew Brady, Timothy O’Sullivan, York City on March 14. David Nemerov is the Paul Strand, Bill Brandt, and Eugène Atget. merchandising director of Russek’s, one of the city’s leading fur emporia, founded in the late 1880s by 1942 his father-in-law, Frank Russek. Following the entry of the United States into World War II, Allan enlists in the Army and is 1927 assigned to the Photography Division of the Signal With her mother and brother Howard, accompanies Corps and posted to Ceylon in 1944. her father, then vice president at Russek’s, to France. “[My governess was] French and she took care of me 1944 for the first seven years of my life ...she always looked Diane, living in her parents’ apartment, takes as if she had a very sad secret and she would never self-portraits with a 5x7 inch Deardorff view tell anyone.” camera, documenting the progress of her pregnancy. She encloses in her letters to Allan photographs 1928 torn from the pages of magazines, including some Enrolls at the Ethical Culture School, a progressive of Richard Avedon’s first fashion pictures for private school in New York City. Younger sister, Harper’s Bazaar. Renée, is born on October 13. 1945 1933 Daughter Doon is born on April 3. Enters Fieldston, the high school campus of the Ethical Culture School. 1946 Diane and Allan begin a fashion photography 1936 business. David Nemerov hires them to do the Meets Allan Arbus (born 1918, New York City), photographs for Russek’s newspaper ads. who is working in Russek’s advertising department. Together they attend exhibitions at The Museum of Modern Art, including “Walker Evans: American 1947 Photographs” (1938). Over the next four years, the Arbuses publish their photographs in fashion magazines including Glamour, Seventeen, and Vogue. They are avid 1939 readers. The books in their library at the time Chooses art as her major and is selected to participate include works by Plato, Marcus Aurelius, Thomas in a senior class seminar on English literature. On Aquinas, Spinoza, Schopenhauer, Kierkegaard; Chaucer’s Canterbury Tales, she writes: “he turns Dostoevsky, Melville, Conrad, Gogol; Donne, separately to each one and looks on them as whole Blake, Rilke, and Yeats. miracles not as compounds of abstract qualities, and he seems to know that each one will always be himself and he wants that.” 1951 The Arbuses sublet their studio for a year to live in France and Italy and travel to Spain. 1940 Graduates from Fieldston High School in the spring 1954 Daughter Amy is born on April 16. 1941 Marries Allan Arbus in a small ceremony on April 10. 1956 Receives a Graflex 2¼ x 3¼ cm camera as a gift Working primarily with a 35mm Nikon camera, from Allan. Takes class on technical aspects of Diane begins to number her own negatives. photography from Berenice Abbott. They visit An American Place, Alfred Stieglitz’s gallery, Ends her photographic partnership with Allan. and occasionally show him their work. The Studies with Lisette Model, about whom Diane later8
  11. 11. says, “It was my teacher, Lisette Model, who finally on May 23rd In July, photographs at Sunshine Park,made it clear to me that the more specific you are, a family nudist camp in New Jersey.the more general it’ll be... “ 1964 1959 Visits Los Angeles in connection with an assignmentBegins keeping appointment books and working from Show to do the photographs and text for annotebooks. Separates from Allan and moves article on Mae West. The Museum of Modern Art,with daughters Doon and Amy to a house in New York, acquires seven Diane Arbus prints forGreenwich Village. Continues to share Allan’s its darkroom. Meets Marvin Israel, painter,graphic designer, and former art director of 1965 Seventeen. In the early stages of an enduring Begins printing her square photographs with blackfriendship as lovers and colleagues, they write to borders on 11x14-inch paper. Works in Washingtoneach other nearly every day. Square Park throughout the summer. Harper’s Bazaar publishes “On Marriage” in May. “Familial1960 Colloquies,” portraits of a renowned parent with his“The Vertical Journey,” her first photo essay, or her adolescent child, is published in the July issueis published in the July issue of Esquire. As part of Esquire. Spends several weeks photographing atof the Esquire project, she investigates and Sunnyrest, a nudist camp in Pennsylvania. photographs bodybuilders, beauty contests, Teaches her first photography course at Parsons Schooldebutantes, derelicts, Boy Scout meetings, youth of Design. Two Diane Arbus prints are includedgang meetings, a condemned hotel on Broadway in The Museum of Modern Art’s fall group show,and its residents, a Russian midget who does “Recent Acquisitions”.impersonations of Maurice Chevalier, a petcrematorium, and members of the Jewel BoxRevue’s touring female impersonator show 1966 In March, receives notification of her second“Twenty-Five Men and a Girl.” In the margin Guggenheim award. In her application she writes “Iof a letter to Marvin Israel, she writes: I would have learned to get past the door, from the outside tolike to photograph everybody. the inside. One milieu leads to another… a certain group of young nihilists, a variety of menages, a1961 retirement town in the Southwest, a new kind ofMarvin Israel is appointed art director of Harper’s Messiah, a particular Utopian cult who plan toBazaar. “The Full Circle” is published in the establish themselves on a nearby island, BeautiesNovember issue of Harper’s Bazaar. Assigned by of different ethnic groups, certain criminal types,Show to do a photographic essay on the subject a minority elite.” In April, for an assignment forof Horror. Harper’s Bazaar, begins to photograph artists living in New York, including Roy Lichtenstein, Claes1962 Oldenburg, Frank Stella, and others. Continues toBegins to use a 2¼ x 2¼ twin lens Rolleiflex photograph triplets and twins. In June, is diagnosedcamera. In July, goes to Los Angeles, where she with hepatitis and is unable to begin work onphotographs fortune-tellers to the stars for an her Guggenheim project until late August. Onarticle published in Glamour. Meets with John assignment for The New York Times Magazine, travelsSzarkowski, who has recently been named to Jamaica in December to photograph for the springEdward Steichen’s successor as director of the Children’s Fashions Supplement.Department of Photography at The Museumof Modern Art, New York. 1967 Is one of three photographers selected by1963 Szarkowski for his seminal exhibition, “NewMarvin Israel is fired from Harper’s Bazaar. Documents” at The Museum of Modern Art. InDiane receives a Guggenheim Fellowship for her an introduction he writes “in the past decade aphotographic studies of American Rites, Manners, new generation of photographers has directed and Customs. Her father, David Nemerov, dies the documentary approach toward more personal 9
  12. 12. ends… their aim has been not to reform life, The Museum of Modern Art’s exhibition of news but to know it. It includes thirty Diane Arbus photography. Discovers Weegee’s archive of eight photographs along with work by Garry Winogrand thousand prints and urges Szarkowski to consider a solo and Lee Friedlander. For the exhibition she prints show of his work. Borrows photographer Hiro’s Pentax some of her photographs on 16x20-inch paper. 6x7 camera and determines to purchase her own. Attends a number of pro- and anti Vietnam war demonstrations. 1971 Her pictures of California leisure communities 1968 are published in an article entitled “The Affluent On February 14 travels to South Carolina on Ghetto” in The London Sunday Times Magazine on assignment from Esquire to photograph a crusading January 3. Photographs couples of all kinds for an country doctor and his patients. Seeks permission to assignment called “Love” from Time-Life Books. photograph in prisons, psychiatric hospitals, homes for the elderly, and institutions for the mentally About this assignment she wrote: “(It) has opened a retarded. In July, is hospitalized for a recurrence lot of doors I wanted open and has got me going at of hepatitis. Resumes work in the fall and begins a great old pace. I have found some 60 yr old twins teaching at The Cooper Union. In the course of the who have always lived together and dress alike, a year, The London Sunday Times Magazine publishes lady in NJ with a pet monkey who wears a snow five articles accompanied by her photographs. Goes suit and a bonnet, an incredible heart-stopping to St. Croix in December to work on her second handicapped couple ...Every day nearly there is a assignment for The New York Times Magazine fresh delight.” Children’s Fashions Supplement. Teaches a private course of a few dozen students at 1969 Westbeth to raise money for the purchase of her Suggests several story ideas to the British own Pentax 6x7 camera. Neil Selkirk, an assistant magazine Nova. Travels to London on assignment of Hiro’s, is among the students. In February, for the magazine. Ten of her photographs are accompanies Marvin Israel to Hannover, Germany, included in The Museum of Modern Art’s for the opening of an exhibition of his paintings traveling exhibition “New Photography U.S.A.” at the Brusberg Gallery. Later that month, applies Several institutions, including The Metropolitan unsuccessfully for a grant from the Ingram Merrill Museum of Art and the Smithsonian, acquire Foundation to work on a project she calls “The Quiet her prints for their collections. Beginning in the Minorities.” Eight of her prints are included in the spring and for the next several years, pursues a Fogg Art Museum group exhibition “Contemporary photographic project on residents at homes for Photographs I”. Richard Avedon, Mike Nichols, the retarded. Before moving to Los Angeles and Bea Feitler, and Jasper Johns each acquire a set of obtaining a divorce, Allan sets up a new darkroom A box of ten photographs. In May, Artforum features for her. At Marvin Israel’s suggestion, she works images from the portfolio in an article entitled on the design and content of a limited-edition “Five Photographs by Diane Arbus”. On June 11, portfolio of her prints. In September, begins photographs the White House wedding of Richard seeing Dr. Helen Boigon, a psychiatrist. Travels Nixon’s daughter, Tricia, for The London Sunday Times to Barbados on her third assignment from The New Magazine. Spends the last week of June at Hampshire York Times Magazine Children’s Fashions Supplement. College in Amherst, Massachusetts, on a teaching assignment. In mid-July, attends the annual picnic of 1970 the Federation of the Handicapped. Moves to Westbeth, an artists’ cooperative in Greenwich Village. The Bibliothèque Nationale On July 26, commits suicide in her Westbeth de France acquires twenty prints for its collection. apartment. Attends the July opening of Richard Avedon’s retrospective exhibition at the Minneapolis Institute of Art. . In the fall, an award from the American Society of Magazine Photographers. Completes the first sets of her portfolio, A box of ten photographs. Is hired by Szarkowski to do the photo research for10
  13. 13. Teenage couple on Hudson Street, N.Y.C. 1963 11
  14. 14. SELECTED EXHIBITIONS 2011 2005 People and Other Singularities Diane Arbus: Other Faces, Other Rooms Gagosian Gallery, Los Angeles, CA (49 photographs), Robert Miller Gallery, New York 2010 2004-05 Inaugural Installation Diane Arbus: Family Albums Pilara Foundation, Pier 24, San Francisco Mount Holyoke College Art Museum (September 2– (March 16–July 16, 2010) December 7, 2004); Grey Art Gallery, New York (January 13–March 27, 2004); Portland Art Diane Arbus: Christ in a lobby and Other Museum, Maine (June 5–September 6, 2004); Unknown or Almost Known Works Spencer Museum of Art, Kansas (October 16, (48 photographs, curated by Robert Gober), 2004–January 16, 2005) Fraenkel Gallery, San Francisco (January 7– March 6, 2010) 2003-06 Diane Arbus: In the Absence of Others Diane Arbus: Revelations (10 photographs), Cheim & Read Gallery, (200 photographs and supplementary ephemera), New York (January 7–February 13, 2010) San Francisco Museum of Modern Art, San Francisco (November 25, 2003–February 2009-10 8, 2004); Los Angeles County Museum of Art Artist Rooms: Diane Arbus (February 29–May 30, 2004); Museum of Fine (69 photographs, collection gift to the nation Arts, Houston (June 27–August 29, 2004); donated by Anthony d’Offay), National The Metropolitan Museum of Art, New York Museum, Cardiff; Scottish National Gallery of (March 8–May 30, 2005); Museum Folkwang, Modern Art, Edinburgh (March 13–June 13, Essen, Germany (June 17–September 18, 2005); 2010); Aberdeen Art Gallery (February 5– Victoria & Albert Museum, London (October April 9, 2010) 13, 2005–January 15, 2006) Fundación la Caixa, Barcelona, Spain (February 14–March 15, 2006); Walker Art Center, Minneapolis (July 9– 2009 October 8, 2006) Diane Arbus (60 photographs), Timothy Taylor Gallery, London 2001 Diane Arbus: A Box of Ten Photographs 2008-10 Fraenkel Gallery, San Francisco Diane Arbus: A Printed Retrospective, 1960– 1971 (selected Arbus photographs as reproduced in 2000-01 their original magazine format, curated by Diane Arbus: Untitled 1969-1971 Pierre Leguillon), Kadist Art Foundation, Paris; Galerie Karsten Greve, Cologne, Germany Moderna Museet Malmo (May 2010) 2000 2008-09 Diane Arbus Le Choc de la Photographie Americaine Galerie Rodolphe Janssen, Brussels, Belgium (selected Diane Arbus photographs from the permanent collection), Bibliothèque Nationale 1996-97 de France, Paris Diane Arbus: Women Robert Miller Gallery, New York; Galleria 2007 Photology, Milan Something Was There: Early Work by Diane Arbus 1996 (60 photographs), Fraenkel Gallery, Untitled: Diane Arbus San Francisco PaceWildenstein, Los Angeles12
  15. 15. 1995 Museum, Lexington (October–December, 1984);The Movies: Photographs from 1956 to 1958 University Art Museum, California StateRobert Miller Gallery, New York University, Long Beach (January–February, 1985); Neuberger Museum, State University of New York at Purchase, Purchase (April–June, 1985);1992 Wellesley College Museum, Wellesley College,Diane Arbus: Untitled 1970-71 Wellesley, MA (September–October, 1985);Jan Kesner Gallery, Los Angeles The Philadelphia Museum of Art, Philadelphia (February–March, 1986)1991 Diane Arbus 1984-85(90 photographs curated by Ydessa Hendeles), Diane Arbus: Portraits on AssignmentYdessa Hendeles Art Foundation, Toronto Robert Miller Gallery, New York; traveled toDiane Arbus: Untitled 1970-71 Fraenkel Gallery, San FranciscoRobert Miller Gallery, New York 1984 1989 Diane ArbusDiane Arbus: Nineteen Faces Palazzo Fortuny, Venice, ItalyFraenkel Gallery, San Francisco 1983 Alice Neel and Diane Arbus: Children Diane Arbus: PhotographsRobert Miller Gallery, New York (under the auspices of Idea Books, curated by Doon Arbus), Palazzo della Cento Finestre,1987-88 Florence, 60 Fotographie; traveled toDiane Arbus: Couples Palazzo Fortuny, Venice and Pallazzo dellaFraenkel Gallery, San Francisco Esposizioni, Milan1987 1982 Diane Arbus: Untitled Photographs 1970-71 Diane ArbusFraenkel Gallery, San Francisco Berner Photo-Gallery, Bern, SwitzerlandDiane Arbus: Early Works 1956-1962 Diane Arbus: Published and Unpublished ImagesRobert Miller Gallery, New York Edwynn Houk Gallery, Chicago1986 1980 Diane Arbus Diane Arbus(curated by Madeleine Deschamps and Doon Centre Georges Pompidou, Paris (January 23–Arbus), American Center, Paris March 17, 1980)Diane Arbus Diane Arbus: Vintage Unpublished Photographs(curated by Alain Dupuy), La Fundacion Robert Miller Gallery, New York; Fraenkel Gallery,“la Caixa”, Barcelona, Spain (April–May); San Franciscotraveled to La Fundacion “la Caixa”, Madrid(September–October) 1978 Diane Arbus1984-87 (with Robert Frank), Fotografie Forum,Diane Arbus: Magazine Work 1960-1971 Frankfurt, GermanyHelen Foresman Spencer Museum of Art,The University of Kansas, Lawrence, (traveled 1976to: Minneapolis Institute of Arts, Minneapolis Diane Arbus(May–June, 1984); University of Kentucky Rosalind Solomon à la Galerie Zabriskie, Paris continued on page 14 13
  16. 16. continued from page 13 SELECTED 1973-79 BIBLIOGRAPHY Diane Arbus: Retrospective (118 photographs; curated by Doon Arbus and Diane Arbus: A Chronology Marvin Israel), Seibu Museum, Tokyo, ; traveled (Aperture, New York, 2011) to Hayward Gallery, Arts Council of Great Britain, French edition: Diane Arbus : Une Chronologie London (1974); Ikon Gallery, Birmingham, (Éditions de La Martinière, in collaboration England (1974); Scottish Arts Council, Edinburgh, with the Jeu de Paume, 2011) Scotland (1974); Van Abbe Museum, Eindhoven, The Netherlands (1974); Rijksmuseum Vincent Diane Arbus: The Libraries Van Gogh, Amsterdam (1974); Lenbachhaus (Fraenkel Gallery, San Francisco, 2005) Städtische Galerie, Munich (1975); Von der Heydt Museum, Wupperthal, Germany (1975); Frankfurter Revelations: Diane Arbus Kunstverein, Frankfurt (1976); 1976-78 toured (Random House, New York, 2003) fourteen galleries and museums throughout Australia British edition: Revelations: Diane Arbus under the auspices of the Australian Arts Council, (Cape, 2003) including the Australian Centre for Photography, German edition: Revelations : Diane Arbus Sydney (1977); 1978-79 toured seven galleries and (Schirmer/Mosel, 2003) museums throughout New Zealand under the auspices of the Arts Council of New Zealand. Untitled: Diane Arbus (Aperture, 1995; revised edition 2011) 1972-75 French edition: Sans Titre : Diane Arbus Diane Arbus (Éditions de La Martinière, 1995, revised (125 photographs, curated by John Szarkowski), edition 2011) Museum of Modern Art, New York; traveled to German edition: Ohne Title : Diane Arbus Baltimore (1973); Worcester Art Museum, Worcester, (Schirmer/Mosel, 2011) MA (1973); Museum of Contemporary Art, Chicago (1973); Walker Art Center, Minneapolis (1974); The Diane Arbus: Magazine Work National Gallery of Canada, Ottawa (1974); Detroit (Aperture, New York, 1984) Institute of Arts, Detroit (1974); Witte Memorial Museum, San Antonio, TX (1974); New Orleans Diane Arbus Art Museum, New Orleans (1974); University Art (Aperture, 1972; revised fortieth-anniversary Museum, University of California, Berkeley (1975); edition, 2011); Museum of Fine Arts, Houston (1975); Florida Center French edition: Diane Arbus for the Arts, University of South Florida, Tampa (Éditions de La Martinière, in collaboration (1975); Krannert Art Museum, University of Illinois, with the Jeu de Paume, 2011) Champaign (1975) German edition: Diane Arbus (Schirmer/Mosel, 2011) 1972 Diane Arbus Portfolio: 10 Photos The Aperture Monograph of 80 photographs, Venice Biennale, Venice published in 1972, has sold more than 300,000 copies. 1971 Contemporary Photographs I The French editions Diane Arbus: A Chronology. Fogg Museum, Harvard University, Mass. Sans Titre : Diane Arbus, and Diane Arbus are published on the occasion of the exhibition. New Photography U.S.A. Museum of Modern Art, New York; toured the United States and Canada 1967 New Documents (with Lee Friedlander and Garry Winogrand / 32 photographs, curated by John Szarkowski), Museum of Modern Art, New York14
  17. 17. AROUND THE EXHIBITTUESDAY 18TH OCTOBER, 6pm-8:30pmScreening and talk presented by Jeff Rosenheim, Curator of the Photographs Department,The Metropolitan Museum of Art, New York; and Neil Selkirk, Photographer and exclusive printer forThe Estate of Diane Arbus.“Who is Marvin Israel”, 2005 (42’ / English with simultaneous French translation).Directed by Neil Selkirk and Doon Arbus.Documentary on the enigmatic Marvin Israel (1924–1984); artist, designer, art director and teacher. Israel’sinfluence on Diane Arbus, Richard Avedon, Robert Frank, Lisette Model and Lee Friedlander, among others, isexplored in the words of those who knew him.Discussion with audience.“A Slide Show and Talk by Diane Arbus,” 1970 (40’ / VO stF).Compiled and edited by Neil Selkirk, Doon Arbus and Adam Shott.In an original audio recording of a 1970 slide presentation, Diane Arbus speaks about photography usingexamples of her own work and other photographs, snapshots and clippings from her collection.Discussion with audience.WEDNESDAY 19TH OCTOBER, 5pm-7:30pmScreening and talk presented by Jeff Rosenheim, Curator of the Photographs Department,The Metropolitan Museum of Art, New York; and Neil Selkirk, Photographer and exclusive printer forThe Estate of Diane Arbus.“Who is Marvin Israel”, 2005 (42’ / English with simultaneous French translation).Directed by Neil Selkirk and Doon Arbus.Documentary on the enigmatic Marvin Israel (1924–1984); artist, designer, art director and teacher. Israel’sinfluence on Diane Arbus, Richard Avedon, Robert Frank, Lisette Model and Lee Friedlander, among others, isexplored in the words of those who knew him.Discussion with audience.“A Slide Show and Talk by Diane Arbus,” 1970 (40’ / VO stF).Compiled and edited by Neil Selkirk, Doon Arbus and Adam Shott.In an original audio recording of a 1970 slide presentation, Diane Arbus speaks about photography usingexamples of her own work and other photographs, snapshots and clippings from her collection.Discussion with audience.Programs presented in collaboration with the FIAC.Reservations required: 15
  18. 18. REPRODUCTION GUIDELINES FOR PRESS IMAGES The images are available for press uses solely in connection with “Diane Arbus” an exhibition at the Jeu de Paume, October 18, 2011–February 5, 2012. The image(s) may not be cropped or surprinted. The image(s) may only be reproduced prior to or during the exhibition at the Jeu de Paume. Any reproductions in electronic media must be taken down within 60 days following February 12, 2012. Reproduction of each photograph must be accompanied by the exact title and copyright notice that appears at the bottom of the photograph and as set forth above. The digital files containing the Press Images must be destroyed following its intended use. The file may not be stored, copied or transmitted to any third party by any means, unless related to editorial publicity for the exhibition at the Jeu de Paume. Installation Photographs or Video Footage: To the extent that the Jeu de Paume allows still photography or video recording of the installation for press purposes, any photography and video recording shall be limited to “long shots” of the installation (i.e. without close-up on particular images). Close-ups of the Press Images may be photographed or recorded so long as the frames of the prints embodying the Press Images is also included in the photograph or video footage of that Press Image. Photographs or video footage of the installation and/or press images may only be used for press and promotional purposes of the exhibition at the Jeu de Paume and may not be used for any other purpose at any time. Any reproduction of any Press Images for any purpose other than press and promotion of the Diane Arbus exhibition at the Jeu de Paume, or reproduction of any other images by Diane Arbus at any time require written permission in advance and must be submitted to The Estate of Diane Arbus: by email to or by mail or fax c/o Pelosi Wolf Effron & Spates, 233 Broadway, Suite 2208, New York New York 10279, fax (212) 571-9149. All requests must be submitted with reasonable notice of any publication deadline and The Estate of Diane Arbus shall consider each request on a case by case basis.16
  19. 19. DA 01Child with a toy hand grenade in Central Park, N.Y.C. 1962Copyright © The Estate of Diane ArbusDA 02Identical twins, Roselle, N.J. 1967Copyright © The Estate of Diane ArbusDA 03Boy with a straw hat waiting to march in a pro-war parade, N.Y.C. 1967Copyright © The Estate of Diane ArbusDA 04Untitled (6) 1970–71Copyright © The Estate of Diane ArbusDA 05A young man in curlers at home on West 20th Street, N.Y.C. 1966Copyright © The Estate of Diane ArbusDA 06Teenage couple on Hudson Street, N.Y.C. 1963Copyright © The Estate of Diane ArbusDA 07Xmas tree in a living room in Levittown, L.I. 1963Copyright © The Estate of Diane Arbus
  20. 20. INFORMATION JEU DE PAUME 1, place de la Concorde - 75008 Paris Information: 01 47 03 12 50 OPENING HOURS Tuesday: 12:00 - 21:00 Wednesday to Friday: 12:00 - 19:00 Saturday and Sunday: 10:00 - 19:00 ADMISSIONS Admission: 8,5 euros Concession: 5,5 euros “Mardis jeunes”: free entrance for students and visitors under 26 every last Tuesday of the month from 5 pm to 9 pm Satellite programming: free entrance ANNUAL PASS AND CULTURAL PARTNERS Free and unlimited admission to the exhibitions and all related cultural events at Jeu de Paume Full rate : 25 € Annual pass concessions (students, under-25): 15 € Thanks to the annual pass, enjoy special rates and offers at the venues of the Jeu de Paume cultural partners: Lille 3000 (Exhibition « Collector » from 5 October 2011 to 25 January 2012), Bibliothèque Nationale de France,Fondation Cartier, Musée du Louvre, Musée d’Orsay, Orchestre de Paris, Cinémathèque française, Palais de Tokyo, Cité de la Musique, Maison Européenne de la Photographie, Maison Rouge… Jeu de Paume is also an institutional partner of Printemps de Septembre, Toulouse and Festival d’Automne, Paris. More information at CONTACTS Press relations: Carole Brianchon +33 (0)1 47 03 13 22 / Communication: Anne Racine +33 (0)1 47 03 13 29 /