Jeu de paume pr diane arbus

download Jeu de paume pr diane arbus

of 20

Embed Size (px)

description

 

Transcript of Jeu de paume pr diane arbus

  • DIANE ARBUS Press KitOctober 18, 2011 - February 5, 2012 1 place de la Concorde Paris 8 E M Concorde www.jeudepaume.org www.jeudepaume.org/lemagazine
  • 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 Nous Paris, Arte, Artinfo, Azart Photographie, Courrier international, de lair, 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
  • Untitled (6) 197071 1
  • Identical twins, Roselle, N.J. 19672
  • THE EXHIBITIONDiane Arbus (New York, 19231971) 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 anthropologyportraits of couples,children, carnival performers, nudists, middle-class families, transvestites, zealots, eccentrics, and celebritiesstands 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 artists iconic photographs as well as many that have never been publicly exhibited. Eventhe earliest examples of her work demonstrate Arbuss distinctive sensibility through the expression on a face,someones 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
  • 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, Harpers 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 Arts 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
  • A young man in curlers at home on West 20th Street, N.Y.C. 1966 5
  • 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 somebodys 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 (t