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Press KitDIANE ARBUSOctober 18, 2011 - February 5, 2012

1 place de la Concorde · Paris 8E· · M° Concorde

www.jeudepaume.org – www.jeudepaume.org/lemagazine

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INSTITUTIONAL PARTNERSThis 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 PARTNERSÀ Nous Paris, Arte, Artinfo, Azart Photographie, Courrier international,

de l’air, La Tribune, Polka Magazine, Vogue Paris and FIP.

EXHIBITION VENUESFotomuseum, 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

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Untitled (6) 1970–71

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Identical twins, Roselle, N.J. 1967

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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.

THE EXHIBITION

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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.

BIOGRAPHY

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A young man in curlers at home on West 20th Street, N.Y.C. 1966

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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.”

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OTHER THOUGHTS: “The Chinese have a theory that you pass through boredom into fascination and I think it’s true. I would never choose a subject for what it means to me or what I think about it. You’ve just got to choose a subject, and what you 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 have a 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 it has 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 is boggling. 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

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photographers who interest her most in this period are Matthew Brady, Timothy O’Sullivan, Paul Strand, Bill Brandt, and Eugène Atget.

1942 Following the entry of the United States into World War II, Allan enlists in the Army and is assigned to the Photography Division of the Signal Corps and posted to Ceylon in 1944.

1944 Diane, living in her parents’ apartment, takes self-portraits with a 5x7 inch Deardorff view camera, documenting the progress of her pregnancy. She encloses in her letters to Allan photographs torn from the pages of magazines, including some of Richard Avedon’s first fashion pictures for Harper’s Bazaar.

1945 Daughter Doon is born on April 3.

1946 Diane and Allan begin a fashion photography business. David Nemerov hires them to do the photographs for Russek’s newspaper ads.

1947 Over the next four years, the Arbuses publish their photographs in fashion magazines including Glamour, Seventeen, and Vogue. They are avid readers. The books in their library at the time include works by Plato, Marcus Aurelius, Thomas Aquinas, Spinoza, Schopenhauer, Kierkegaard; Dostoevsky, Melville, Conrad, Gogol; Donne, Blake, Rilke, and Yeats.

1951 The Arbuses sublet their studio for a year to live in France and Italy and travel to Spain.

1954 Daughter Amy is born on April 16.

1956 Working primarily with a 35mm Nikon camera, Diane begins to number her own negatives.

Ends her photographic partnership with Allan. Studies with Lisette Model, about whom Diane later

1923 Diane Nemerov, second child of Gertrude (née Russek) and David Nemerov, is born in New York City on March 14. David Nemerov is the merchandising director of Russek’s, one of the city’s leading fur emporia, founded in the late 1880s by his father-in-law, Frank Russek.

1927 With her mother and brother Howard, accompanies her father, then vice president at Russek’s, to France. “[My governess was] French and she took care of me for the first seven years of my life ...she always looked as if she had a very sad secret and she would never tell anyone.”

1928 Enrolls at the Ethical Culture School, a progressive private school in New York City. Younger sister, Renée, is born on October 13.

1933 Enters Fieldston, the high school campus of the Ethical Culture School.

1936 Meets Allan Arbus (born 1918, New York City), who is working in Russek’s advertising department. Together they attend exhibitions at The Museum of Modern Art, including “Walker Evans: American Photographs” (1938).

1939 Chooses art as her major and is selected to participate in a senior class seminar on English literature. On Chaucer’s Canterbury Tales, she writes: “he turns separately to each one and looks on them as whole miracles not as compounds of abstract qualities, and he seems to know that each one will always be himself and he wants that.”

1940 Graduates from Fieldston High School in the spring

1941 Marries Allan Arbus in a small ceremony on April 10.

Receives a Graflex 2¼ x 3¼ cm camera as a gift from Allan. Takes class on technical aspects of photography from Berenice Abbott. They visit An American Place, Alfred Stieglitz’s gallery, and occasionally show him their work. The

CHRONOLOGY

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says, “It was my teacher, Lisette Model, who finally made it clear to me that the more specific you are, the more general it’ll be... “

1959 Begins keeping appointment books and working notebooks. Separates from Allan and moves with daughters Doon and Amy to a house in Greenwich Village. Continues to share Allan’s studio darkroom. Meets Marvin Israel, painter, graphic designer, and former art director of Seventeen. In the early stages of an enduring friendship as lovers and colleagues, they write to each other nearly every day.

1960 “The Vertical Journey,” her first photo essay, is published in the July issue of Esquire. As part of the Esquire project, she investigates and photographs bodybuilders, beauty contests, debutantes, derelicts, Boy Scout meetings, youth gang meetings, a condemned hotel on Broadway and its residents, a Russian midget who does impersonations of Maurice Chevalier, a pet crematorium, and members of the Jewel Box Revue’s touring female impersonator show “Twenty-Five Men and a Girl.” In the margin of a letter to Marvin Israel, she writes: I would like to photograph everybody.

1961 Marvin Israel is appointed art director of Harper’s Bazaar. “The Full Circle” is published in the November issue of Harper’s Bazaar. Assigned by Show to do a photographic essay on the subject of Horror.

1962 Begins to use a 2¼ x 2¼ twin lens Rolleiflex camera. In July, goes to Los Angeles, where she photographs fortune-tellers to the stars for an article published in Glamour. Meets with John Szarkowski, who has recently been named Edward Steichen’s successor as director of the Department of Photography at The Museum of Modern Art, New York.

1963 Marvin Israel is fired from Harper’s Bazaar. Diane receives a Guggenheim Fellowship for her photographic studies of American Rites, Manners, and Customs. Her father, David Nemerov, dies

on May 23rd In July, photographs at Sunshine Park, a family nudist camp in New Jersey.

1964 Visits Los Angeles in connection with an assignment from Show to do the photographs and text for an article on Mae West. The Museum of Modern Art, New York, acquires seven Diane Arbus prints for its collection.

1965 Begins printing her square photographs with black borders on 11x14-inch paper. Works in Washington Square Park throughout the summer. Harper’s Bazaar publishes “On Marriage” in May. “Familial Colloquies,” portraits of a renowned parent with his or her adolescent child, is published in the July issue of Esquire. Spends several weeks photographing at Sunnyrest, a nudist camp in Pennsylvania. Teaches her first photography course at Parsons School of Design. Two Diane Arbus prints are included in The Museum of Modern Art’s fall group show, “Recent Acquisitions”.

1966 In March, receives notification of her second Guggenheim award. In her application she writes “I have learned to get past the door, from the outside to the inside. One milieu leads to another… a certain group of young nihilists, a variety of menages, a retirement town in the Southwest, a new kind of Messiah, a particular Utopian cult who plan to establish themselves on a nearby island, Beauties of different ethnic groups, certain criminal types, a minority elite.” In April, for an assignment for Harper’s Bazaar, begins to photograph artists living in New York, including Roy Lichtenstein, Claes Oldenburg, Frank Stella, and others. Continues to photograph triplets and twins. In June, is diagnosed with hepatitis and is unable to begin work on her Guggenheim project until late August. On assignment for The New York Times Magazine, travels to Jamaica in December to photograph for the spring Children’s Fashions Supplement.

1967 Is one of three photographers selected by Szarkowski for his seminal exhibition, “New Documents” at The Museum of Modern Art. In an introduction he writes “in the past decade a new generation of photographers has directed the documentary approach toward more personal

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ends… their aim has been not to reform life, but to know it. It includes thirty Diane Arbus photographs along with work by Garry Winogrand and Lee Friedlander. For the exhibition she prints some of her photographs on 16x20-inch paper. Attends a number of pro- and anti Vietnam war demonstrations.

1968 On February 14 travels to South Carolina on assignment from Esquire to photograph a crusading country doctor and his patients. Seeks permission to photograph in prisons, psychiatric hospitals, homes for the elderly, and institutions for the mentally retarded. In July, is hospitalized for a recurrence of hepatitis. Resumes work in the fall and begins teaching at The Cooper Union. In the course of the year, The London Sunday Times Magazine publishes five articles accompanied by her photographs. Goes to St. Croix in December to work on her second assignment for The New York Times Magazine Children’s Fashions Supplement.

1969 Suggests several story ideas to the British magazine Nova. Travels to London on assignment for the magazine. Ten of her photographs are included in The Museum of Modern Art’s traveling exhibition “New Photography U.S.A.” Several institutions, including The Metropolitan Museum of Art and the Smithsonian, acquire her prints for their collections. Beginning in the spring and for the next several years, pursues a photographic project on residents at homes for the retarded. Before moving to Los Angeles and obtaining a divorce, Allan sets up a new darkroom for her. At Marvin Israel’s suggestion, she works on the design and content of a limited-edition portfolio of her prints. In September, begins seeing Dr. Helen Boigon, a psychiatrist. Travels to Barbados on her third assignment from The New York Times Magazine Children’s Fashions Supplement.

1970 Moves to Westbeth, an artists’ cooperative in Greenwich Village. The Bibliothèque Nationale de France acquires twenty prints for its collection. 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 for

The Museum of Modern Art’s exhibition of news photography. Discovers Weegee’s archive of eight thousand prints and urges Szarkowski to consider a solo show of his work. Borrows photographer Hiro’s Pentax 6x7 camera and determines to purchase her own.

1971 Her pictures of California leisure communities are published in an article entitled “The Affluent Ghetto” in The London Sunday Times Magazine on January 3. Photographs couples of all kinds for an assignment called “Love” from Time-Life Books.

About this assignment she wrote: “(It) has opened a lot of doors I wanted open and has got me going at a great old pace. I have found some 60 yr old twins who have always lived together and dress alike, a lady in NJ with a pet monkey who wears a snow suit and a bonnet, an incredible heart-stopping handicapped couple ...Every day nearly there is a fresh delight.”

Teaches a private course of a few dozen students at Westbeth to raise money for the purchase of her own Pentax 6x7 camera. Neil Selkirk, an assistant of Hiro’s, is among the students. In February, accompanies Marvin Israel to Hannover, Germany, for the opening of an exhibition of his paintings at the Brusberg Gallery. Later that month, applies unsuccessfully for a grant from the Ingram Merrill Foundation to work on a project she calls “The Quiet Minorities.” Eight of her prints are included in the Fogg Art Museum group exhibition “Contemporary Photographs I”. Richard Avedon, Mike Nichols, Bea Feitler, and Jasper Johns each acquire a set of A box of ten photographs. In May, Artforum features images from the portfolio in an article entitled “Five Photographs by Diane Arbus”. On June 11, photographs the White House wedding of Richard Nixon’s daughter, Tricia, for The London Sunday Times Magazine. Spends the last week of June at Hampshire College in Amherst, Massachusetts, on a teaching assignment. In mid-July, attends the annual picnic of the Federation of the Handicapped.

On July 26, commits suicide in her Westbeth apartment.

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Teenage couple on Hudson Street, N.Y.C. 1963

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2011 People and Other Singularities Gagosian Gallery, Los Angeles, CA

2010 Inaugural Installation Pilara Foundation, Pier 24, San Francisco (March 16–July 16, 2010)

Diane Arbus: Christ in a lobby and Other Unknown or Almost Known Works (48 photographs, curated by Robert Gober), Fraenkel Gallery, San Francisco (January 7– March 6, 2010)

Diane Arbus: In the Absence of Others (10 photographs), Cheim & Read Gallery, New York (January 7–February 13, 2010)

2009-10 Artist Rooms: Diane Arbus (69 photographs, collection gift to the nation donated by Anthony d’Offay), National Museum, Cardiff; Scottish National Gallery of Modern Art, Edinburgh (March 13–June 13, 2010); Aberdeen Art Gallery (February 5– April 9, 2010)

2009 Diane Arbus (60 photographs), Timothy Taylor Gallery, London

2008-10 Diane Arbus: A Printed Retrospective, 1960–1971 (selected Arbus photographs as reproduced in their original magazine format, curated by Pierre Leguillon), Kadist Art Foundation, Paris; Moderna Museet Malmo (May 2010)

2008-09 Le Choc de la Photographie Americaine (selected Diane Arbus photographs from the permanent collection), Bibliothèque Nationale de France, Paris

2007 Something Was There: Early Work by Diane Arbus (60 photographs), Fraenkel Gallery, San Francisco

SELECTED EXHIBITIONS

2005 Diane Arbus: Other Faces, Other Rooms (49 photographs), Robert Miller Gallery, New York

2004-05 Diane Arbus: Family Albums Mount Holyoke College Art Museum (September 2– December 7, 2004); Grey Art Gallery, New York (January 13–March 27, 2004); Portland Art Museum, Maine (June 5–September 6, 2004); Spencer Museum of Art, Kansas (October 16, 2004–January 16, 2005)

2003-06 Diane Arbus: Revelations (200 photographs and supplementary ephemera), San Francisco Museum of Modern Art, San Francisco (November 25, 2003–February 8, 2004); Los Angeles County Museum of Art (February 29–May 30, 2004); Museum of Fine Arts, Houston (June 27–August 29, 2004); The Metropolitan Museum of Art, New York (March 8–May 30, 2005); Museum Folkwang, Essen, Germany (June 17–September 18, 2005); Victoria & Albert Museum, London (October 13, 2005–January 15, 2006) Fundación la Caixa, Barcelona, Spain (February 14–March 15, 2006); Walker Art Center, Minneapolis (July 9– October 8, 2006)

2001 Diane Arbus: A Box of Ten Photographs Fraenkel Gallery, San Francisco

2000-01 Diane Arbus: Untitled 1969-1971 Galerie Karsten Greve, Cologne, Germany

2000 Diane Arbus Galerie Rodolphe Janssen, Brussels, Belgium

1996-97 Diane Arbus: Women Robert Miller Gallery, New York; Galleria Photology, Milan

1996 Untitled: Diane Arbus PaceWildenstein, Los Angeles

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Museum, Lexington (October–December, 1984); University Art Museum, California State University, Long Beach (January–February, 1985); Neuberger Museum, State University of New York at Purchase, Purchase (April–June, 1985); Wellesley College Museum, Wellesley College, Wellesley, MA (September–October, 1985); The Philadelphia Museum of Art, Philadelphia (February–March, 1986)

1984-85 Diane Arbus: Portraits on Assignment Robert Miller Gallery, New York; traveled to Fraenkel Gallery, San Francisco

1984 Diane Arbus Palazzo Fortuny, Venice, Italy

1983 Diane Arbus: Photographs (under the auspices of Idea Books, curated by Doon Arbus), Palazzo della Cento Finestre, Florence, 60 Fotographie; traveled to Palazzo Fortuny, Venice and Pallazzo della Esposizioni, Milan

1982 Diane Arbus Berner Photo-Gallery, Bern, Switzerland

Diane Arbus: Published and Unpublished Images Edwynn Houk Gallery, Chicago

1980 Diane Arbus Centre Georges Pompidou, Paris (January 23– March 17, 1980)

Diane Arbus: Vintage Unpublished Photographs Robert Miller Gallery, New York; Fraenkel Gallery, San Francisco

1978 Diane Arbus (with Robert Frank), Fotografie Forum, Frankfurt, Germany

1976 Diane Arbus Rosalind Solomon à la Galerie Zabriskie, Paris

1995 The Movies: Photographs from 1956 to 1958 Robert Miller Gallery, New York

1992 Diane Arbus: Untitled 1970-71 Jan Kesner Gallery, Los Angeles

1991 Diane Arbus (90 photographs curated by Ydessa Hendeles), Ydessa Hendeles Art Foundation, Toronto

Diane Arbus: Untitled 1970-71 Robert Miller Gallery, New York

1989 Diane Arbus: Nineteen Faces Fraenkel Gallery, San Francisco

Alice Neel and Diane Arbus: Children Robert Miller Gallery, New York

1987-88 Diane Arbus: Couples Fraenkel Gallery, San Francisco

1987 Diane Arbus: Untitled Photographs 1970-71 Fraenkel Gallery, San Francisco

Diane Arbus: Early Works 1956-1962 Robert Miller Gallery, New York

1986 Diane Arbus (curated by Madeleine Deschamps and Doon Arbus), American Center, Paris

Diane Arbus (curated by Alain Dupuy), La Fundacion “la Caixa”, Barcelona, Spain (April–May); traveled to La Fundacion “la Caixa”, Madrid (September–October)

1984-87 Diane Arbus: Magazine Work 1960-1971 Helen Foresman Spencer Museum of Art, The University of Kansas, Lawrence, (traveled to: Minneapolis Institute of Arts, Minneapolis (May–June, 1984); University of Kentucky

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Diane Arbus: A Chronology (Aperture, New York, 2011) French edition: Diane Arbus : Une Chronologie (Éditions de La Martinière, in collaboration with the Jeu de Paume, 2011)

Diane Arbus: The Libraries (Fraenkel Gallery, San Francisco, 2005)

Revelations: Diane Arbus (Random House, New York, 2003) British edition: Revelations: Diane Arbus (Cape, 2003) German edition: Revelations : Diane Arbus (Schirmer/Mosel, 2003)

Untitled: Diane Arbus (Aperture, 1995; revised edition 2011) French edition: Sans Titre : Diane Arbus (Éditions de La Martinière, 1995, revised edition 2011) German edition: Ohne Title : Diane Arbus (Schirmer/Mosel, 2011)

Diane Arbus: Magazine Work (Aperture, New York, 1984)

Diane Arbus (Aperture, 1972; revised fortieth-anniversary edition, 2011); French edition: Diane Arbus (Éditions de La Martinière, in collaboration with the Jeu de Paume, 2011) German edition: Diane Arbus (Schirmer/Mosel, 2011)

The Aperture Monograph of 80 photographs, published in 1972, has sold more than 300,000 copies.

The French editions Diane Arbus: A Chronology. Sans Titre : Diane Arbus, and Diane Arbus are published on the occasion of the exhibition.

SELECTED BIBLIOGRAPHY1973-79

Diane Arbus: Retrospective (118 photographs; curated by Doon Arbus and Marvin Israel), Seibu Museum, Tokyo, ; 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 Netherlands (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 galleries 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.

1972-75 Diane Arbus (125 photographs, curated by John Szarkowski), Museum of Modern Art, New York; traveled to Baltimore (1973); Worcester Art Museum, Worcester, MA (1973); Museum of Contemporary Art, Chicago (1973); Walker Art Center, Minneapolis (1974); The National Gallery of Canada, Ottawa (1974); Detroit Institute 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

1971 Contemporary Photographs I Fogg Museum, Harvard University, Mass.

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 York

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TUESDAY 18TH OCTOBER, 6pm-8:30pm

Screening 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 for The 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’s influence on Diane Arbus, Richard Avedon, Robert Frank, Lisette Model and Lee Friedlander, among others, is explored 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 using examples of her own work and other photographs, snapshots and clippings from her collection. Discussion with audience.

WEDNESDAY 19TH OCTOBER, 5pm-7:30pm

Screening 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 for The 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’s influence on Diane Arbus, Richard Avedon, Robert Frank, Lisette Model and Lee Friedlander, among others, is explored 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 using examples 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: [email protected].

15

AROUND THE EXHIBIT

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16

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 [email protected]

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.

REPRODUCTION GUIDELINES FOR PRESS IMAGES

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DA 01

Child with a toy hand grenade in Central Park, N.Y.C. 1962

Copyright © The Estate of Diane Arbus

DA 02

Identical twins, Roselle, N.J. 1967

Copyright © The Estate of Diane Arbus

DA 03

Boy with a straw hat waiting to march in a pro-war parade, N.Y.C. 1967

Copyright © The Estate of Diane Arbus

DA 04

Untitled (6) 1970–71

Copyright © The Estate of Diane Arbus

DA 05

A young man in curlers at home on West 20th Street, N.Y.C. 1966

Copyright © The Estate of Diane Arbus

DA 06

Teenage couple on Hudson Street, N.Y.C. 1963

Copyright © The Estate of Diane Arbus

DA 07

Xmas tree in a living room in Levittown, L.I. 1963

Copyright © The Estate of Diane Arbus

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INFORMATION

JEU DE PAUME

1, place de la Concorde - 75008 Paris Information: 01 47 03 12 50

www.jeudepaume.org www.jeudepaume.org/lemagazine/

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 www.jeudepaume.org

CONTACTS

Press relations: Carole Brianchon +33 (0)1 47 03 13 22 / [email protected]

Communication: Anne Racine +33 (0)1 47 03 13 29 / [email protected]