Photos: *
- Woman on the street with her eyes closed, 1956.
- Jewish Giant, taken at Home with His Parents in the Bronx, New York, 1970
- Photograph of Diane Arbus by Allan Arbus, film test, 1949.
- Identical Twins, Roselle, New Jersey, 1967
- Child with Toy Hand Grenade in Central Park, N.Y.C. 1962
- Two girls by a brick wall, N.Y.C. 1961
- Woman in a mink stole and bow shoes, N.Y.C. 1956
- Taxicab driver at the wheel with two passengers, N.Y.C. 1956
- Transvestite on a couch, N.Y.C. 1966
- Man with a curious baby on the subway, N.Y.C. 1956
- Kid in a hooded jacket aiming a gun, N.Y.C. 1957
- Man in hat, trunks, socks and shoes, Coney Island, N.Y. 1960
- Trapeze act, N.Y.C. 1957
- Female impersonator holding long gloves, Hempstead, L.I. 1959
- Sunny South Syncopaters and other sideshow banners at night, Palisades Park, N.J. 1957
- A Family One Evening in a Nudist Camp, PA, 1965
- Girl in a Shiny Dress, NYC, 1967
- Girls in Matching Bikinis, Coney Island, 1965
- Woman with eyeliner, NYC, 1967
- Russek's Ads: http://3.bp.blogspot.com/-LQriwmGEDo0/UDmLKRhW9hI/AAAAAAAAAGg/tMtLDmfWZp0/s1600/1957ad.jpg
- https://s-media-cache-ak0.pinimg.com/236x/e4/62/94/e46294b84e7fe3e65c054908f9ad2c3c.jpg
- https://s-media-cache-ak0.pinimg.com/564x/b1/47/b4/b147b412be23e812315ea262e221fb8d.jpg
- http://2.bp.blogspot.com/-ctLl4zXksC4/UDmLjGzxFLI/AAAAAAAAAGo/F1Bqr86e258/s640/perettesuzy.jpg
- A young man and his girlfriend with hot dogs , 1971
- Masked Woman in a Wheelchair, Pennsylvania, 1970
- Sunny South Syncopaters and other sideshow banners at night, Palisades Park, N.J. 1957
- Two ladies at the automat NYC, 1966
- Nudist Lady with Swan Sunglasses, PA, 1965
- Woman at a counter smoking, N.Y.C., 1962
- Girl in a coat lying on her bed, N.Y.C., 1968
- 42nd Street movie theater audience, N.Y.C., 1958
- Mae West in her Bedroom , Santa Monica, California, 1965
- Waitress, Nudist Camp, N.J., 1963
- Elderly couple on a park bench, N.Y.C. 1969
- Masked man in white, N.Y.C. 1967
- Young couple on a bench in Washington Square , 1965
- Girl in her Circus Costume, Maryland, 1970
- Child Crying, New Jersey, 1967
- Albino Sword Swallower at a Carnival, MD, 1970
- Girl with a pointy hood and white schoolbag at the curb, N.Y.C., 1957
- Woman with white gloves and a pocketbook, N.Y.C., 1956.
- Little man biting woman’s breast, N.Y.C., 1958.
- Old woman with hands raised in the ocean, Coney Island, N.Y., 1960.
- Empty snack bar, N.Y.C., 1957.
- Penelope Tree in her living room, New York City, 1962
- Camp Lakecrest Campers As Trees, Dutchess County, N.Y. 1968
- Identical Twins, Roselle, New Jersey, 1967
- A House on a Hill, Hollywood, CA, 1963
- Child in a nightgown, Wellfleet, Mass. 1956
- Girl in a watch cap, N.Y.C. 1965
- Woman wearing a bird mask, New York, 1967.
- Girl with a Cigar, Washington Square Park, N.Y.C, 1965
- A very young baby, N.Y.C. 1968
- The Junior Interstate Ballroom Dance Champions, Yonkers, N.Y. 1963
- A castle in Disneyland, Cal. 1962
- The House of Horrors, Coney Island, N.Y. 1961
- Untitled 21
- Untitled 10
- Untitled 1
- Kid in Black-Face with Friend, N.Y.C 1957
- Two girls on the beach, Coney Island, N.Y. 1958
- Patriotic Young Man with Flag, NYC
- Veteran with a flag, N.Y.C. 1971
Sources:
Primary:
Arbus, Allan. Photograph of Diane Arbus, 1949. 1949.
This photo is only used on the website to give viewers an idea of what Diane Arbus looks like. It gave us an idea of how Arbus also was a feminist; with her short-cut hair to break the female stereotype. It was used on the Home page.
Arbus, Diane. Child with Toy Hand Grenade in Central Park, N.Y.C. 1962. 1962.
This photo showed how Diane Arbus used odd angles and weird facial looks to express her subject and convey their mood to the viewer. This was used as a photo on our final product, the website. It was used on the Home page.
---. "Diane Arbus." Diane Arbus. ArtNet, www.artnet.com/artists/diane-arbus. Accessed 12 Feb. 2017.
This article gave details of artists who influenced or taught Arbus in her early days as a photographer. The source also included many of Arbus's photographs, which showed us how Arbus took photos of both ordinary people and 'odd' people. We used some of the quotes from this website along with some photos on our final product, the website. These photos are included on the Home, Thesis, Starting Off, Photographic Interests, Independency, Fashion Photography, Meeting Subjects, Photographing Subjects, Controversy, Influence, and Conclusion pages.
---. "Diane Arbus: An Aperture Monograph." Diane Arbus, by Diane Arbus.
This book by Diane Arbus herself featured all of her photographs, giving us a view of what other people felt when they saw her pictures. It also helped us understand her style and compare it to regular photos of her era. We only took the untitled photos from this book and incorporated them in the Untitled Gallery page.
---. Identical Twins, Roselle, New Jersey, 1967. 1967.
This photo taken by Diane Arbus expressed her love for human multiples and different facial looks. By looking at this photo and others of multiples, we learned more about Arbus's style. This was used as a photo on our final product, the website. It was used on the homepage and on the Thesis page.
---. Jewish Giant, Taken at Home with His Parents in the Bronx, NY, 1970. 1970.
This photo of Diane Arbus's expresssed her love for taking photos of people who weren't following the status quo/considered normal. This was used as a photo on our final product, the website. It was used on the Home page.
---. Kid in a hooded jacket aiming a gun, N.Y.C. 1957.
This photo shows Arbus's love for children and their bountiful expressions. This was used as a photo on our final product, the website. It was used on the Home page.
---. Man in hat, trunks, socks and shoes, Coney Island, N.Y. 1960. 1960.
This photo of Arbus's shows her subject amidst a sea of other people (which, when you usually take a picture, you don't want to get other people in it). But it's also thought-out and not just accidental, like bad photography - it's comparing the 'odd' subject to 'normal' people. This was used as a photo on our final product, the website. It was used on the Home page.
---. Man with a curious baby on the subway, N.Y.C. 1956. 1956.
This photo of Arbus's showed us her love for babies and young children due to their expression; in this case, the curiosity on the baby's face. This was used as a photo on our final product, the website. It was used on the Home page.
---. Taxicab driver at the wheel with two passengers, N.Y.C. 1956. 1956.
This is a prime example of Arbus's photography before she became bolder and asked to photograph her subjects (you can see the shock and a slight bit of suspicion on the taxicab driver's face). This photo showed how perhaps Arbus started out originally as a shy and more reserved person, before warming up to take photos with rightful permission from the subject. This was used as a photo on our final product, the website. It was used on the Home page.
---. Teenage Couple on Hudson Street N.Y.C. 1963. 1963.
This photo of Diane Arbus's shows how she liked to photograph ordinary people, just people she found on the streets. It gave us evidence of her love of expression (as she chose more of a candid shot to publish) and normal things - such as the trash and paper on the sidewalk in the ground, making us feel like we could see it happening, like a bystander. This was used as a photo on our final product, the website. It was used on the Home page.
---. Trapeze act, N.Y.C. 1957. 1957.
This photo of Arbus's also shows her less real, emotional photos, where she was more afraid to take photos of people face/head-on. This was used as a photo on our final product, the website. It was used on the Home page.
---. Two girls by a brick wall, N.Y.C. 1961. 1961.
This photo also shows Arbus's love for ordinariness, expression (mostly on the curly-haired girl's face) and not always making her subjects the center of attention (not cropping out the wall and trash behind the two girls). This was used as a photo on our final product, the website. It was used on the Home page.
---. A Very Young Baby, N.Y.C. 1968. 1968.
This photo taken by Diane Arbus showed her wide variety of subjects and willingness to photo anyone she came across. This was used as a photo on our final product, the website. It was used in Controversy page.
---. Woman in a mink stole and bow shoes, N.Y.C. 1956.
This photo of Arbus's also shows her style of not focusing her photos on the subject and not cropping out the area around the subject if it wasn't 'beautiful'. This was used as a photo on our final product, the website. It was used on the Home page.
---. Woman on the Street with Her Eyes Closed, 1956. 1956.
This photo of Arbus's shows how she always takes photos full of expression. It shows as well her style of putting her subject in the center, but not cropping out so everyone is focused on the subject. This was used as a photo on our final product, the website. It was used on the Final Survey page.
Arbus, Diane, et al. "Magazine Work." Magazine Work, by Diane Arbus et al., Millerton, Aperture, 1984.
This book also held all of Diane Arbus's photos that had been printed in magazines to sway the public's view of a true American. It helped us understand, again, Arbus's style and how people felt when they saw her pictures. These were used as photos on our final product, the website, on our Home page in a slideshow.
Cooper, Anderson. "ANDERSON COOPER ON DIANE ARBUS." Harper's Bazaar, 19 Feb. 2015. Harper's Bazaar, www.harpersbazaar.com/culture/features/a10029/anderson-cooper-0315/. Accessed 14 Mar. 2017.
This article written by Anderson Cooper about the photograph Diane Arbus took of him when he was a baby helped us understand the difference between how subjects and other people who have never been photographed by Arbus look at Arbus differently. We used the picture, 'A very young baby, N.Y.C. 1968' in our final product, the website, on the Controversy page.
Diane Arbus. GalleryIcons21, 2014. Gallery Icons21, www.icons21.com/htm/artist/diane-arbus-225.
This cite shows many photos taken by Diane Arbus, which will help our website look better by adding those photos to them to convey the message that Diane Arbus took a stand in history. We used these photos to put in our final project, the website, on the Influence page.
Heea. "diane arbus." Pinterest, www.pinterest.com/hcrownfi/diane-arbus/. Accessed 12 Mar. 2017.
These photos Arbus took that were posted on Pinterest were used for the creation of our website, on our Controversy and Influence pages.
Kennedy, Randy. "The Diane Arbus You've Never Seen." The New York Times [New York City], 26 May 2016. The New York Times, www.nytimes.com/interactive/ Accessed 8 Mar. 2017.
This article included great, exclusive photos taken by Arbus that we used to spice up our website on our Conclusion page.
Photographs By Diane Arbus From The Collection Of Bruce And Nancy Berman. Christies, www.christies.com/SaleLanding/ Accessed 14 Mar. 2017.
This website featured a collection of Arbus's photos, that we used in the creation of our final product, the website. A multitude of these were used on the Starting Off, Photographic Interests, Independency, Meeting Subjects, Photographing Subjects, and Controversy pages.
Pierpont, Claudia Roth. "Full Exposure." Portfolio by Diane Arbus, by Diane Arbus. Originally published in The New Yorker, 23 May 2016.
This collection of photos by Arbus showed many of her earlier pictures, not as famous, due to their mere ordinariness and simplicity (though on closer inspection, they contain lots of expression). It gave us an idea of her more reserved personality in the late 1950s and how her photography developed as she became bolder. We used these photos in our final product, the website, on the Conclusion page.
"Russeks." ManicVintage, 27 Aug. 2012, manicvintage.blogspot.com/2012/08/russeks.html. Accessed 15 Feb. 2017.
These ads from Russek's showed what kind of fashion photographs Diane and Arbus would take while working under the Russek's name. We used these photographs in our final website. These photos are used on the Fashion Photography page.
"Russek's Ads." Pinterest, www.pinterest.com/pin/557179785125637013/. Accessed 15 Feb. 2017.
These ads from Russek's showed what kind of fashion photographs Diane and Arbus would take while working under the Russek's name. We used these photos on our final product, the website. These photos are used on the Fashion Photography page.
Secondary:
Badger, Gerry. "The Art of Diane Arbus." Phototexts, 1988. Gerry Badger, www.gerrybadger.com/notes-from-the-margin-of-spoiled-identity-the-art-of-diane-arbus/. Accessed 5 Feb. 2017.
This essay, a snippet from a book written by Gerry Badger, analyzes the train of thought of Diane. He makes clear his own thoughts of her morality, opinions, and ideas, which will be useful to our topic of exactly how Diane was sparked to change the world. We used information from this website to create our Timeline.
Bissell, Gerhard. "Diane Arbus." GerbisNet, 2006, gerbis.net/publications/arbus.html. Accessed 29 Jan. 2017.
This short biography gave information on Arbus's photography and her life. It featured specific details on critical evaluation and her camera usage. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. Her quotes are on the Home and Controversy.
Bosworth, Patricia. Diane Arbus: A Biography. New York, Knopf, 1984.
Patricia Bosworth's biography on Diane Arbus is a thorough piece that explains the entire life of Diane Arbus, from her birth to her death, listing her accomplishments and information that helps us classify Diane by her personality. It explained her thoughts and feelings on important events, and told the struggles she faced in her life. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. Her information can be found on the Fashion Photography page, but not as a quote.
Charrier, Philip. Interview. 8 Feb. 2017.
This interview provided with lots of details on Arbus's most influential photos, her impact and influence on modern day society today. We gained lots of information on Arbus's personality and family relationships. We used quotes from this interview to put in our final project, the website, to explain how Diane Arbus made a difference in our world. His quotes can be found on the Influence, Thesis, and Conclusion pages.
Cotter, Holland. "Unseen Arbus, Unearthed." New York Times [New York], 15 July 2016. Gale Opposing Viewpoints in Context, ic.galegroup.com/ic/ovic/ Accessed 19 Jan. 2017.
This newspaper database provides an insight to the method Diane used to find subjects to her photos. The information listed leads to how she "Made a Stand" by choosing those subjects instead of others, exposing the world to the reality of it. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. Quotes by Cotter are on the Meeting Subjects page.
DeCarlo, Tessa. "A Fresh Look at Diane Arbus." Smithsonian, May 2004. Smithsonian, www.smithsonianmag.com/arts-culture/a-fresh-look-at-diane-arbus-99861134/?page=1. Accessed 17 Jan. 2017.
This magazine article about Diane Arbus showed us how average people, along with critics, reacted to Diane's photos. It also gave us quotes from critics, either positive or negative, which will definitely be useful in our project to describe her photograph's reception. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. We used quotes from art critics that were posted on her website on our Controversy page.
"Diane Arbus." TWOOP, 19 Jan. 2015, www.twoop.com/diane-arbus-timeline/. Accessed 15 Mar. 2017.
This timeline helped in the development of our own Arbus timeline. It gave details on her accomplishments and achievements throughout her life. It can be found on our Timeline page.
"Diane Arbus: Photographer of Freaks." YouTube, 13 May 2015, www.youtube.com/watch?v=MNmOy3VNvRo. Accessed 6 Feb. 2017.
This video was a great summary of Arbus's life and her photography. It gave specific details on Arbus's most influential photos and their impact on society. We used this video to give all website viewers a final summary of Diane Arbus's accomplishments and achievements. This video can be found on the Conclusion page.
"Diane Nemerov Arbus." Encyclopedia of World Biography, Gale, 1998. Biography in Context, link.galegroup.com/apps/doc/K1631000256/BIC1?u=philly_free&xid=b27a8ca3. Accessed 7 Dec. 2016.
This short biography of Diane Arbus helped us expand on details about Arbus's life. It helped us focus on how she became a photographer and her early days as one. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. Quotes are on the Starting Off page.
"Diane Nemerov Arbus." Encyclopedia of World Biography, 2004. Encyclopedia.com, www.encyclopedia.com/people/literature-and-arts/photography-biographies/diane-arbus. Accessed 6 Feb. 2017.
This encyclopedia article about Arbus gave specific information on the early days of her life and her development as a photographer. It also supplied quotes from close friends and relatives. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. Quotes are on Photographic Interests.
Dubnau, Jenny. "Rough Empathy: The Photographs of Diane Arbus." Art Critical, 9 Feb. 2012, www.artcritical.com/2012/02/09/diane-arbus/. Accessed 17 Jan. 2017.
This source helped us learn about how other people felt about Diane Arbus's work. It gave details and specific quotes from critics and their feelings about her photos. We used quotes from these critics to put in our final project, the website, to explain how Diane Arbus made a difference in our world. Her quotes are on the Influence and Photographing Subjects page.
Gaines, Ann. American Photographers: Capturing the Image. Berkeley Heights, Enslow Publishers, 2002.
This book about Diane Arbus's life helped us understand why her photographs were so different from others. It helped us understand her time era and her family & problems. We used this information on the Timeline.
Gross, Frederick. Diane Arbus's 1960s: Auguries of Experience. Minneapolis, U of Minnesota P, 2012.
This book of Diane Arbus and her works and struggles around the 1960s assisted in explaining Arbus's desire to photograph Americans and show the world the 'true American'. It gave us an understanding of the purpose of her works along with her current experiences. We used quotes from this book to put in our final project, the website, to explain how Diane Arbus made a difference in our world. His quote is on the Photographic Interests page.
Lambirth, Andrew. "Moved and disturbed." Spectator 29 Oct. 2005: 54+. Student Resources in Context. Web. 13 Oct. 2016.URL http://ic.galegroup.com/ic/suic/
This magazine article of Diane Arbus helped us see what other people saw Arbus as in her time period. It also gave details on her photography style. We used this information on the Timeline.
Lane, Anthony. "Diane Arbus: A Portrait of a Photographer." The New Yorker, 6 June 2016. The New Yorker, www.newyorker.com/ Accessed 5 Feb. 2017.
This newspaper article, "Diane Arbus:Portrait of a Photographer" written Anthony Lane, explains both quotes and events with/from subjects that Diane had taken pictures of. It really shows the concern, wonder, and experience that each person had with Diane, which will be helpful to our research and will explain how she impacted those around her. We used pictures from him on the Home page.
---. "In the Picture." The New Yorker [New York City], 13 June 2016. The New Yorker, www.newyorker.com/magazine/2016/06/06/diane-arbus-portrait-of-a-photographer. Accessed 6 Feb. 2017.
This website helped us understand some of Arbus's emotions throughout her life and how they often affected her photography. We used this information for our Timeline.
Lee, Anthony W., and John Pultz. Diane Arbus: Family Albums. New Haven, Yale UP, 2003.
This book about Diane Arbus helped us understand Arbus's purpose and the type of people she photographed. It gave details on some of her most well-known works. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. We used those pictures on the Home page.
Lubow, Arthur. "Arbus Reconsidered." New York Times. Gale Opposing Viewpoints in Context, go.galegroup.com/
This article on Diane Arbus made us more aware of Arbus's life and some of the photos she hadn't previously revealed before her death. It gave details on her work on photography and the true meaning behind it. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. His quotes are on the Fashion Photography, Photographing Subjects and Controversy pages.
Mar, Alex. "The Cost of Diane Arbus's Life on the Edge." NY Mag. The Cut, nymag.com/thecut/2016/07/diane-arbus-c-v-r.html. Accessed 5 Jan. 2017.
This newspaper article about Diane Arbus helped us understand how much she had to put away on her dream road to success and fortune. It gave details about her photography and how she managed to gain her fame. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. His quotes are used on the Photographic Interests, Fashion Photography, Independency, and Controversy pages.
"Never before seen early Arbus." USA Today Sept. 2016: 36+. Student Resources in Context. Web. 13 Oct. 2016.URL http://ic.galegroup.com/ic/suic/
This magazine article about Diane Arbus helped us understand Arbus's purpose for photography. It also gave us facts on how she found her subjects and her style. We used this information on the Timeline.
Nobre, Clarissa. Interview. 20 Jan. 2017.
This interview gave us insight on how Diane Arbus would process her photos back during her day. Special focus was put on the use of a darkroom, which was how Arbus printed out her pictures. We used quotes from this interview to put in our final project, the website, to explain how Diane Arbus made a difference in our world. The interview is in the Interview page, and her quote is on the Conclusion page.
O'Hagan, Sean. "Diane Arbus: Humanist or Voyeur?" The Guardian, 26 July 2011. The Guardian, www.theguardian.com/. Accessed 17 Jan. 2017.
This news article gave a summary of the early life of Diane Arbus. It also talked about how she worked and found her subjects. We used this information on our Timeline.
Pultz, John. "Arbus, Diane." World Book Advanced. World Book, 2016. Web. 13 Oct. 2016.
This database of Diane Arbus helped us understand her purpose of photography in her time. We used quotes from this to put in our final project, the website, to explain how Diane Arbus made a difference in our world. His quotes are on the Conclusion, and Influence pages.
Pultz, John. Telephone interview. By Sarah Zhang and Rebeca Sandstrom. 2 Feb. 2017.
This interview with Mr. Pultz helped us understand on how Arbus made an impact on modern society today. He gave specific details on how she created the basis for modern photography today. We used quotes from this interview to put in our final project, the website, to explain how Diane Arbus made a difference in our world. His interview is found on the Interview page.
Interviews:
Clarissa Nobre, Ex-Professional Photographer
"I think the way I express myself is trying to bring to light how I see the world – things I find important to me, things I find beautiful. Everyone can take a picture, but it's important – what specific emotion I try to capture, what angles I use. It's the way I capture. It's not just a regular subject, but it's also the mood. Depending on my mood, I might take something dark. Photographing something brings it to life. It's the way I see the subjects. It's more important to express yourself."
John Pultz, Author of Magazine Work and other Diane articles, Associate Professor of Photography
"I was absorbing everything [every photo] I could. I was not saying, "Oh, I don't like it". I got excited over every photo I saw. I didn't see their oddness. After years, I still like the way she can stand in front of a subject (she must've been standing close to the person) and build a frame around their face in a way that the person's face was centered. In this case, the subject took all the attention. She could stand there with the camera in their face and the person didn't budge. All her pictures were emotional that way, powerful."
Philip Charrier, Author of Diane Arbus article in History of Photography, 2012
"I would say one of my favorite of her [Diane's] photos is an early one, "A teenage couple on Hudson Street, N.Y.C., 1963". It's a young couple in a not particularly wealthy part of New York City. I guess the picture is on the borderline of them being children and being adults, and there's a number of things in the picture that capture the moment. I think she's very good at capturing people who are between two sides. People have multiple sides to them. What you see on the outside isn't always true on the inside. The notion of people having levels of complexity or being more people is shown in Arbus's photos, which are like x-rays. There are lots of pictures that she'd take in different places or times and she was looking for the photos that got the quality of being more than you see on the surface. With this picture, I think it works really well because of the fact that they are between adult and child. To what extent they understand age or love or adulthood in the way they imagine an adult man or woman? Another thing is that it has some sort of garbage on the ground, there's paper on the ground. What's really incredible about Arbus that she doesn't worry about not cropping that out. A perfect picture doesn't have stray things that distract your attention, but with this picture that she's got stray things in make them more real. You can imagine anyone coming along – a bystander, a friend of theirs. It's a snapshot aesthetic, in a way that anyone could take it. But the more you look at it, and how you look at a lot of Arbus's photos, a lot of trial and care have gone into the picture to make it more real. The more a picture is polished or hairbrushed, the less real it becomes. But with her photos the little details she incorporates makes her photos much deeper than this."
"I think the way I express myself is trying to bring to light how I see the world – things I find important to me, things I find beautiful. Everyone can take a picture, but it's important – what specific emotion I try to capture, what angles I use. It's the way I capture. It's not just a regular subject, but it's also the mood. Depending on my mood, I might take something dark. Photographing something brings it to life. It's the way I see the subjects. It's more important to express yourself."
John Pultz, Author of Magazine Work and other Diane articles, Associate Professor of Photography
"I was absorbing everything [every photo] I could. I was not saying, "Oh, I don't like it". I got excited over every photo I saw. I didn't see their oddness. After years, I still like the way she can stand in front of a subject (she must've been standing close to the person) and build a frame around their face in a way that the person's face was centered. In this case, the subject took all the attention. She could stand there with the camera in their face and the person didn't budge. All her pictures were emotional that way, powerful."
Philip Charrier, Author of Diane Arbus article in History of Photography, 2012
"I would say one of my favorite of her [Diane's] photos is an early one, "A teenage couple on Hudson Street, N.Y.C., 1963". It's a young couple in a not particularly wealthy part of New York City. I guess the picture is on the borderline of them being children and being adults, and there's a number of things in the picture that capture the moment. I think she's very good at capturing people who are between two sides. People have multiple sides to them. What you see on the outside isn't always true on the inside. The notion of people having levels of complexity or being more people is shown in Arbus's photos, which are like x-rays. There are lots of pictures that she'd take in different places or times and she was looking for the photos that got the quality of being more than you see on the surface. With this picture, I think it works really well because of the fact that they are between adult and child. To what extent they understand age or love or adulthood in the way they imagine an adult man or woman? Another thing is that it has some sort of garbage on the ground, there's paper on the ground. What's really incredible about Arbus that she doesn't worry about not cropping that out. A perfect picture doesn't have stray things that distract your attention, but with this picture that she's got stray things in make them more real. You can imagine anyone coming along – a bystander, a friend of theirs. It's a snapshot aesthetic, in a way that anyone could take it. But the more you look at it, and how you look at a lot of Arbus's photos, a lot of trial and care have gone into the picture to make it more real. The more a picture is polished or hairbrushed, the less real it becomes. But with her photos the little details she incorporates makes her photos much deeper than this."