"synopsis" may belong to another edition of this title.
Everything that needs to be said has already been said about this book, this record, this heartache, this brave account, this body of evidence Arbus is able to tell us how much we want and how much we will have and will not have, she manage it in the pages of one monograph. Laurel Nakadate, "The Photobook Review"
An unflinching poetry inhabits the pages of the recently published "Diane Arbus: An Aperture Monograph: Fortieth-Anniversary Edition," a reissue of the volume that accompanied her posthumous 1972 MoMA retrospective. "Art Critical"
What strikes me as I leaf through this book is Arbus s convincing sensibility of the world, and how thoroughly her subjects inhabit it. "Art Critical"
There is nothing clinical or exploitative about her motivations and she talks about being more interested in her interactions than in the final images that resulted from them. "Hyperallergic"
Photographs are souvenirs, a stand-in for what we experienced and wish to remember, and Arbus images are amazing relics. "Hyperallergic" "
Diane Arbus was not a theorist but an artist. Her concern was not to buttress philosophical positions but to make pictures. She loved photography for the miracles it performs every day by accident, and respected it for the precise intentional tool that it could be, given talent, intelligence, dedication and discipline. Her pictures are concerned with private rather than social realities, with psychological rather than visual coherence, with the prototypical and mythic rather than the topical and temporal. Her real subject is no less than the unique interior lives of those she photographed. John Szarkowski, 1972, Director, Department of Photography, The Museum of Modern Art
Those portraits of sideshow performers and weeping children, her matter-of-fact nudists and naked transvestites, her pictures of "them," her pictures of "us" something of consequence is at stake here, and it's not just art. Arbus worked at the point where the voyeuristic and the sacramental converge. She lies in wait for your first misstep in her direction. Then she dares you to stare at something a little boy with a toy hand grenade, a dominatrix embracing her client until you admit your own complicity with whatever it is in there that frightens you. At that point, all the picture's traps unfold, and it confers its rough grace. Richard Lacayo, "Time"
Confronting a major photograph by Arbus, you lose your ability to know or distinctly to think or feel, and certainly to judge anything. She turned picture-making inside out. She didn t gaze at her subjects; she induced them to gaze at her. Selected for their powers of strangeness and confidence, they burst through the camera lens with a presence so intense that whatever attitude she or you or anyone might take toward them disintegrates You may feel, crazily, that you have never really seen a photograph before. Peter Schjeldahl "The New Yorker" "
Diane Arbus was not a theorist but an artist. Her concern was not to buttress philosophical positions but to make pictures. She loved photography for the miracles it performs every day by accident, and respected it for the precise intentional tool that it could be, given talent, intelligence, dedication and discipline. Her pictures are concerned with private rather than social realities, with psychological rather than visual coherence, with the prototypical and mythic rather than the topical and temporal. Her real subject is no less than the unique interior lives of those she photographed. John Szarkowski, 1972, Director, Department of Photography, The Museum of Modern Art
Those portraits of sideshow performers and weeping children, her matter-of-fact nudists and naked transvestites, her pictures of "them," her pictures of "us" something of consequence is at stake here, and it's not just art. Arbus worked at the point where the voyeuristic and the sacramental converge. She lies in wait for your first misstep in her direction. Then she dares you to stare at something a little boy with a toy hand grenade, a dominatrix embracing her client until you admit your own complicity with whatever it is in there that frightens you. At that point, all the picture's traps unfold, and it confers its rough grace. Richard Lacayo, Time
Confronting a major photograph by Arbus, you lose your ability to know or distinctly to think or feel, and certainly to judge anything. She turned picture-making inside out. She didn t gaze at her subjects; she induced them to gaze at her. Selected for their powers of strangeness and confidence, they burst through the camera lens with a presence so intense that whatever attitude she or you or anyone might take toward them disintegrates You may feel, crazily, that you have never really seen a photograph before. Peter Schjeldahl The New Yorker"
"About this title" may belong to another edition of this title.
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Book Description Hardcover. Condition: Very Good. No Jacket. 1st Edition. In a white hardcover with black titles to spine and a black and white photograph to front. No dust jacket. 184 pp. illustrated with black and white photographs. The book is in very good condition. There is minor shelf-wear to the extremities of the cover and quite extensive areas of tanning. There is a small bookseller's label to the bottom of the front paste down. The end papers and the extremities of the pages are lightly tanned. A photograph of four people in masks has been taped in on a blank page opposite a portrait of a woman in a bird mask, it has now come loose and the tape mark remains. Otherwise the pages are clean and unmarked. Seller Inventory # 912304
Book Description Condition: Poor. This is an ex-library book and may have the usual library/used-book markings inside.This book has hardback covers. In poor condition, suitable as a reading copy. Dust jacket in fair condition. Binding broken. Please note the Image in this listing is a stock photo and may not match the covers of the actual item,1450grams, ISBN:0713907274. Seller Inventory # 8684278
Book Description Hardcover. Condition: Good. Dust Jacket Condition: Good. 1st Edition. The book is in good condition and is well bound. There are no pencil marks throughout the book. There is some slight foxing through the first few pages. The previous owners details are on the first blank page. Seller Inventory # 026576
Book Description Hardcover. Condition: Fair. Dust Jacket Included. 1st Edition. First (1st) UK hardback edition, published in conjuction with an exhibition of the photographs of Diane Arbus at The Museum of Modern Art, New York. Ex-library copy with a library stamp on the third page (same page as publisher info). Would appear to be a reference rather than lending copy. The book itself is in a reasonable condition for an ex-library edition. Seller Inventory # PHO_089
Book Description Hardcover. Condition: Good. Dust Jacket Condition: No Dust Jacket. Diane Arbus (illustrator). First. No internal inscriptions, torn or missing pages. Some age discolouration to the white section of the outer boards. General shelf wear to boards. Rare first UK edition. Unpaginated. This is the first UK edition. Illustrator: Diane Arbus. Quantity Available: 1. Shipped Weight: 1-2 kilos. Category: Photography; Art & Design. ISBN: 0713907274. ISBN/EAN: 9780713907278. Pictures of this item not already displayed here available upon request. Inventory No: 52012. This book is extra heavy, and may involve extra shipping charges to some countries. Seller Inventory # 52012
Book Description Hardcover. Condition: Very Good. Dust Jacket Condition: Good. 1st UK Edition. First UK edition. pp. [viii], 16, + full page illustrations hors text. Clean copy in a rubbed jacket with several short tears and creases to the inner front flap. Small stain at the base of jacket spine. This is the UK edition of the famous Aperture monograph. 0713907274 4to. Seller Inventory # 47798
Book Description hardcover. Condition: Good. Good. book. Seller Inventory # D8S0-3-M-0713907274-2
Book Description Hardcover. Condition: Very Good. Dust Jacket Condition: Very Good-. First Edition; First Printing. Hardcover. 4to. Square. Allen Lane. 1974. Unpaginated. Maps. Illustrated with Black and White Plates. First Edition/First Printing (UK edition). DJ in VG shape with light shelf-wear present to the DJ. Bound in pictoral cloth boards with black and white pastedown present to the front board. Boards in VG shape with light shelf-wear present (light bowing. No ownership marks present. Text is clean and free of marks. Binding tight and solid. E-33; 4to 11" - 13" tall. Seller Inventory # 61871