Editing Diane Arbus

{{Short description|American photographer (1923–1971)}}
{{Use mdy dates|date=March 2023}}
{{Infobox person
| name          = Diane Arbus
| image         = Diane-Arbus-1949.jpg
| caption       = Photograph by Allan Arbus<br />(a film test), {{c.|1949}}<ref name=Revelations />{{rp|137}}
| birth_name    = Diane Nemerov
| birth_date    = {{birth date|1923|03|14}}
| birth_place   = New York City, NY, U.S.
| death_date    = {{Death date and age|1971|7|26|1923|3|14}}
| death_place   = New York City, NY, U.S.
| occupation    = Photographer
| spouse        = {{marriage|[[Allan Arbus]]|1941|1969|end=divorced}}
| partner       = [[Marvin Israel]] (1959–1971; her death)
| children      = {{hlist|[[Doon Arbus|Doon]]|[[Amy Arbus|Amy]]}}
| relatives     = {{ubl|[[Howard Nemerov]] (brother)|[[Alexander Nemerov]] (nephew)|[[Frank Russek]] (grandfather)}}
}}
'''Diane Arbus''' ({{IPAc-en|d|iː|ˈ|æ|n|_|ˈ|ɑr|b|ə|s}}; {{née|'''Nemerov'''}}; March 14, 1923 – July 26, 1971<ref name="NYT19840513">[https://www.nytimes.com/1984/05/13/magazine/diane-arbus-her-vision-lide-and-death.html "Diane Arbus, her vision, life, and death"] by [[Patricia Bosworth]], ''[[The New York Times]]'', May 13, 1984. Accessed May 10, 2017</ref>) was an American photographer.<ref name=Estrin2018>{{cite news|last=Estrin|first=James|author-link=James Estrin|title=Diane Arbus, 1923–1971 |url=https://www.nytimes.com/interactive/2018/obituaries/overlooked-diane-arbus.html |access-date=November 6, 2018 |newspaper=[[The New York Times]]|date=March 8, 2018}}</ref><ref name=Lubow2003>{{cite magazine|last=Lubow|first=Arthur|author-link=Arthur Lubow|title=Arbus Reconsidered |url=https://www.nytimes.com/2003/09/14/magazine/arbus-reconsidered.html |access-date=November 1, 2018 |magazine=[[The New York Times Magazine]]|date=September 14, 2003}}</ref> She photographed a wide range of subjects including [[stripper]]s, [[carny|carnival performers]], [[Naturism|nudists]], [[Dwarfism|people with dwarfism]], children, mothers, couples, elderly people, and middle-class families.<ref>{{Cite book|title=Diane Arbus : Portrait of a Photographer|last=Arthur|first=Lubow|author-link=Arthur Lubow|isbn=978-0-06-223432-2|edition=1st|location=New York City|oclc=950881745|date = June 7, 2016}}</ref> She photographed her subjects in familiar settings: their homes, on the street, in the workplace, in the park. "She is noted for expanding notions of acceptable subject matter and violates canons of the appropriate distance between photographer and subject. By befriending, not objectifying her subjects, she was able to capture in her work a rare psychological intensity."<ref name=DeCarlo2004 /><ref>{{cite book |last1=Somers-Davis |first1=Lynne M. |title=Encyclopedia of Twentieth-Century Photography |date=2006 |publisher=Routledge |location=New York |isbn=978-1-135-20543-0 |pages=51–56 |url=https://books.google.com/books?id=cFVsBgAAQBAJ&q=encyclopedia+of+twentieth-century+photography+diane+arbus&pg=PA56}}</ref> In his 2003 ''[[New York Times Magazine]]'' article, "Arbus Reconsidered", [[Arthur Lubow]] states, "She was fascinated by people who were visibly creating their own identities—cross-dressers, nudists, sideshow performers, tattooed men, the nouveaux riches, the movie-star fans—and by those who were trapped in a uniform that no longer provided any security or comfort."<ref name=Lubow2003 /><ref name=Monograph1972 /><ref>[[Patricia Bosworth|Bosworth, Patricia]]. ''Diane Arbus: a Biography''. New York: W. W. Norton, 2005. p. 250. {{ISBN|0-393-32661-6}}.</ref><ref name=DeCarlo2004>DeCarlo, Tessa (May 2004). [https://www.smithsonianmag.com/arts-culture/a-fresh-look-at-diane-arbus-99861134/ "A Fresh Look at Diane Arbus"]. ''[[Smithsonian (magazine)|Smithsonian]]'' magazine. Retrieved December 13, 2017.</ref><ref>[[Steven Gaines|Gaines, Steven]]. ''The Sky's the Limit: Passion and Property in Manhattan''. New York: Little, Brown, 2005. p. 143. {{ISBN|0-316-60851-3}}.</ref>{{Excessive citations inline|date=January 2025}} [[Michael Kimmelman]] writes in his review of the exhibition ''Diane Arbus Revelations'', that her work "transformed the art of photography (Arbus is everywhere, for better and worse, in the work of artists today who make photographs)".<ref name=Kimmelman2005>{{cite news|last=Kimmelman|first=Michael|author-link=Michael Kimmelman|title=The Profound Vision of Diane Arbus: Flaws in Beauty, Beauty in Flaws |url=https://www.nytimes.com/2005/03/11/arts/design/the-profound-vision-of-diane-arbus-flaws-in-beauty-beauty-in.html |access-date=November 1, 2018 |newspaper=[[The New York Times]]|date=March 11, 2005}}</ref> Arbus's imagery helped to normalize [[marginalized groups]] and highlight the importance of proper representation of all people.{{citation needed|date=December 2022}}

In her lifetime she achieved some recognition and renown<ref name=Crookston>{{cite news |last1=Crookston |first1=Peter |title=Extra Ordinary |url=https://www.theguardian.com/artanddesign/2005/oct/01/photography |access-date=November 12, 2018 |newspaper=[[The Guardian]]|date=September 30, 2005}}</ref> with the publication, beginning in 1960, of photographs in such magazines as ''[[Esquire (magazine)|Esquire]]'', ''[[Harper's Bazaar]]'', London's ''[[Sunday Times Magazine]]'', and ''[[Artforum]]''.<ref>{{cite book |last1=Arbus |first1=Diane |title=Diane Arbus: Magazine Work |date=1984 |publisher=[[Aperture Foundation]]|location=New York |isbn=978-0-89381-233-1 |url-access=registration |url=https://archive.org/details/dianearbusmagazi0000unse }}</ref> In 1963 the [[John Simon Guggenheim Memorial Foundation|Guggenheim Foundation]] awarded Arbus a fellowship for her proposal entitled, "American Rites, Manners and Customs". She was awarded a renewal of her fellowship in 1966.<ref name=Jacob2018>{{cite book |last1=Jacob |first1=John P. |title=A box of ten photographs |date=2018 |publisher=[[Aperture Foundation]]|location=New York |isbn=978-1-59711-439-4}}</ref> [[John Szarkowski]], the director of photography at the [[Museum of Modern Art]] (MoMA) in New York City from 1962 to 1991, championed her work and included it in his 1967 exhibit ''[[New Documents]]'' along with the work of [[Lee Friedlander]] and [[Garry Winogrand]].<ref name=Estrin2018 /> Her photographs were also included in a number of other major group shows.<ref name=Jacob2018 />{{rp|86}}

In 1972, a year after her suicide, Arbus became the first photographer to be included in the [[Venice Biennale]]<ref name=Guggenheim>[[John Simon Guggenheim Memorial Foundation]]. [http://www.gf.org/fellows/406-diane-arbus "Fellows. Diane Arbus"]. {{webarchive|url=https://web.archive.org/web/20101125151415/http://www.gf.org/fellows/406-diane-arbus |date=November 25, 2010 }} Retrieved February 4, 2010.</ref><ref name=Jacob2018 />{{rp|51–52}} where her photographs were "the overwhelming sensation of the American Pavilion" and "extremely powerful and very strange".<ref>{{cite news |last1=Kramer |first1=Hilton |title=Arbus Photos, at Venice, Show Power |url=https://www.nytimes.com/1972/06/17/archives/arbus-photos-at-venice-show-power.html |access-date=November 1, 2018 |newspaper=The New York Times |date=June 17, 1972}}</ref>

The first major retrospective of Arbus' work was held in 1972 at MoMA, organized by Szarkowski. The retrospective garnered the highest attendance of any exhibition in MoMA's history to date.<ref>{{Cite web|url=http://www.independent.co.uk/life-style/womans-studies-1236593.html|title=Woman's studies|date=October 18, 1997|website=The Independent|language=en|access-date=March 16, 2019}}</ref> Millions viewed traveling exhibitions of her work from 1972 to 1979.<ref>{{Cite web|url=https://www.sfgate.com/entertainment/article/Diane-Arbus-in-a-new-light-SFMOMA-exhibition-2581754.php|title=Diane Arbus in a new light / SFMOMA exhibition shatters preconceptions about photographer and her subjects|last=Baker|first=Kenneth|date=October 19, 2003|website=SFGate|access-date=March 16, 2019}}</ref> The book accompanying the exhibition, ''Diane Arbus: An Aperture Monograph'', edited by Doon Arbus and Marvin Israel and first published in 1972, has never been out of print.<ref name=DeCarlo2004 />

==Personal life==
Arbus was born Diane Nemerov to David Nemerov and Gertrude Russek Nemerov,<ref name=DeCarlo2004/><ref name=Crookston /> [[Jews|Jewish]] immigrants from [[Russian Soviet Federative Socialist Republic|Soviet Russia]] and Poland, who lived in New York City and owned [[Russeks]], a [[Fifth Avenue]] women's wear department store, co-founded by Arbus' grandfather [[Frank Russek]], a Polish-Jewish immigrant to the United States, of which David rose to become chairman.<ref>[https://timesmachine.nytimes.com/timesmachine/1963/05/24/90537437.html?pageNumber=26 "DAVID NEMEROV OF RUSSEKS DIES,"] ''The New York Times''.</ref><ref name=Crookston/><ref name=Schjeldahl>[[Peter Schjeldahl|Schjeldahl, Peter]]. [http://www.newyorker.com/archive/2005/03/21/050321craw_artworld?currentPage=all "Looking Back: Diane Arbus at the Met"], ''[[The New Yorker]]'', March 21, 2005. Retrieved February 4, 2010.</ref> Because of her family's wealth, Arbus was insulated from the effects of the [[Great Depression]] while growing up in the 1930s.<ref name=Crookston/> Her father became a painter after retiring from Russeks. Her younger sister became a sculptor and designer, and her older brother, the poet [[Howard Nemerov]], taught English at [[Washington University in St. Louis]] and was appointed [[United States Poet Laureate]]. Howard's son is the Americanist art historian [[Alexander Nemerov]].<ref name=DeCarlo2004/>

Arbus's parents were not deeply involved in raising their children, who were overseen by maids and governesses. Her mother had a busy social life and underwent a period of clinical depression for approximately a year, then recovered,<ref name="Patricia. 2005">{{Cite book|url=https://archive.org/details/dianearbus00patr|title=Diane Arbus : A Biography|first=Patricia|last=Bosworth|author-link=Patricia Bosworth|date=2005|publisher=W. W. Norton|isbn=0393326616|location=New York|oclc=57592149}}</ref> and her father was busy with work. Diane separated herself from her family and her lavish childhood.<ref>{{Cite news|url=http://www.theartstory.org/artist-arbus-diane.htm|title=Diane Arbus Biography, Art, and Analysis of Works|work=The Art Story|access-date=March 26, 2018|language=en-US}}</ref>

Arbus attended the [[Ethical Culture Fieldston School]], a [[college-preparatory school]].<ref name=Rubinfien2005>Rubinfien, Leo. "Where Diane Arbus Went". ''Art in America'', vol. 93, no. 9, pp. 65–71, 73, 75, 77, October 2005.</ref> In 1941, at the age of 18, she married her childhood sweetheart, [[Allan Arbus]],<ref name=DeCarlo2004/> whom she had dated since age 14.<ref name="bosworth42">{{Cite magazine|last=Bosworth|first=Patricia|author-link=Patricia Bosworth|date=May 13, 1984|title=Diane Arbus|magazine=[[The New York Times Magazine]]|pages=42–59}}</ref> Their daughter [[Doon Arbus|Doon]], who would become a writer, was born in 1945; their daughter [[Amy Arbus|Amy]], who would become a photographer, was born in 1954.<ref name=DeCarlo2004/> Arbus and her husband worked together in commercial photography from 1946 to 1956, but Allan remained very supportive of her work even after she left the business and began an independent relationship to photography.<ref name="Cut2017">{{cite web|url=http://nymag.com/thecut/2016/07/diane-arbus-c-v-r.html|title=The Cost of Diane Arbus's Life on the Edge|last=Mar|first=Alex|date=March 11, 2017|website=The Cut}}</ref>

Arbus and her husband separated in 1959, although they maintained a close friendship. The couple also continued to share a darkroom,<ref name=Revelations/>{{rp|144}} where Allan's studio assistants processed her negatives, and she printed her work.<ref name=Revelations/>{{rp|139}}<ref name=Lubow2003/> The couple divorced in 1969 when he moved to California to pursue acting.<ref>{{cite web|last1=Hinckley|first1=David|title=''M.A.S.H.'' actor Allan Arbus dead at 95|url=http://www.nydailynews.com/entertainment/tv-movies/m-s-h-actor-allan-arbus-dead-95-article-1.1325281|work=[[New York Daily News]]|date=April 23, 2013 |access-date=December 13, 2014}}</ref> He was popularly known for his role as Dr. Sidney Freedman on the television show ''[[M*A*S*H (TV series)|M*A*S*H]]''.<ref name="Patricia. 2005"/> Before his move to California, Allan set up her darkroom,<ref name=Revelations/>{{rp|198}} and they thereafter maintained a long correspondence.<ref name=Revelations/>{{rp|224}}

In late 1959, Arbus began a relationship with the art director and painter [[Marvin Israel]]<ref name=Revelations />{{rp|144}}<ref name=Gefter/> that would last until her death. All the while, he remained married to Margaret Ponce Israel, an accomplished mixed-media artist.<ref>{{cite news |last1=McGill |first1=Douglas C. |title=Margaret Israel, 57, An Artist |url=https://www.nytimes.com/1987/04/24/obituaries/margaret-israel-57-an-artist.html |access-date=November 6, 2018 |newspaper=The New York Times |date=April 24, 1987}}</ref> Marvin Israel both spurred Arbus creatively and championed her work, encouraging her to create her first portfolio.<ref name=Ault2018>{{cite magazine |last1=Ault |first1=Alicia |title=A Window into the World of Diane Arbus: Photographs from the portfolio, "A box of 10", reveal photographer's secrets |url=https://www.smithsonianmag.com/smithsonian-institution/window-world-diane-arbus-180968861/ |access-date=November 13, 2018 |magazine=Smithsonian |date=April 24, 2018}}</ref> [[Richard Avedon]] was among the photographers and artists Arbus befriended; he was approximately the same age, his family had also run a Fifth Avenue department store, and many of his photographs were also characterized by detailed frontal poses.<ref name="Muir">Muir, Robin. [https://www.independent.co.uk/life-style/womans-studies-1236593.html "Woman's Studies"]. ''[[The Independent]]'' (London), October 18, 1997. Retrieved February 4, 2010.</ref><ref name=Sass/><ref name=Gefter>[[Philip Gefter|Gefter, Philip]]. [https://www.nytimes.com/2006/08/27/arts/design/27geft.html "In Portraits by Others, a Look That Caught Avedon's Eye"]. ''[[The New York Times]]'', August 27, 2006. Retrieved March 5, 2010.</ref>

==Photographic career==
Arbus received her first camera, a [[Graflex]], from Allan shortly after they married.<ref name=Lubow2003/> Shortly thereafter, she enrolled in classes with photographer [[Berenice Abbott]]. The Arbuses' interests in photography led them, in 1941, to visit the gallery of [[Alfred Stieglitz]], and learn about the photographers [[Mathew Brady]], [[Timothy H. O'Sullivan|Timothy O'Sullivan]], [[Paul Strand]], [[Bill Brandt]], and [[Eugène Atget]].<ref name=Revelations>''Diane Arbus: Revelations''. New York: Random House, 2003. {{ISBN|0-375-50620-9}}.</ref>{{rp|129}}<ref name=Ronnen>[[Meir Ronnen|Ronnen, Meir]]. [http://info.jpost.com/C003/Supplements/LQ2003/art.15.html "The Velazquez of New York"]. {{webarchive|url=https://web.archive.org/web/20100327043626/http://info.jpost.com/C003/Supplements/LQ2003/art.15.html |date=March 27, 2010 }} ''[[The Jerusalem Post]]'', October 10, 2003. Retrieved February 12, 2010.</ref> In the early 1940s, Diane's father employed Diane and Allan to take photographs for the department store's advertisements.<ref name=Lubow2003/> Allan was a photographer for the [[Signal Corps (United States Army)|U.S. Army Signal Corps]] in [[World War II]].<ref name=Ronnen/>

In 1946, after the war, the Arbuses began a commercial photography business called "Diane & Allan Arbus", with Diane as art director and Allan as the photographer.<ref name=Lubow2003/> She would come up with the concepts for their shoots and then take care of the models. She grew dissatisfied with this role, a role even her husband thought was "demeaning".<ref name=Cut2017 /> They contributed to ''[[Glamour (magazine)|Glamour]]'', ''[[Seventeen (American magazine)|Seventeen]]'', ''[[Vogue (magazine)|Vogue]]'',  and other magazines even though "they both hated the fashion world".<ref name=Muir/><ref name=Tarzan>Tarzan, Deloris. "Arbus – Her Brutal Lens Disclosed Aspects Previously Unseen in Her Subjects". ''The Seattle Times'', September 21, 1986.</ref> Despite over 200 pages of their fashion editorial in ''Glamour'', and over 80 pages in ''Vogue'', the Arbuses' fashion photography has been described as of "middling quality".<ref name=ONeill2008>O'Neill, Alistair. "A Young Woman, N.Y.C." ''Photography & Culture'', vol. 1, no. 1, pp. 7–20, July 2008.</ref> [[Edward Steichen]]'s noted 1955 photography exhibition, ''[[The Family of Man]]'', did include a photograph by the Arbuses of a father and son reading a newspaper.<ref name=DeCarlo2004/>

She studied briefly with [[Alexey Brodovich]] in 1954.<ref name=Badger2003>{{cite book|title=Arbus [née Nemerov], Diane.|last=Badger|first=Gerry|date=2003|doi = 10.1093/gao/9781884446054.article.T003644|chapter = Arbus &#91;née Nemerov&#93;, Diane}}</ref> However, it was her studies with [[Lisette Model]], which began in 1956, that encouraged Arbus to focus exclusively on her own work.<ref name=Lubow2003/> That year Arbus quit the commercial photography business and began numbering her negatives.<ref>{{Cite news|title=Diane Arbus: The Early Years|last=Pogrebin|first=Robin|author-link=Robin Pogrebin|date=July 10, 2016|work=[[The New York Times]]}}</ref> (Her last known negative was labeled #7459.)<ref name=Cut2017 /><ref name=Lubow2003/> Based on Model's advice, Arbus spent time with an empty camera so she could practice observation.<ref>{{Cite news|url=https://www.telegraph.co.uk/photography/what-to-see/incest-suicide--and-the-real-reason-we-should-remember-diane-arb/|title=Incest, suicide – and the real reason we should remember Diane Arbus|last=Wood|first=Gaby|date=October 8, 2016|work=The Telegraph|access-date=March 7, 2018}}</ref> Arbus also credits Model with making it clear to her that "the more specific you are, the more general it'll be."<ref name=Lubow2003/>

By 1956 she worked with a 35mm Nikon, wandering the streets of New York City and meeting her subjects largely, though not always, by chance. The idea of personal identity as socially constructed is one that Arbus came back to, whether it be performers, women and men wearing makeup, or a literal mask obstructing one's face. Critics have speculated that the choices in her subjects reflected her own identity issues, for she said that the only thing she suffered from as a child was never having felt adversity. This evolved into a longing for things that money couldn't buy such as experiences in the underground social world. She is often praised for her sympathy for these subjects, a quality which is not immediately understood through the images themselves, but through her writing and the testimonies of the men and women she portrayed.<ref>{{Cite web|url=https://www.theartstory.org/artist-arbus-diane.htm|title=Diane Arbus Photography, Bio, Ideas|website=The Art Story|access-date=March 16, 2019}}</ref> A few years later, in 1958 she began making lists of who and what she was interested in photographing.<ref>{{cite web |last1=Krasinski |first1=Jennifer |title=The Met Breuer's Diane Arbus Exhibition Is a Tour de Force |url=https://www.villagevoice.com/2016/07/26/the-met-breuers-diane-arbus-exhibition-is-a-tour-de-force/ |website=thevillagevoice.com |date=July 26, 2016 |publisher=The Village Voice |access-date=November 6, 2018}}</ref> She began photographing on assignment for magazines such as ''[[Esquire (magazine)|Esquire]]'', ''Harper's Bazaar'', and ''[[The Sunday Times Magazine]]'' in 1959.<ref name="DeCarlo2004" />

Around 1962, Arbus switched from a [[135 film|35 mm]] [[Nikon]] camera which produced the grainy rectangular images characteristic of her post-studio work<ref name=Jacob2018/>{{rp|55}} to a [[twin-lens reflex camera|twin-lens reflex]] [[Rolleiflex]] camera which produced more detailed square images. She explained this transition saying "In the beginning of photographing I used to make very grainy things. I'd be fascinated by what the grain did because it would make a kind of tapestry of all these little dots ... But when I'd been working for a while with all these dots, I suddenly wanted terribly to get through there. I wanted to see the real differences between things ... I began to get terribly hyped on clarity."<ref name=Monograph1972>{{cite book |last1=Arbus |first1=Diane |title=Diane Arbus: An Aperture Monograph |date=1972 |publisher=[[Aperture Foundation]]|location=New York |isbn=978-0912334400 |url=https://archive.org/details/dianearbus00arbu }}</ref>{{rp|8–9}} In 1964, Arbus began using a 2-1/4 [[Mamiya#6×6 cm format / Medium Format Professional|Mamiyaflex]] camera with flash in addition to the Rolleiflex.<ref name=Sass/><ref name=Revelations/>{{rp|59}}

Arbus's style is described as "direct and unadorned, a frontal portrait centered in a square format. Her pioneering use of flash in daylight isolated the subjects from the background, which contributed to the photos' surreal quality."<ref name="ReferenceA">Fox, Catherine. "Snapshot/Diane Arbus: True Portrait Lies Outside Film." ''The Atlanta Journal Constitution'' December 3, 2006, ProQuest. March 2, 2017</ref><ref name="DeCarlo2004" /><ref name="Sass">Sass, Louis A. "'Hyped on Clarity': Diane Arbus and the Postmodern Condition". ''Raritan'', vol. 25, no. 1, pp. 1–37, Summer 2005.</ref><ref name="Lacayo">Lacayo, Richard. [https://web.archive.org/web/20051117090055/http://www.time.com/time/magazine/article/0,9171,1006046,00.html "Photography: Diane Arbus: Visionary Voyeurism"], ''[[Time (magazine)|Time]]'', November 3, 2003. Retrieved February 12, 2010.</ref> Her methods included establishing a strong personal relationship with her subjects and re-photographing some of them over many years.<ref name=DeCarlo2004/><ref name=Muir/>

In spite of being widely published and achieving some artistic recognition, Arbus struggled to support herself through her work.<ref name=Rubinfien2005/><ref name=Prose>{{cite magazine |last1=Prose |first1=Francine |title=Revisiting the Icons: The intimate photography of Diane Arbus |url=https://www.davidzwirner.com/artists/diane-arbus/press |access-date=November 12, 2018 |magazine=Harper's Magazine |date=November 2003}}</ref> "During her lifetime, there was no market for collecting photographs as works of art, and her prints usually sold for $100 or less."<ref name=Estrin2018/> It is evident from her correspondence that lack of money was a persistent concern.<ref name=Revelations/>

In 1963, Arbus was awarded a [[Guggenheim Fellowship]] for a project on "American rites, manners, and customs"; the fellowship was renewed in 1966.<ref name=Guggenheim/><ref>"Guggenheim Fund Grants $1,380,000". ''The New York Times'', April 29, 1963.</ref>

Throughout the 1960s, Arbus supported herself largely by taking magazine assignments and commissions.<ref>{{Cite news|title=Portraits on Assignment (Press Release)|date=1984|work=Robert Miller Gallery, Inc.}}</ref> For example, in 1968 she shot documentary photographs of poor [[Sharecropping|sharecroppers]] in rural South Carolina (for ''Esquire'' magazine). In 1969 a rich and prominent actor and theater owner, Konrad Matthaei, and his wife, Gay, commissioned Arbus to photograph a family Christmas gathering.<ref name=Kimmelman2004>{{cite news|last=Kimmelman|first=Michael|author-link=Michael Kimmelman|title=Diane Arbus, a Hunter Wielding a Lens |url=https://www.nytimes.com/2004/01/09/arts/photography-review-diane-arbus-a-hunter-wielding-a-lens.html |access-date=November 7, 2018|newspaper=[[The New York Times]]|date=January 9, 2004}}</ref> During her career, Arbus photographed [[Mae West]], [[Ozzie Nelson]] and [[Harriet Nelson]], [[Bennett Cerf]], atheist [[Madalyn Murray O'Hair]], [[Norman Mailer]], [[Jayne Mansfield]], [[Eugene McCarthy]], billionaire [[H. L. Hunt]], [[Gloria Vanderbilt]]'s baby [[Anderson Cooper]], [[Coretta Scott King]], and Marguerite Oswald ([[Lee Harvey Oswald]]'s mother).<ref name=Kimmelman2004 /><ref name=Revelations /><ref name=Rubinfien2005/> In general, her magazine assignments decreased as her fame as an artist increased.<ref name=DeCarlo2004/><ref>"The Other Side of Diane Arbus". ''Society'', vol. 28, no. 2, pp. 75–79, January–February 1991.</ref> Szarkowski hired Arbus in 1970 to research an exhibition on [[photojournalism]] called "From the Picture Press"; it included many photographs by [[Weegee]] whose work Arbus admired.<ref name=Crookston/><ref name=Ronnen/><ref>Szarkowski, John. ''From the Picture Press''. New York: Museum of Modern Art, 1973.</ref> She also taught photography at the [[Parsons School of Design]] and the [[Cooper Union]] in New York City, and the [[Rhode Island School of Design]] in [[Providence, Rhode Island]].<ref name=Crookston/><ref name=Met2005>Metropolitan Museum of Art. [http://www.metmuseum.org/special/Arbus/arbus_more.htm "Diane Arbus Revelations: More About This Exhibition"]. March 8, 2005 – May 30, 2005. Retrieved February 7, 2010.</ref>

Late in her career, the Metropolitan Museum of Art indicated to her that they would buy three of her photographs for $75 each, but citing a lack of funds, purchased only two. As she wrote to Allan Arbus, "So I guess being poor is no disgrace."<ref name=Revelations/>{{rp|200}}<ref name=Jacob2018/>{{rp|63}}

Beginning in 1969 Arbus undertook a series of photographs of people at New Jersey residences for [[Developmental disability|developmentally]] and [[Intellectual disability|intellectually disabled]] people, posthumously named ''Untitled''.<ref name=Lubow2018>{{cite news|last=Lubow|first=Arthur|author-link=Arthur Lubow|title=Arbus, Untitled and Uneartlhy |url=https://www.nytimes.com/2018/11/15/arts/design/diane-arbus-zwirner.html |access-date=November 16, 2018 |newspaper=[[The New York Times]]|date=November 15, 2018}}</ref><ref name=Rubinfien2005/><ref name=Pagel>[[David Pagel|Pagel, David]]. [https://www.latimes.com/archives/la-xpm-1992-05-15-ca-2061-story.html "Diane Arbus: Pictures from the Institutions"]. ''[[Los Angeles Times]]'', May 15, 1992. Retrieved February 12, 2010.</ref> Arbus returned to several facilities repeatedly for Halloween parties, picnics, and dances.<ref name=Lehrer2018>{{cite magazine |last1=Lehrer |first1=Adam |title=Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status as Co-Reps of Artist's Estate |url=https://www.forbes.com/sites/adamlehrer/2018/11/06/diane-arbus-untitled-works-inaugurate-david-zwirners-status-as-co-reps-of-artists-estate/#20486c77d2df |access-date=November 12, 2018 |magazine=Forbes |date=November 6, 2018}}</ref> In a letter to Allan Arbus dated November 28, 1969, she described these photographs as "lyric and tender and pretty".<ref name=Revelations/>{{rp|203}}

''[[Artforum]]'' published six photographs, including a cover image, from Arbus's portfolio, ''A box of ten photographs'', in May 1971.<ref name=Revelations/>{{rp|219}}<ref name=Artforum1971>{{cite journal |last1=Arbus |first1=Diane |title=Five Photographs by Diane Arbus |journal=Artforum |date=May 1971 |volume=9 |issue=9 |url=https://www.artforum.com/print/197105 |access-date=November 13, 2018}}</ref> After his encounter with Arbus and the portfolio, Philip Leider, then editor in chief of ''Artforum'' and a photography skeptic, admitted, "With Diane Arbus, one could find oneself interested in photography or not, but one could no longer . . . deny its status as art."<ref>{{cite book |last1=Leider |first1=Philip |title=Photography |date=October 16, 2004 |publisher=Sotheby's |page=150}}</ref> She was the first photographer to be featured in ''Artforum'' and "Leider's admission of Arbus into this critical bastion of late modernism was instrumental in shifting the perception of photography and ushering its acceptance into the realm of 'serious' art."<ref name=Jacob2018/>{{rp|51}}

The first major exhibition of her photographs occurred at the [[Museum of Modern Art]] in the influential<ref name="new-york-times-gefter">{{cite web |url = https://www.nytimes.com/2007/07/09/arts/09szarkowski.html | date = July 9, 2007 | access-date = December 26, 2014 |first=Philip|last=Gefter|author-link=Philip Gefter|work=[[The New York Times]]| title = John Szarkowski, Curator of Photography, Dies at 81}}</ref> ''[[New Documents]]'' (1967) alongside the work of [[Garry Winogrand]] and [[Lee Friedlander]], curated by [[John Szarkowski]].<ref name="moma-press-release">{{cite web|url = https://www.moma.org/momaorg/shared/pdfs/docs/press_archives/3860/releases/MOMA_1967_Jan-June_0034_21.pdf?2010 | access-date = December 26, 2014 | publisher = [[Museum of Modern Art]] | title = No. 21}}</ref><ref name="guardian-ohagan">{{cite news | url = https://www.theguardian.com/artanddesign/2010/jul/20/john-szarkowski-photography-moma | date = July 20, 2010 | access-date = December 26, 2014 | first = Sean | last = O'Hagan | author-link = Sean O'Hagan (journalist) | newspaper = [[The Guardian]] | title = Was John Szarkowski the most influential person in 20th-century photography?}}</ref> New Documents, which drew almost 250,000 visitors<ref>{{Cite journal|journal=Museum of Contemporary Art Chicago|date=March 1973|title=News Release}}</ref> demonstrated Arbus's interest in what Szarkowski referred to as society's "frailties"<ref name=Badger2003 /> and presented what he described as "a new generation of documentary photographers...whose aim has been not to reform life but to know it",<ref name="moma-press-release" /> described elsewhere as "photography that emphasized the pathos and conflicts of modern life presented without editorializing or sentimentalizing but with a critical, observant eye".<ref>{{cite book | last= Warren | first= Lynne  | title= Encyclopedia of Twentieth-Century Photography, 3-Volume Set | url= http://cw.routledge.com/ref/20Cphoto/arbus.html | access-date= December 27, 2014 | year= 2006 | publisher= [[Routledge]] | location= London | isbn= 978-1-57958-393-4}}</ref> The show was polarizing, receiving both praise and criticism, with some identifying Arbus as a disinterested voyeur and others praising her for her evident empathy with her subjects.<ref name=Badger2003 />

In 2018, ''The New York Times'' published a belated obituary of Arbus<ref>{{Cite news|url=https://www.nytimes.com/interactive/2018/obituaries/overlooked-diane-arbus.html|title=Diane Arbus Called Her Portraits 'A Secret About a Secret'|last=Estrin|first=James|author-link=James Estrin|date=March 8, 2018|work=[[The New York Times]]|access-date=March 16, 2019}}</ref> as part of the Overlooked history project.<ref name=PadnaniHow>{{Cite news|url=https://www.nytimes.com/2018/03/08/insider/overlooked-obituary.html|title=How an Obits Project on Overlooked Women Was Born|last=Padnani|first=Amisha|author-link=Amy Padnani|date=March 8, 2018|work=[[The New York Times]]|access-date=March 16, 2019}}</ref> The Smithsonian American Art Museum housed an exclusive exhibit from April 6, 2018, to January 27, 2019, that featured one of Arbus' portfolios, ''A box of ten photographs''. The SAAM is the only museum currently displaying the work. The collection is "one of just four complete editions that Arbus printed and annotated. The three other editions—the artist never executed her plan to make 50—are held privately". The Smithsonian edition was made for [[Bea Feitler]], an art director who both employed and befriended Arbus. After Feitler's death, Baltimore collector G. H. Dalsheimer bought her portfolio from Sotheby's in 1982 for $42,900. The SAAM then bought it from Dalsheimer in 1986. The portfolio was put away in the museum's collection, until 2018.<ref name=DeCarlo2004 />

==Death==
Arbus experienced "[[Mood disorder|depressive]] episodes" during her life, similar to those experienced by her mother; the episodes may have been made worse by symptoms of [[hepatitis]].<ref name=DeCarlo2004/>  In 1968, Arbus wrote a letter to a friend, Carlotta Marshall, that says: "I go up and down a lot. Maybe I've always been like that. Partly what happens though is I get filled with energy and joy and I begin lots of things or think about what I want to do and get all breathless with excitement and then quite suddenly either through tiredness or a disappointment or something more mysterious the energy vanishes, leaving me harassed, swamped, distraught, frightened by the very things I thought I was so eager for! I'm sure this is quite classic."<ref name=Lubow2003 /> Her ex-husband once noted that she had "violent changes of mood".

On July 26, 1971, while living at [[Westbeth Artists Community]] in New York City, Arbus died by suicide by ingesting [[barbiturate]]s and cutting her wrists with a razor.<ref name=Lubow2003/> She wrote the words "Last Supper" in her diary and placed her appointment book on the stairs leading up to the bathroom. Marvin Israel found her body in the bathtub two days later; she was 48 years old.<ref name=Lubow2003/><ref name=DeCarlo2004/> Photographer [[Joel Meyerowitz]] told journalist [[Arthur Lubow]], "If she was doing the kind of work she was doing and photography wasn't enough to keep her alive, what hope did we have?"<ref name=Cut2017 />

==Legacy==
"[Arbus's] work has had such an influence on other photographers that it is already hard to remember how original it was", wrote the art critic [[Robert Hughes (critic)|Robert Hughes]] in a November 1972 issue of [[Time (magazine)|''Time'' magazine]].<ref name=Hughes>[[Robert Hughes (critic)|Hughes, Robert]]. [https://web.archive.org/web/20101022200748/http://www.time.com/time/magazine/article/0,9171,910470,00.html "Art: to Hades with Lens"]. ''[[Time (magazine)|Time]]'', November 13, 1972. Retrieved February 12, 2010.</ref> She has been called "a seminal figure in modern-day photography and an influence on three generations of photographers"<ref name=Estrin2018/> and is widely considered to be among the most influential artists of the last century.<ref name="Bunnell1973">{{cite journal |last1=Bunnell |first1=Peter C. |title=Diane Arbus |journal=The Print Collector's Newsletter |date=January–February 1973 |volume= 3 |issue= 6 |pages= 128–130 |jstor=44129496 }}</ref><ref name="Crookston" /><ref>{{cite web |title=100 Most influential photographers of all time |url=http://aphotoeditor.com/2012/09/18/100-most-influential-photographers-of-all-time/ |website=aphotoeditor.com |date=September 18, 2012 |publisher=aPhotoEditor |access-date=November 1, 2018}}</ref>

When the film ''[[The Shining (film)|The Shining]]'', directed by [[Stanley Kubrick]], was released to cinemas worldwide in 1980 and became hugely successful, millions of moviegoers experienced Diane Arbus' legacy without realizing it. The movie's recurring characters of identical twin girls who are wearing identical dresses appear on-screen as a result of a suggestion Kubrick received from crew member [[Leon Vitali]]. He is described by film historian Nick Chen as "Kubrick's right-hand man from the mid-70s onwards".<ref name="dazeddigital.com">{{Cite web|url=https://www.dazeddigital.com/film-tv/article/37626/1/the-untold-story-of-leon-vitali-kubricks-assistant|title=The untold story of Stanley Kubrick's obsessive assistant|date=October 2, 2017|website=www.dazeddigital.com|accessdate=November 11, 2022}}</ref> Chen goes on to reveal, "Not only did Vitali videotape and interview 5,000 kids to find [the right child actor to portray] Jack Nicholson's [character's] son, Danny, he was also responsible for discovering the creepy twin sisters on the final day of auditions. The pair, in fact, weren't twins in Kubrick's script, and it was Vitali who immediately suggested Diane Arbus' infamous photo of [[Identical Twins, Roselle, New Jersey, 1967|identical twin sisters]] as a point of reference."<ref name="dazeddigital.com"/>

Since Arbus died without a will, the responsibility for overseeing  her work fell to her daughter, Doon.<ref name="Lubow2003" /> She forbade examination of Arbus' correspondence and often denied permission for exhibition or reproduction of Arbus' photographs without prior vetting, to the ire of many critics and scholars.<ref name="Lubow2003"/> The editors of an academic journal published a two-page complaint in 1993 about the estate's control over Arbus' images and its attempt to censor characterizations of subjects and the photographer's motives in article about Arbus. A 2005 article called the estate's allowing the British press to reproduce only fifteen photographs an attempt to "control criticism and debate".<ref name="Sewell">[http://findarticles.com/p/news-articles/evening-standard-london-uk/mi_8010/is_20051014/diane-arbuss-carnival-cruelty/ai_n40051752 "Diane Arbus's Carnival of Cruelty"].{{dead link|date=May 2017 |bot=InternetArchiveBot |fix-attempted=yes }} ''[[Evening Standard]]'' (London), October 14, 2005. Retrieved February 14, 2010.</ref> On the other hand, it is common institutional practice in the U.S. to include only a handful of images for media use in an exhibition press kit.<ref>{{cite web |title=The Practical Art World |url=https://thepracticalartworld.com/2011/06/19/how-to-create-a-press-release-for-your-art-exhibition/ |website=www.thepracticalartworld.com |date=June 19, 2011 |publisher=The Practical Art World |access-date=November 19, 2018}}</ref><ref>{{cite web |last1=Guggenheim |title=Press Kits |url=https://www.guggenheim.org/press-room/press-kits |website=www.guggenheim.org |publisher=Guggenheim |access-date=November 19, 2018}}</ref><ref>{{cite web |last1=Smithsonian American Art Museum |title=Exhibition Press Kits |url=https://americanart.si.edu/press/kits |website=www.americanart.si.edu |publisher=Smithsonian American Art Museum |access-date=November 19, 2018}}</ref><ref>{{cite web |title=Yale University Art Gallery |url=https://artgallery.yale.edu/about-press-room |website=www.artgallery.yale.edu |publisher=Yale University Art Gallery |access-date=November 19, 2018}}</ref> The estate was also criticized in 2008 for minimizing Arbus' early commercial work, although those photographs were taken by Allan Arbus and credited to the Diane and Allan Arbus Studio.<ref name=Lubow2003/><ref name=ONeill2008/>

In 2011, a review in ''[[The Guardian]]'' of ''An Emergency in Slow Motion: The Inner Life of Diane Arbus'' by [[William Todd Schultz]] references "...the famously controlling Arbus estate who, as Schultz put it recently, 'seem to have this idea, which I disagree with, that any attempt to interpret the art diminishes the art.{{'"}}<ref>{{cite news |last1=O'Hagan |first1=Sean |title=Diane Arbus: humanist or voyeur? |url=https://www.theguardian.com/artanddesign/2011/jul/26/diane-arbus-photography-sideshow |access-date=November 19, 2018 |newspaper=[[The Guardian]]|date=July 26, 2011}}</ref>

In 1972, Arbus was the first photographer to be included in the [[Venice Biennale]]; her photographs were described as "the overwhelming sensation of the American Pavilion" and "an extraordinary achievement".<ref name=Jacob2018/>{{rp|51–52}}<ref name=Guggenheim/><ref name=Kramer>Kramer, Hilton. "Arbus Photos, at Venice, Show Power". ''The New York Times'', June 17, 1972.</ref>

The Museum of Modern Art held a retrospective curated by John Szarkowski of Arbus's work in late 1972 that subsequently traveled around the United States and Canada through 1975;<ref name=CheimRead>{{cite web |last1=Cheim Read |title=Diane Arbus |url=https://www.cheimread.com/artists/diane-arbus |website=www.cheimread.com |access-date=November 7, 2018}}</ref> it was estimated that over seven million people saw the exhibition.<ref name=Muir/> A different retrospective curated by Marvin Israel and Doon Arbus traveled around the world between 1973 and 1979.<ref name=CheimRead/>

Doon Arbus and Marvin Israel edited and designed a 1972 book, ''Diane Arbus: An Aperture Monograph'', published by [[Aperture Foundation|Aperture]] and accompanying the Museum of Modern Art's exhibition.<ref name=Monograph1972 /> It contained eighty of Arbus' photographs, as well as texts from classes that she gave in 1971, some of her writings, and interviews,<ref name=Monograph1972 /><ref name="ParrBadger">[[Martin Parr|Parr, Martin]], and [[Gerry Badger]]. ''The Photobook: a History''. vol. I. London & New York: Phaidon, 2004. {{ISBN|0-7148-4285-0}}.</ref>

In 2001–04, ''Diane Arbus: An Aperture Monograph'' was selected as one of the most important [[photobook]]s in history.<ref name="ParrBadger" /><ref>Caslin, Jean, and D. Clarke Evans. ''Building a Photographic Library''. San Antonio: Texas Photographic Society, 2001. {{ISBN|1-931427-00-3}}.</ref><ref name="Roth2001">Roth, Andrew, editor. ''The Book of 101 Books: Seminal Photographic Books of the 20th Century''. New York: PPP Editions in association with Roth Horowitz LLC, 2001. {{ISBN|0-9670774-4-3}}.</ref><ref>Roth, Andrew, editor. ''The Open Book: a History of the Photographic Book from 1878 to the Present''. Göteborg, Sweden: Hasselblad Center, 2004.</ref>

[[Neil Selkirk]], a former student, began printing for the 1972 MOMA retrospective and Aperture Monograph.<ref name=Revelations/>{{rp|214, 269}} He remains the only person who is authorized to make posthumous prints of Arbus' work.<ref>{{cite web |last1=Staff |first1=The Met | date=2005 | title=Diane Arbus, Legendary New York Photographer, Celebrated in Retrospective at Metropolitan Museum |url=https://www.metmuseum.org/press/exhibitions/2005/diane-arbus-legendary-new-york-photographer-celebrated-in-retrospective-at-metropolitan-museum |website=www.metmuseum.org |publisher=The Metropolitan Museum of Art |access-date=November 13, 2018}}</ref>

A half-hour documentary film about Arbus' life and work known as ''Masters of Photography: Diane Arbus'' or ''Going Where I've Never Been: The Photography of Diane Arbus'' was produced in 1972 and released on video in 1989.{{Citation needed|date=August 2024}}<ref>Traditional Fine Arts Organization. [http://www.tfaoi.com/aa/8aa/8aa159d.htm "American Photography. DVD/VHS Videos"]. Retrieved February 12, 2010.</ref> The voiceover was drawn from recordings made of Arbus' photography class by [[Ikkō Narahara]] and voiced by [[Mariclare Costello]], who was Arbus' friend and the wife of her ex-husband Allan.

[[Patricia Bosworth]] wrote an [[unauthorized biography]] of Arbus published in 1984. Bosworth reportedly "received no help from Arbus's daughters, or from their father, or from two of her closest and most prescient friends, Avedon and ... Marvin Israel".<ref name=Muir/> The book was also criticized for insufficiently considering Arbus's own words, for speculating about missing information, and for focusing on "sex, depression and famous people", instead of Arbus' art.<ref name=Rubinfien2005/>

In 1986, Arbus was inducted into the [[International Photography Hall of Fame and Museum]].<ref>{{Cite web |title=Diane Arbus |url=https://iphf.org/inductees/diane-arbus/ |access-date=July 23, 2022 |website=International Photography Hall of Fame |language=en-US}}</ref>

Between 2003 and 2006, Arbus and her work were the subject of another major traveling exhibition, ''Diane Arbus Revelations'', which was organized by the [[San Francisco Museum of Modern Art]]. Accompanied by a book of the same name, the exhibition included artifacts such as correspondence, books, and cameras as well as 180 photographs by Arbus.<ref name=Rubinfien2005/><ref name=Schjeldahl/><ref name=Met2005/> By "making substantial public excerpts from Arbus's letters, diaries and notebooks" the exhibition and book "undertook to claim the center-ground on the basic facts relating to the artist's life and death".<ref name=Charrier2012>{{cite journal |last1=Charrier |first1=Philip |title=On Diane Arbus: Establishing a Revisionist Framework of Analysis |journal=History of Photography |date=September 12, 2012 |volume=36 |issue=4 |pages=422–438 |doi=10.1080/03087298.2012.703401 |s2cid=191518565 }}</ref> Because Arbus's estate approved the exhibition and book, the chronology in the book is "effectively the first authorized biography of the photographer".<ref name=Revelations/>{{rp|121–225}}<ref name=DeCarlo2004/>

In 2006, the fictional film ''[[Fur (film)|Fur: An Imaginary Portrait of Diane Arbus]]'' was released, starring [[Nicole Kidman]] as Arbus; it used Patricia Bosworth's unauthorized biography ''Diane Arbus: A Biography'' as a source of inspiration. Critics generally took issue with the film's "fairytale" portrayal of Arbus.<ref name=Dargis>[[Manohla Dargis|Dargis, Manohla]]. [https://movies.nytimes.com/2006/11/10/movies/10fur.html "A Visual Chronicler of Humanity's Underbelly, Draped in a Pelt of Perversity"]. ''[[The New York Times]]'', November 10, 2006. Retrieved February 4, 2010.</ref><ref name=Zacharek>[[Stephanie Zacharek|Zacharek, Stephanie]]. [http://www.salon.com/entertainment/movies/review/2006/11/10/fur/print.html "''Fur: An Imaginary Portrait of Diane Arbus'' (review)"] {{webarchive|url=https://web.archive.org/web/20110605010328/http://www.salon.com/entertainment/movies/review/2006/11/10/fur/print.html |date=June 5, 2011}} [[Salon.com]], November 10, 2006. Retrieved February 3, 2010.</ref>

The Metropolitan Museum of Art purchased twenty of Arbus' photographs (valued at millions of dollars) and received Arbus' archives, which included hundreds of early and unique photographs, and negatives and contact prints of 7,500 rolls of film, as a gift from her estate in 2007.<ref>Vogel, Carol. [https://www.nytimes.com/2007/12/18/arts/design/18muse.html "A Big Gift for the Met: the Arbus Archives"]. ''[[The New York Times]]'', December 18, 2007. Retrieved February 5, 2010.</ref>

In 2018, ''[[The New York Times]]'' published a belated obituary of Arbus<ref name=Estrin2018/> as part of the Overlooked history project.<ref name=PadnaniHow /><ref>{{Cite news|url=https://www.nytimes.com/interactive/2018/obituaries/overlooked.html|title=Remarkable Women We Overlooked in Our Obituaries|last=Padnani|first=Amisha|date=March 8, 2018|work=[[The New York Times]]|access-date=March 24, 2018}}</ref>

==Critical reception==
* In a 1967 review of MoMA's ''New Documents'' exhibition, which featured the work of Diane Arbus, [[Lee Friedlander]], and [[Garry Winogrand]], [[Max Kozloff]] wrote, "What these photographers have in common is a complete loss of faith in the mass media as vehicle, or even market for their work. Newsiness, from the journalistic point of view, and 'stories', from the literary one, in any event, do not interest them....Arbus' refusal to be compassionate, her revulsion against moral judgment, lends her work an extraordinary ethical conviction."<ref>[[Max Kozloff|Kozloff, Max]]. "Photography". ''The Nation'', vol. 204, pp. 571–573, May 1, 1967.</ref>
* Writing for ''[[Arts Magazine]]'', Marion Magid stated, "Because of its emphasis on the hidden and the eccentric, this exhibit has, first of all, the perpetual, if criminal, allure of a sideshow. One begins by simply craving to look at the forbidden things one has been told all one's life not to stare at... One does not look at such subjects with impunity, as anyone knows who has ever stared at the sleeping face of a familiar person, and discovered its strangeness. Once having looked and not looked away, we are implicated. When we have met the gaze of a midget or a female impersonator, a transaction takes place between the photograph and the viewer; in a kind of healing process, we are cured of our criminal urgency by having dared to look. The picture forgives us, as it were, for looking. In the end, the great humanity of Diane Arbus' art is to sanctify that privacy which she seems at first to have violated."<ref>{{cite journal |last1=Magid |first1=Marion |title=Diane Arbus in New Documents |journal=Arts Magazine |date=April 1, 1967 |page=54}}</ref><ref name=Ault2018/>
* [[Robert Hughes (critic)|Robert Hughes]] in a ''[[Time (magazine)|Time]]'' magazine review of the 1972 Diane Arbus retrospective at MoMA wrote, "Arbus did what hardly seemed possible for a still photographer. She altered our experience of the face."<ref name=Hughes/>
* In his review of the 1972 retrospective, [[Hilton Kramer]] stated that Arbus was "one of those figures—as rare in the annals of photography as in the history of any other medium—who suddenly, by a daring leap into a territory formerly regarded as forbidden, altered the terms of the art she practiced....she completely wins us over, not only to her pictures but to her people, because she has clearly come to feel something like love for them herself. "<ref>Kramer, Hilton. "From fashion to freaks". ''The New York Times'', November 5, 1972.</ref>
* [[Susan Sontag]] wrote an essay in 1973 entitled "Freak Show" that was critical of Arbus' work; it was reprinted in her 1977 book ''[[On Photography]]'' as "America, Seen Through Photographs, Darkly".<ref name=Rubinfien2005/> Among other criticisms, Sontag opposed the lack of beauty in Arbus' work and its failure to make the viewer feel compassionate about Arbus's subjects.<ref name=Parsons>Parsons, Sarah. "Sontag's Lament: Emotion, Ethics, and Photography". ''Photography & Culture'', vol. 2, no. 3, pp. 289–302, November 2009.</ref> Sontag's essay itself has been criticized as "an exercise in aesthetic insensibility" and "exemplary for its shallowness".<ref name=Rubinfien2005/><ref name=Schjeldahl/> Sontag has also stated that "the subjects of Arbus's photographs are all members of the same family, inhabitants of a single village. Only, as it happens, the idiot village is America. Instead of showing identity between things which are different (Whitman's democratic vista), everybody is the same."<ref name=Kimmelman2004 />  A 2009 article noted that Arbus had photographed Sontag and her son in 1965, causing one to "wonder if Sontag felt this was an unfair portrait".<ref name=Parsons/> Philip Charrier argues in a 2012 article that despite its narrowness and widely discussed faults, Sontag's critique continues to inform much of the scholarship and criticism of Arbus's oeuvre. The article proposes overcoming this tradition by asking new questions, and by shifting the focus away from matters of biography, ethics, and Arbus's suicide.<ref name=Charrier2012/>
* In [[Susan Sontag]]'s essay "Freak Show", she writes, "The authority of Arbus's photographs comes from the contrast between their lacerating subject matter and their calm, matteroffact attentiveness. This quality of attention—the attention paid by the photographer, the attention paid by the subject to the act of being photographed—creates the moral theater of Arbus's straight on, contemplative portraits. Far from spying on freaks and pariahs, catching them unawares, the photographer has gotten to know them, reassured them—so that they pose for her as calmly and stiffly as any Victorian notable sat for a studio portrait by Nadar or Julia Margaret Cameron. A large part of the mystery of Arbus's photographs lies in what they suggest about how her subjects felt after consenting to be photographed. Do they see themselves, the viewer wonders, like that? Do they know how grotesque they are? It seems as if they don't."<ref>{{cite magazine|last=Sontag|first=Susan|author-link=Susan Sontag|title=Freak Show |url=https://www.nybooks.com/articles/1973/11/15/freak-show/ |access-date=November 19, 2018 |magazine=[[The New York Review of Books]]|date=November 15, 1973}}</ref>
* [[Judith Goldman]] in 1974 posited that, "Arbus' camera reflected her own desperateness in the same way that the observer looks at the picture and then back at himself."<ref name=Goldman>Goldman, Judith.
"Diane Arbus: The Gap Between Intention and Effect". ''Art Journal'', vol. 34, issue 1, pp. 30–35, Fall 1974.</ref>
* [[David Pagel]]'s 1992 review of the ''Untitled'' series states, "These rarely seen photographs are some of the most hauntingly compassionate images made with a camera....The range of expressions Arbus has captured is remarkable in its startling shifts from carefree glee to utter trepidation, ecstatic self-abandonment to shy withdrawal, and simple boredom to neighborly love. Perhaps the most intriguing aspect of her photographs is the way they combine sentiments we all share with experiences we can imagine but never know."<ref name=Pagel/>
* In reviewing ''Diane Arbus: Untitled'' for ''[[Artforum]]'', [[Nan Goldin]] said, "She was able to let things be, as they are, rather than seeking to transform them. The quality that defines her work, and separates it from almost all other photography, is her ability to empathize, on a level far beyond language. Arbus could travel, in the mythic sense. Perhaps out of the desire not to be herself, she tried on the skins of others and took us along for the trip. Arbus was obsessed with people who manifested trauma, maybe because her own crisis was so internalized. She was able to look full in the faces we normally avert our eyes from, and to show beauty there as well as pain. Her work is often difficult but it isn't cruel. She undertook that greatest act of courage—to face the terror of darkness and remain articulate."<ref>{{cite journal |last1=Goldin |first1=Nan |title=Untitled—Diane Arbus |journal=Artforum |date=November 1995}}</ref>
* [[Hilton Als]] reviewed ''Untitled'' in 1995 for ''[[The New Yorker]]'', saying, "The extraordinary power of ''Untitled'' confirms our earliest impression of Arbus's work; namely, that it is as iconographic as it gets in any medium."<ref>{{cite magazine |last1=Als |first1=Hilton |title=Unmasked A different kind of collection from Diane Arbus |url=https://www.newyorker.com/magazine/1995/11/27/unmasked-books-hilton-als |access-date=November 16, 2018 |magazine=The New Yorker |date=November 27, 1995}}</ref>
* In her review of the traveling exhibition ''Diane Arbus Revelations'', [[Francine Prose]] writes, "Even as we grow more restive with conventional religion, with the intolerance and even brutality it so frequently exacts in trade for meaning and consolation, Arbus's work can seem like the bible of a faith to which one can almost imagine subscribing—the temple of the individual and irreducible human soul, the church of obsessive fascination and compassion for those fellow mortals whom, on the basis of mere surface impressions, we thoughtlessly misidentify as the wretched of the earth."<ref>{{cite magazine |last1=Prose |first1=Francine |title=Revisiting the Icons: The intimate photography of Diane Arbus |url=https://fraenkelgallery.com/press/revisiting-the-icons |access-date=November 16, 2018 |magazine=Harper's Magazine |date=November 2003}}</ref>
* Barbara O'Brien in a 2004 review of the exhibition ''Diane Arbus: Family Albums'' found her and [[August Sander]]'s work "filled with life and energy."<ref>O'Brien, Barbara. "Learning to Read: the Epic Narratives of Diane Arbus and August Sander". ''Art New England'', vol. 25, no. 6, pp. 22–23, 67, October–November 2004.</ref>
* [[Peter Schjeldahl]], in a 2005 review of the exhibition ''Diane Arbus Revelations'' for ''[[The New Yorker]]'' stated, "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. Nor is this impression of novelty evanescent. Over the years, Arbuses that I once found devastating have seemed to wait for me to change just a little, then to devastate me all over again. No other photographer has been more controversial. Her greatness, a fact of experience, remains imperfectly understood."<ref name=Schjeldahl/>
* [[Michael Kimmelman]] wrote in 2005, "If the proper word isn't spirituality then it's grace. Arbus touches her favorite subjects with grace. It's in the spread-arm pose of the sword swallower, in the tattooed human pincushion, like [[Saint Sebastian|St. Sebastian]], and in the virginal waitress at the [[nudist camp]], with her apron and order pad and her nicked shin. And it's famously in the naked couple in the woods, like [[Adam and Eve]] after [[Fall of man|the Fall]]."<ref name=Kimmelman2005/>
* [[Ken Johnson (art critic)|Ken Johnson]], reviewing a show of Arbus's lesser-known works in 2005, wrote, "Arbus's perfectly composed, usually centered images have a way of arousing an almost painfully urgent curiosity. Who is the boy in the suit and tie and fedora who looks up from the magazine in a neighborhood store and fixes us with a gaze of unfathomable seriousness? What is the story with the funny, birdlike lady with the odd, floppy knit hat perched on her head? What is the bulky dark man in the suit and hat saying to the thin, well-dressed older woman with the pinched, masklike face as he jabs the air with a finger while they walk in Central Park? Arbus was a wonderful formalist and just as wonderful a storyteller—the [[Flannery O'Connor]] of photography.<ref name=Johnson>[[Ken Johnson (art critic)|Johnson, Ken]]. [https://query.nytimes.com/gst/fullpage.html?res=9E06E6DA1330F933A0575AC0A9639C8B63 "Art in Review; Diane Arbus"]. ''[[The New York Times]]'', September 30, 2005. Retrieved February 14, 2010.</ref>
* [[Leo Rubinfien]] wrote in 2005, "No photographer makes viewers feel more strongly that they are being directly addressed....When her work is at its most august, Arbus sees through her subject's pretensions, her subject sees that she sees, and an intricate parley occurs around what the subject wants to show and wants to conceal....She loved conundrum, contradiction, riddle, and this, as much as the pain in her work, puts it near [[Franz Kafka|Kafka]]'s and [[Samuel Beckett|Beckett]]'s....I doubt anyone in the modern arts, not Kafka, not Beckett, has strung such a long, delicate thread between laughter and tears."<ref name=Rubinfien2005/>
* In [[Stephanie Zacharek]]'s 2006 review of the movie ''[[Fur (film)|Fur: An Imaginary Portrait of Diane Arbus]]'', she writes, "When I look at her pictures, I see not a gift for capturing whatever life is there, but a desire to confirm her suspicions about humanity's dullness, stupidity, and ugliness."<ref name=Zacharek/>
* [[Wayne Koestenbaum]] asked in 2007 whether Arbus's photographs humiliate the subjects or the viewers.<ref>Koestenbaum, Wayne. "Diane Arbus and Humiliation". ''Studies in Gender & Sexuality'', vol. 8, issue 4, pp. 345–347, Fall 2007.</ref> In a 2013 interview for the ''[[Los Angeles Review of Books]]'' he also said, "She's finding little pockets of jubilation that are framed within each photograph. The obvious meaning of the photograph is abjection, but the obtuse meaning is jubilation, beauty, staunchness, pattern."<ref>{{cite magazine |last1=Koestenbaum |first1=Wayne |title=Dirty Mind: An Interview with Wayne Koestenbaum |url=https://lareviewofbooks.org/article/dirty-mind-an-interview-with-wayne-koestenbaum/#! |access-date=November 16, 2018 |magazine=Los Angeles Review of Books |date=December 2, 2013}}</ref>
* [[Mark Feeney]]'s 2016 ''[[The Boston Globe]]'' review of ''in the beginning'' at the [[Met Breuer]] states, "It's not so much that Arbus changed how we see the world as how we allow ourselves to see it. Underbelly and id are no less part of society for being less visible. Outcasts and outsiders become their own norm – and with Arbus as ambassador, ours, too. She witnesses without ever judging."<ref>{{cite news |last=Feeney|first=Mark|author-link=Mark Feeney|title=Met Breuer exhibit shows Diane Arbus emerging |url=https://www.bostonglobe.com/arts/theater-art/2016/07/21/met-breuer-exhibit-shows-diane-arbus-emerging/A1NPu4dU7Byz53S53u1arI/story.html |newspaper=[[The Boston Globe]]|date=July 21, 2016}}</ref>
* In a 2018 review for ''[[The New York Times]]'' on Diane Arbus's ''Untitled'' series, [[Arthur Lubow]] writes, "The 'Untitled' photographs evoke paintings by [[James Ensor|Ensor]], [[Pieter Bruegel the Elder|Bruegel]] and especially the covens and rituals conjured up by [[Francisco Goya|Goya]]...In the almost half century that has elapsed since Arbus made the 'Untitled' pictures, photographers have increasingly adopted a practice of constructing the scenes they shoot and altering the pictures with digital technology in an effort to bring to light the visions in their heads. The 'Untitled' series, one of the towering achievements of American art, reminds us that nothing can surpass the strange beauty of reality if a photographer knows where to look. And how to look."<ref name=Lubow2018/>
* Adam Lehrer wrote, in his ''[[Forbes]]'' review of ''Untitled'', Arbus calls attention to vibrant expressions of joy while never letting us forget life's eternal anguish. Some critics have suggested that Arbus sees herself in her subjects. But perhaps that's only partially true. It's probably a more factual assertion to claim that Arbus sees all of us in her subjects....Arbus's only delusion was believing, or hoping, that others would share her peculiar fixations. But to say that her work is merely about human imperfection is both accurate and laughably dismissive. Arbus surely was focused on human imperfection, but within imperfection, she found unvarnished, perfect humanity. And humanity, to Arbus, was beautiful."<ref>{{cite magazine |last1=Lehrer |first1=Adam |title=Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status as Co-Reps of Artist's Estate |url=https://www.forbes.com/sites/adamlehrer/2018/11/06/diane-arbus-untitled-works-inaugurate-david-zwirners-status-as-co-reps-of-artists-estate/#1139bc967d2d |magazine=Forbes |date=November 6, 2018}}</ref>

Some of Arbus's subjects and their relatives have commented on their experience being photographed by Diane Arbus:
* The father of the twins pictured in "Identical Twins, Roselle, N.J. 1967" said, "We thought it was the worst likeness of the twins we'd ever seen. I mean it resembles them, but we've always been baffled that she made them look ghostly. None of the other pictures we have of them looks anything like this."<ref name=Segal/>
* Writer [[Germaine Greer]], who was the subject of an Arbus photograph in 1971, criticized it as an "undeniably bad picture" and Arbus's work in general as unoriginal and focusing on "mere human imperfection and self-delusion."<ref>[[Germaine Greer|Greer, Germaine]]. [https://www.theguardian.com/artanddesign/2005/oct/08/photography "Wrestling with Diane Arbus"]. ''[[The Guardian]]'', October 8, 2005. Retrieved February 3, 2010.</ref>
* [[Norman Mailer]] said, in 1971, "Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child."<ref name=Muir/><ref name=Armstrong>Armstrong, Carol. "Biology, Destiny, Photography: Difference According to Diane Arbus". ''October'', vol. 66, pp 28–54, Autumn 1993.</ref> Mailer was reportedly displeased with the well-known "spread-legged" ''New York Times Book Review'' photo. Arbus photographed him in 1963.<ref name="Armstrong"/><ref>[[Mark Feeney|Feeney, Mark]]. "She Opened Our Eyes Photographer Diane Arbus Presented a New Way of Seeing." ''Boston Globe''. November 2, 2003, ProQuest. March 2, 2017</ref>
* Colin Wood, the subject of ''Child With a Toy Grenade in Central Park'', said, "She saw in me the frustration, the anger at my surroundings, the kid wanting to explode but can't because he's constrained by his background."<ref name="guardian-ohagan-2">{{cite news | url = https://www.theguardian.com/books/2016/oct/25/diane-arbus-portrait-of-a-photographer-review-arthur-lubow | date = October 25, 2016 | access-date = August 9, 2017 | first = Sean | last = O'Hagan | author-link = Sean O'Hagan (journalist) | newspaper = [[The Guardian]] | title = Diane Arbus: Portrait of a Photographer review – a disturbing study}}</ref>

==Publications==
* ''Diane Arbus: An Aperture Monograph''. Edited by Doon Arbus and Marvin Israel. Accompanied an exhibition at Museum of Modern Art, New York.
** New York: [[Aperture Foundation|Aperture]], 1972. {{ISBN|9780912334400}}.
** New York: Aperture, 1997. {{ISBN|9780893816940}}.
** Fortieth-anniversary edition. New York: Aperture, 2011. {{ISBN|978-1-59711-174-4}} (hardback); {{ISBN|978-1-59711-175-1}} (paperback).
* ''Diane Arbus: Magazine Work''. Edited by Doon Arbus and Marvin Israel. With texts by Diane Arbus and an essay by Thomas W. Southall.
** New York: Aperture, 1984. {{ISBN|978-0-89381-233-1}}.
** London: [[Bloomsbury Publishing|Bloomsbury]], 1992. {{ISBN|9780893812331}}.
* ''Untitled''.  Edited by Doon Arbus and [[Yolanda Cuomo]].
** New York: Aperture, 1995. {{ISBN|978-0-89381-623-0}}.
** New York: Aperture, 2011. {{ISBN|978-1-59711-190-4}}.
* ''Diane Arbus: Revelations''. New York: [[Random House]], 2003. {{ISBN|9780375506208}}. Includes essays by [[Sandra S. Phillips]] ("The question of belief") and [[Neil Selkirk]] ("In the darkroom"); a chronology by [[Elisabeth Sussman]] and Doon Arbus including text by Diane Arbus; afterword by Doon Arbus; and biographies of fifty five of Arbus's friends and colleagues by Jeff L. Rosenheim. Accompanied an exhibition that premièred at San Francisco Museum of Modern Art.
* ''Diane Arbus: A Chronology, 1923–1971''. New York: Aperture, 2011. {{ISBN|978-1-59711-179-9}}. By Elisabeth Sussman and Doon Arbus. Contains the chronology and biographies from ''Diane Arbus: Revelations''.
* ''Silent Dialogues: Diane Arbus & Howard Nemerov''. San Francisco: Fraenkel Gallery, 2015. {{ISBN|978-1881337416}}. By Alexander Nemerov.
* ''diane arbus: in the beginning''. New York: Metropolitan Museum of Art, 2016. {{ISBN|978-1588395955}}. By Jeff L. Rosenheim. Accompanied an exhibition that premiered at The Metropolitan Museum of Art.
* ''Diane Arbus: A box of ten photographs''. New York: Aperture, 2018. {{ISBN|978-1597114394}}. By [[John P. Jacob]]. Accompanied an exhibition that premiered at the Smithsonian American Art Museum.
* ''Diane Arbus Revelations''. New York: Aperture, 2022. {{ISBN|9781597115384}}.

== Notable photographs ==
[[Image:childwithhandgrenadedianearbus.jpg|thumb|''[[Child with Toy Hand Grenade in Central Park|Child with Toy Hand Grenade in Central Park, N.Y.C. 1962]] (1962)'']]
[[Image:Identical Twins, Roselle, New Jersey, 1967.jpg|thumb|''[[Identical Twins, Roselle, New Jersey, 1967]]'']]
[[Image:Eddie Carmel and parents, 1970.jpg|thumb|[[Eddie Carmel]], ''Jewish Giant, taken at Home with His Parents in the Bronx, New York, 1970'']]

Arbus's most well-known photographs include:
* ''[[Child with Toy Hand Grenade in Central Park]], N.Y.C. 1962'' – Colin Wood,<ref name=Segal>[[David Segal (journalist)|Segal, David]]. [https://www.washingtonpost.com/wp-dyn/content/article/2005/05/11/AR2005051102052.html "Double Exposure: a Moment with Diane Arbus Created a Lasting Impression"]. ''[[The Washington Post]]'', May 12, 2005. Retrieved February 3, 2010.</ref> with the left strap of his jumper awkwardly hanging off his shoulder, tensely holds his long, thin arms by his side. Clenching a toy [[grenade]] in his right hand and holding his left hand in a claw-like gesture, his facial expression is one of consternation. The [[contact sheet]]<ref>Published in ''Diane Arbus: Revelations'', 2003, p. 164, and online in the article [http://lucileee.blog.lemonde.fr/2006/11/24/paris-photo-5-diane-arbus-a-la-galerie-robert-miller/ ''Paris Photo 6 : Diane Arbus à la galerie Robert Miller''] {{Webarchive|url=https://web.archive.org/web/20160512164620/http://lucileee.blog.lemonde.fr/2006/11/24/paris-photo-5-diane-arbus-a-la-galerie-robert-miller/ |date=May 12, 2016 }}, 2006.</ref> demonstrates that Arbus made an editorial choice in selecting which image to print.<ref name="Bissell">Bissell, Gerhard. [http://www.degruyter.com/view/AKL/_30163152?rskey=DzE3F4&result=1&dbq_0=%22Arbus%2C+Diane%22&dbf_0=akl-name&dbt_0=name&o_0=AND "Arbus, Diane"], in ''[[Allgemeines Künstlerlexikon]] (Artists of the World)'', Supplement I, [[K. G. Saur Verlag|Saur]], [[Munich]] 2005, p. 413 (in German), and [http://gerbis.net/publications/arbus.html "Diane Arbus"] (condensed English version).</ref> A print of this photograph was sold in 2015 at auction for $785,000, an auction record for Arbus.<ref>{{cite web |last1=Christie's |first1=Lot 26A |title=Diane Arbus (1923–1971) Child with a toy hand grenade in Central Park, N.Y.C., 1962 |url=https://www.christies.com/Lotfinder/lot_details.aspx?hdnSaleID=25299&LN=0026A&intsaleid=25299&sid=8168a379-e219-4d77-8e8b-e76bcfad79ec |website=www.christies.com |publisher=Christie's |access-date=November 13, 2018}}</ref>
* ''Teenage Couple on Hudson Street, N.Y.C., 1963'' – Wearing long coats and "worldlywise expressions", two adolescents appear older than their ages.<ref name=Brill>Brill, Lesley. "The Photography of Diane Arbus". ''Journal of American Culture'', vol. 5, issue 1, pp. 69–76, Spring 1982.</ref>
* ''Triplets in Their Bedroom, N.J. 1963'' – Three girls sit at the head of a bed.<ref name=Brill/><ref name=Kimmelman2005/>
* ''A Young Brooklyn Family Going for a Sunday Outing, N.Y.C. 1966'' – Richard and Marylin Dauria, who lived in the Bronx. Marylin holds their baby daughter, and Richard holds the hand of their young son, who is intellectually disabled.<ref name=Lacayo/><ref>{{cite web |url=http://missmena.wordpress.com/2009/03/03/%E2%80%9Ca-young-brooklyn-family-going-for-a-sunday-outing-nyc-1966%E2%80%9D-diane-arbus/ |title="A young Brooklyn family going for a Sunday outing, N.Y.C., 1966" ~ Diane Arbus « Adrianna Mena |access-date=March 19, 2011 |url-status=dead |archive-url=https://web.archive.org/web/20110822054813/http://missmena.wordpress.com/2009/03/03/%E2%80%9Ca-young-brooklyn-family-going-for-a-sunday-outing-nyc-1966%E2%80%9D-diane-arbus/ |archive-date=August 22, 2011 }}</ref>
* ''A Young Man in Curlers at Home on West 20th Street, N.Y.C. 1966'' – A close-up shows the man's pock-marked face with plucked eyebrows, and his hand with long fingernails holds a cigarette. Early reactions to the photograph were strong; for example, someone spat on it in 1967 at the Museum of Modern Art.<ref name=Rubinfien2005/> A print was sold for $198,400 at a 2004 auction.<ref name=Artnet2004>Artnet. [http://www.artnet.com/magazine/news/artmarketwatch2/artmarketwatch5-4-04.asp "Art Market Watch"]. May 4, 2004. Retrieved February 6, 2010.</ref>
* ''Boy With a Straw Hat Waiting to March in a Pro-War Parade, N.Y.C. 1967'' – With an American flag at his side, he wears a bow tie, a pin in the shape of a bow tie with an American flag motif, and two round button badges: "Bomb Hanoi" and "God Bless America / Support Our Boys in Viet Nam". The image may cause the viewer to feel both different from the boy and sympathetic toward him.<ref name=Kimmelman2005/> An art consulting firm purchased a print for $245,000 at a 2016 auction.<ref>{{Cite web|url=https://www.christies.com/Lotfinder/lot_details.aspx?hdnSaleID=26506&LN=117&intsaleid=26506&sid=844eec9c-2b60-4eb5-b974-254e8857e342|title=Diane Arbus (1923–1971), Boy with a straw hat waiting to march in a pro-war parade, N.Y.C., 1967|last=Christie's|first=Lot 117|date=April 6, 2016|website=www.christies.com|access-date=October 12, 2018}}</ref>
* ''[[Identical Twins, Roselle, New Jersey, 1967|Identical Twins, Roselle, N.J. 1967]]'' – Young twin sisters Cathleen and Colleen Wade<ref name=Segal/> stand side by side in dark dresses. The uniformity of their clothing and haircut characterize them as being twins while the facial expressions strongly accentuate their individuality.<ref name=Bissell/> This photograph is echoed in [[Stanley Kubrick]]'s film ''[[The Shining (film)|The Shining]]'', which features twins in an identical pose as ghosts.<ref name=Segal/> A print was sold at auction for $732,500 in 2018.<ref>{{Cite web|url=https://www.christies.com/lotfinder/lot_details.aspx?intObjectID=6159681&from=salesummery&intObjectID=6159681&sid=a2c6bda6-9402-4365-9d7a-84a7cf1b2103|title=Diane Arbus (1923–1971) Identical twins, Roselle, N.J., 1966|language=en|access-date=October 12, 2018}}</ref>
* ''A Family on Their Lawn One Sunday in Westchester, N.Y. 1968'' – A woman and a man sunbathe while a boy bends over a small plastic wading pool behind them. In 1972, Neil Selkirk was put in charge of producing an exhibition print of this image when Marvin Israel advised him to make the background trees appear "like a theatrical backdrop that might at any moment roll forward across the lawn.".<ref name=Revelations/>{{rp|270}} This anecdote illustrates vividly just how fundamental dialectics between appearance and substance are for the understanding of Arbus's art.<ref name=Bissell/> A print was sold at auction in 2008 for $553,000.<ref>Sotheby's. [http://www.sothebys.com/app/live/lot/LotDetail.jsp?lot_id=159441193 "A Family on the Lawn One Sunday in Westchester, N.Y."]{{dead link|date=September 2017 |bot=InternetArchiveBot |fix-attempted=yes }} April 8, 2008. Retrieved February 7, 2010.</ref>
* ''A Naked Man Being a Woman, N.Y.C. 1968'' – The subject has been described as in a "Venus-on-the-half-shell pose"<ref name=Lubow2003/> (referring to [[The Birth of Venus (Botticelli)|''The Birth of Venus'' by Sandro Botticelli]]) or as "a Madonna turned in contrapposto... with his penis hidden between his legs"<ref name=Kimmelman2005/> (referring to a [[Madonna (art)|Madonna]] in [[contrapposto]]). The parted curtain behind the man adds to the theatrical quality of the photograph.<ref name=Sass/>
* ''A Very Young Baby, N.Y.C. 1968'' – A photograph for ''Harper's Bazaar'' depicts [[Gloria Vanderbilt]]'s then-infant son, the future [[CNN]] anchorman [[Anderson Cooper]].<ref name=Segal/>
* ''A Jewish Giant at Home with His Parents in The Bronx, N.Y. 1970'' – [[Eddie Carmel]], the "Jewish Giant", stands in his family's apartment with his much shorter mother and father. Arbus reportedly said to a friend about this picture: "You know how every mother has nightmares when she's pregnant that her baby will be born a monster?... I think I got that in the mother's face...."<ref name=Hume>Hume, Christopher. "Photography's Tragic Poet of the Bizarre". ''Toronto Star'', January 11, 1991.</ref> The photograph motivated Carmel's cousin to narrate a 1999 audio documentary about him.<ref>[http://soundportraits.org/on-air/the_jewish_giant/ "The Jewish Giant"]. {{webarchive|url=https://web.archive.org/web/20100610024508/http://soundportraits.org/on-air/the_jewish_giant/ |date=June 10, 2010 }} Sound Portraits Productions, October 6, 1999. Retrieved February 5, 2010.</ref> A print was sold at auction for $583,500 in 2017.<ref>{{Cite web|url=https://www.christies.com/Lotfinder/lot_details.aspx?hdnSaleID=26796&LN=0025B&intsaleid=26796&sid=0fdadc5b-4091-4770-97d9-6cbe48605398|title=Diane Arbus, A Jewish Giant at Home|last=Christie's|first=Lot 25B|date=May 17, 2017|website=www.christies.com|language=en|access-date=October 12, 2018}}</ref>

In addition, Arbus's ''A box of ten photographs'' was a portfolio of selected 1963–1970 photographs in a clear [[Poly(methyl methacrylate)|Plexiglas]] box/frame that was designed by Marvin Israel and was to have been issued in a limited edition of 50.<ref name=Gefter/><ref>[[Lindsay Pollock|Pollock, Lindsay]]. [http://www.nysun.com/arts/arbus-traveling-circus/12576/ "The Arbus Traveling Circus"]. ''[[The New York Sun]]'', April 21, 2005. Retrieved February 5, 2010.</ref> However, Arbus completed only eight boxes<ref name=Jacob2018/>{{rp|137}} and sold only four (two to Richard Avedon, one to [[Jasper Johns]], and one to [[Bea Feitler]]).<ref name=Revelations/>{{rp|220}}<ref name=DeCarlo2004/><ref name=Bunnell1973/> After Arbus's death, under the auspices of the Estate of Diane Arbus, [[Neil Selkirk]] began printing to complete Arbus's intended edition of 50.<ref name=Jacob2018/>{{rp|78}} In 2017, one of these posthumous editions sold for $792,500 in 2017.<ref>{{cite web |last1=Christie's |first1=Lot 23 |title=Diane Arbus (1923–1971) A box of ten photographs |url=https://www.christies.com/lotfinder/lot_details.aspx?intObjectID=6132048&from=salesummery&intobjectid=6132048&sid=71b6a69e-7e81-475a-bf4d-f5801b1538fb |website=www.christies.com |publisher=Christies |access-date=November 13, 2018}}</ref>

==Notable solo exhibitions==
* 1967: [[New Documents]]. Museum of Modern Art, New York.<ref name=Fraenkel>{{cite web |last1=Fraenkel Gallery |title=Diane Arbus |url=https://fraenkelgallery.com/artists/diane-arbus |website=Fraenkel Gallery |access-date=November 19, 2018}}</ref>
* 1972: ''Diane Arbus Portfolio: 10 Photos''. Venice Biennale.<ref name=Kramer/>
* 1972–1975: ''Diane Arbus'' (125 photographs, curated by John Szarkowski). Museum of Modern Art, New York; Baltimore; [[Worcester Art Museum]], Massachusetts; [[Museum of Contemporary Art, Chicago]]; [[Walker Art Center]], Minneapolis; [[National Gallery of Canada]], Ottawa; [[Detroit Institute of Arts]]; Witte Memorial Museum, San Antonio, Texas; [[New Orleans Museum of Art]]; [[Berkeley Art Museum and Pacific Film Archive]], California; [[Museum of Fine Arts, Houston]]; Florida Center for the Arts, University of South Florida, Tampa; and [[Krannert Art Museum]], University of Illinois, Champaign.<ref name=CheimRead />
* 1973–79: ''Diane Arbus: Retrospective'' (118 photographs, curated by Doon Arbus and Marvin Israel). Seibu Museum, Tokyo; [[Hayward Gallery]], London; [[Ikon Gallery]], Birmingham, England; [[Scottish Arts Council]], Edinburgh, Scotland; Van Abbe Museum, Eindhoven, The Netherlands; [[Van Gogh Museum]], Amsterdam; Lenbachhaus Städtische Galerie, Munich, Germany; [[Von der Heydt Museum]], Wuppertal, Germany; [[Frankfurter Kunstverein]]; 14 galleries and museums in Australia; and 7 galleries and museums in New Zealand.<ref name=CheimRead/>
* 1980: ''Diane Arbus: Vintage Unpublished Photographs''. Robert Miller Gallery, New York;<ref>Thornton, Gene. "Narrative Works – and Arbus". ''[[The New York Times]]'', August 31, 1980.</ref> Fraenkel Gallery, New York.<ref name=Fraenkel/>
* 1983: ''Diane Arbus: Photographs''. Palazzo della Cento Finestre, Florence; Palazzo Fortuny, Venice; Palazzo delle Esposizioni, Milan.<ref name=Fraenkel/>
* 1984–1987: ''Diane Arbus: Magazine Work 1960–1971''. [[Spencer Museum of Art]], Lawrence, Kansas; [[Minneapolis Institute of Art]], Minneapolis; [[University of Kentucky Art Museum]], Lexington; University Art Museum, [[California State University, Long Beach]]; Neuberger Museum, [[State University of New York at Purchase]]; [[Wellesley College]] Museum, Massachusetts; and [[Philadelphia Museum of Art]].<ref name=CheimRead/>
* 1986: ''Diane Arbus''. American Center, Paris; La Fundacion "la Caixa", Barcelona, Spain; La Fundacion "la Caixa", Madrid; Robert Klein Gallery, Boston, MA; Light Factory, Charlotte, NC.<ref name=Fraenkel/>
* 1991: ''Diane Arbus''. Ydessa Hendeles Art Foundation, Toronto.<ref name=Hume/><ref>Dault, Gary Michael. [http://www.ccca.ca/c/writing/d/dault/dau018t.html "Diane Arbus. Ydessa Hendeles Art Foundation, Toronto"]. ''C Magazine'', no. 29, Spring 1991. Retrieved February 10, 2010.</ref>
* 1992: ''Diane Arbus: The Untitled Series, 1970–1971''. [[Jan Kesner Gallery]], Los Angeles.<ref name=Pagel/><ref>"Weekend's Best". ''Daily News of Los Angeles'', May 29, 1992.</ref>
* 1995: ''The Movies: Photographs from 1956 to 1958''. Robert Miller Gallery, New York.<ref>Morgan, Susan. "Loitering with Intent: Diane Arbus at the Movies". ''Parkett'', number 47, pages 177–183, September 1996.</ref>
* 1997: ''Diane Arbus: Women''. Galleria Photology, London.<ref name=Muir/><ref>Bishop, Louise. "The Challenge of Beauty". ''Creative Review'', vol. 17, no. 63, December 1997.</ref>
* 2003–2006: ''Diane Arbus: Revelations''. [[San Francisco Museum of Modern Art]]; [[Los Angeles County Museum of Art]]; [[Museum of Fine Arts, Houston]]; [[Metropolitan Museum of Art]], New York; [[Museum Folkwang]], Essen, Germany; [[Victoria and Albert Museum]], London; CaixaForum, Barcelona; and [[Walker Art Center]], Minneapolis.<ref name=Rubinfien2005/><ref name=Met2005/>
* 2004–2005: ''Diane Arbus: Family Albums''. [[Mount Holyoke College Art Museum]], South Hadley, Massachusetts; Grey Art Gallery, New York; [[Portland Museum of Art]], Maine; Spencer Museum of Art, Lawrence, Kansas; and [[Portland Art Museum]], Oregon.<ref>[[Richard B. Woodward|Woodward, Richard B.]] [https://www.nytimes.com/2003/10/05/arts/art-diane-arbus-s-family-values.html "Art; Diane Arbus's Family Values"]. ''[[The New York Times]]'', October 5, 2003. Retrieved February 10, 2010.</ref><ref name=Kimmelman2004/><ref>Keefer, Bob. [http://www.thefreelibrary.com/The+world+of+Diane+Arbus.%28Arts+&+Literature%29%28An+exhibit+of+works+by...-a0129577058 "The World of Diane Arbus"]. ''[[The Register-Guard]]'' (Eugene, Oregon), February 27, 2005. Retrieved February 10, 2010.</ref><ref>Decoteau, Randall. [http://www.antiquesjournal.com/Pages04/Monthly_pages/march05/arbus.html "Diane Arbus's Noah's Ark of Humanity"]. {{webarchive|url=https://web.archive.org/web/20100815002212/http://www.antiquesjournal.com/Pages04/Monthly_pages/march05/arbus.html |date=August 15, 2010 }} ''New England Antiques Journal'', March 2005. Retrieved February 10, 2010.</ref>
* 2005: ''Diane Arbus: Other Faces Other Rooms''. Robert Miller Gallery, New York.<ref name=Johnson/>
* 2007: ''Something Was There: Early Work by Diane Arbus''. [[Fraenkel Gallery]], San Francisco.<ref>Baker, Kenneth. [http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2007/09/08/DDQIS0I5Q.DTL "Fraenkel Shows Us Diane Arbus Before She Even Knew Herself"]. ''[[San Francisco Chronicle]]'', September 8, 2007. Retrieved February 10, 2010.</ref>
* 2008–2009: ''Diane Arbus, a Printed Retrospective, 1960–1971''. [[Kadist Art Foundation]], Paris; and Centre Régional de la Photographie Nord Pas-de-Calais, Douchy-les-Mines, France.<ref>Davey, Moyra, and Janson Simon. "Diane Arbus, a Printed Retrospective, 1960–1971". ''Artforum International'', vol. 47, no. 8, p. 183, 2009.</ref>
* 2009: ''Diane Arbus''. [[Timothy Taylor Gallery]], London.<ref name=Davies2009>Davies, Lucy. [https://www.telegraph.co.uk/culture/photography/5250229/Diane-Arbus-a-flash-of-familiarity.html "Diane Arbus: a Flash of Familiarity"]. ''[[The Daily Telegraph|The Telegraph]]'' (London), May 6, 2009. Retrieved February 10, 2010.</ref>
* 2009–2018: ''Artist Rooms: Diane Arbus''. [[National Museum Cardiff]], Wales; and [[Dean Gallery]], Edinburgh, Scotland;<ref name=Davies2009/><ref>Cooper, Neil. [http://www.list.co.uk/article/23898-new-diane-arbus-exhibition-set-for-dean-gallery-edinburgh/ "New Diane Arbus exhibition set for Dean Gallery, Edinburgh"]. ''[[The List (magazine)|The List]]'' (Scotland), February 23, 2010. Retrieved March 5, 2010;</ref> Scottish National Gallery of Modern Art, Edinburgh; Nottingham Contemporary; Aberdeen Art Gallery; Tate Modern, London; Kirkcaldy Galleries; The Burton at Bideford.<ref name=Fraenkel/>
* 2010: ''Diane Arbus: Christ in a Lobby and Other Unknown or Almost Known Works''. Fraenkel Gallery, San Francisco;<ref>Baker, Kenneth. [http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2010/01/06/DDEF1BB67O.DTL "Fraenkel Gallery Pairs Sculptor and Arbus"]. ''[[San Francisco Chronicle]]'', January 7, 2010. Retrieved February 11, 2010.</ref> Martin-Gropius-Bau, Berlin; FOAM, Amsterdam.<ref name=Fraenkel/>
* 2011: ''Diane Arbus: People and Other Singularities''. Gagosian Gallery, Beverly Hills, California.<ref name=Fraenkel/>
* 2011–2013: ''Diane Arbus''. [[Galerie nationale du Jeu de Paume]], Paris;<ref>{{cite web|url=http://www.jeudepaume.org/index.php?page=article&idArt=1470&lieu=1|title=Diane Arbus|access-date=August 16, 2012|archive-date=June 17, 2012|archive-url=https://web.archive.org/web/20120617210852/http://www.jeudepaume.org/index.php?page=article&idArt=1470&lieu=1|url-status=dead}}</ref> Fotomuseum, Winterthur;<ref>{{cite web |url=http://www.fotomuseum.ch/VORSCHAU-RUECKSCHAU.preview-review.3.html?id=391&tx_exhibitions_pi1%5BL%5D=0&L=0&tx_exhibitions_pi1%5Bmode%5D=exhibition&tx_exhibitions_pi1%5Buid%5D=132 |title=Fotomuseum Winterthur – Vorschau/RÜckschau|language=de |access-date=August 16, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20121215040247/http://www.fotomuseum.ch/VORSCHAU-RUECKSCHAU.preview-review.3.html?id=391&tx_exhibitions_pi1%5BL%5D=0&L=0&tx_exhibitions_pi1%5Bmode%5D=exhibition&tx_exhibitions_pi1%5Buid%5D=132 |archive-date=December 15, 2012 }}</ref> [[Martin-Gropius-Bau]], Berlin;<ref>{{cite web |url=http://www.museumsportal-berlin.de/en/exhibitions/exhibition-details/diane-arbus-photographs.html |title=Exhibitions: Museumsportal Berlin |access-date=July 1, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20120625011443/http://www.museumsportal-berlin.de/en/exhibitions/exhibition-details/diane-arbus-photographs.html |archive-date=June 25, 2012 }}</ref> and [[Foam Fotografiemuseum Amsterdam]].<ref>{{cite web |url=http://www.foam.org/press/2012/diane-arbus |title=Diane Arbus |publisher=Foam Press |access-date=August 16, 2012 |url-status=dead |archive-url=https://web.archive.org/web/20121007083333/http://www.foam.org/press/2012/diane-arbus |archive-date=October 7, 2012 }}</ref>
* 2016–2017: ''diane arbus: in the beginning''. Metropolitan Museum of Art, New York; San Francisco Museum of Modern Art, San Francisco; Malba, Buenos Aires, Argentina.<ref>{{Cite web|url=https://www.metmuseum.org/exhibitions/listings/2016/diane-arbus|title=diane arbus: in the beginning|website=www.metmuseum.org|access-date=October 13, 2018}}</ref><ref>{{Cite web|url=https://www.sfmoma.org/exhibition/diane-arbus-beginning/|title=diane arbus|website=SFMOMA|language=en|access-date=October 13, 2018}}</ref><ref name=Fraenkel/>
* 2013: ''Diane Arbus: 1971 – 1956''. Fraenkel Gallery, San Francisco.<ref name=Fraenkel/>
* 2017: ''Diane Arbus: In the Park'', Lévy Gorvy, New York.{{citation needed|date=June 2021}}
* 2018: ''Diane Arbus: A Box of ten photographs'', Smithsonian American Art Museum, Washington, D.C.<ref>{{Cite web|url=https://americanart.si.edu/exhibitions/arbus|title=Diane Arbus: A box of ten photographs|website=Smithsonian American Art Museum|language=en|access-date=October 13, 2018}}</ref>
* 2018: ''Diane Arbus Untitled'', [[David Zwirner Gallery]], New York.<ref>{{cite web|first1=Adam|last1=Lehrer|access-date=March 9, 2019|title=Diane Arbus 'Untitled' Works Inaugurate David Zwirner's Status As Co-Reps Of Artist's Estate|url=https://www.forbes.com/sites/adamlehrer/2018/11/06/diane-arbus-untitled-works-inaugurate-david-zwirners-status-as-co-reps-of-artists-estate/|website=Forbes}}</ref><ref name=Lubow2018 /><ref>{{cite magazine|first1=Rachel|last1=Tashjian|first2=Eddie|last2=Zhang|access-date=March 9, 2019|title=A New Diane Arbus Show Presents the Vision She Spent Her Life Seeking|url=https://garage.vice.com/en_us/article/ev3d5j/diane-arbus-zwirner|archive-url=https://web.archive.org/web/20200729210222/https://garage.vice.com/en_us/article/ev3d5j/diane-arbus-zwirner|url-status=dead|archive-date=July 29, 2020|date=November 9, 2018|magazine=Vice}}</ref>
*2019: ''Diane Arbus: In the Beginning'', [[Hayward Gallery]], London.<ref>{{cite news|first=Adrian|last=Searle|author-link=Adrian Searle|access-date=March 9, 2019|title=Diane Arbus: In the Beginning review – a genius who made every picture a story|url=https://www.theguardian.com/artanddesign/2019/feb/12/diane-arbus-in-the-beginning-review-a-genius-who-made-every-picture-a-story|newspaper=[[The Guardian]]|date=February 12, 2019}}</ref><ref>{{cite news|access-date=March 9, 2019|title=Review: America through the lens of Diane Arbus ★★★★★|work=BBC News |url=https://www.bbc.com/news/entertainment-arts-47232407|date=February 16, 2019}}</ref>
*2020: ''Diane Arbus: Photographs, 1956–1971'', [[Art Gallery of Ontario]], Toronto.<ref>{{Cite web|url=https://ago.ca/exhibitions/diane-arbus-photographs-1956-1971|title=Diane Arbus: Photographs, 1956–1971|website=Art Gallery of Ontario|accessdate=November 11, 2022}}</ref>

== Collections ==
Arbus's work is held in the following permanent collections:
{{columns-list|colwidth=24em|
* [[Akron Art Museum]]<ref>{{cite web |url=https://akronartmuseum.org/collection/Art718?sid=312&x=9866&port=214 |title=Collection |publisher=Akron Art Museum |access-date=March 9, 2018 |archive-date=March 9, 2018 |archive-url=https://web.archive.org/web/20180309054134/https://akronartmuseum.org/collection/Art718?sid=312&x=9866&port=214 |url-status=dead }}</ref>
* [[Art Gallery of Ontario]], Canada<ref name=Fraenkel/>
* [[Art Institute of Chicago]], IL<ref name=Fraenkel/>
* BA-CA Kunstforum, Bank Austria Art Collection, Wien<ref>{{cite web|url=https://www.kunstforumwien.at/en/bankaustriaartcollection/highlights |title=Highlights of the Bank Austria Art Collection &#124; Bank Austria Kunstforum |publisher=Kunstforumwien.at |access-date=March 9, 2018}}</ref>
* [[Bibliothèque nationale de France]], Paris<ref name=Fraenkel/>
* [[Birmingham Museum of Art]], Birmingham, Alabama<ref>{{cite web |url=https://artsbma.org/artist/diane-arbus-united-states-1923-1971/ |title=Birmingham Museum of Art &#124; » Artists » Diane Arbus, United States, 1923 – 1971 |publisher=Artsbma.org |access-date=March 9, 2018 |archive-date=July 29, 2020 |archive-url=https://web.archive.org/web/20200729222850/https://www.artsbma.org/artist/diane-arbus-united-states-1923-1971/ |url-status=dead }}</ref>
* [[Center for Creative Photography]], Tucson<ref>{{cite web |url=https://ccp.arizona.edu/exhibitions-events/events/photo-friday-twins |title=Photo Friday: Twins &#124; Center for Creative Photography |publisher=Ccp.arizona.edu |date=October 4, 2013 |access-date=March 9, 2018 |archive-date=March 9, 2018 |archive-url=https://web.archive.org/web/20180309054112/https://ccp.arizona.edu/exhibitions-events/events/photo-friday-twins |url-status=dead }}</ref>
* [[Cleveland Museum of Art]]<ref>{{Cite web|url=https://www.clevelandart.org/art/collection/search|title=Search the Collection|website=Cleveland Museum of Art|accessdate=November 11, 2022}}</ref>
* [[Davison Art Center]], Wesleyan University, Middletown, Connecticut<ref>{{cite web|url=http://www.wesleyan.edu/dac/collection/photographs-after-1950.html |title=Photographs after 1950|publisher=[[Davison Art Center]], Wesleyan University|access-date=March 9, 2018}}</ref>
* [[Fotomuseum Winterthur]], Switzerland<ref name=Fraenkel/>
* [[Frances Lehman Loeb Art Center]], Poughkeepsie<ref>{{cite web|url=https://fllac.vassar.edu/exhibitions/2008/facebook.html|title=Facebook|publisher=[[Frances Lehman Loeb Art Center]], Vassar College|access-date=March 9, 2018|archive-date=March 9, 2018|archive-url=https://web.archive.org/web/20180309182807/https://fllac.vassar.edu/exhibitions/2008/facebook.html|url-status=dead}}</ref>
* [[George Eastman House]], Rochester, New York<ref name=Fraenkel/>
* [[Goetz Collection]], Munich<ref>{{Cite web|url=https://www.sammlung-goetz.de/en/Exhibitions/past/1997/NobuyoshiAraki_DianeArbus_NanGoldin.htm|title=Sammlung-goetz.de|accessdate=November 11, 2022|archive-date=November 20, 2018|archive-url=https://web.archive.org/web/20181120095348/https://www.sammlung-goetz.de/en/Exhibitions/past/1997/NobuyoshiAraki_DianeArbus_NanGoldin.htm|url-status=dead}}</ref>
* [[Harvard Art Museums]]/[[Fogg Museum]], Cambridge, MA<ref>{{cite web|url=https://www.harvardartmuseums.org/collections/person/34517?person=34517 |title=Harvard Art Museums |publisher=Harvard Art Museums |access-date=March 9, 2018}}</ref>
* [[International Center of Photography]], New York City<ref>{{cite web|author=Diane Arbus |url=https://www.icp.org/browse/archive/constituents/diane-arbus?all/all/all/all/0 |title=Diane Arbus &#124; International Center of Photography |publisher=Icp.org |access-date=March 9, 2018}}</ref>
* [[Institut Valencià d'Art Modern]], Valencia, Spain<ref>{{cite web|url=https://www.ivam.es/en/exposiciones/women-photographers-in-the-ivam-collection/|publisher=[[Institut Valencià d'Art Modern]] (IVAM)|title=Women photographers in the IVAM Collection|access-date=March 9, 2018}}</ref>
* [[J. Paul Getty Museum]], Los Angeles, California<ref name=Fraenkel/>
* [[John and Mable Ringling Museum of Art]], Sarasota<ref>{{cite web|url=https://www.ringling.org/events/posed-portrait-photography-permanent-collection |title=Posed: Portrait Photography from the Permanent Collection – When: June 30, 2017 – October 29, 2017 |publisher=The Ringling |access-date=March 9, 2018}}</ref>
*[[Kalamazoo Institute of Arts]], Kalamazoo, MI<ref>{{cite web |title=Bed in Mirror |url=http://collection.kiarts.org/view/objects/asitem/search@/1/primaryMaker-asc?t:state:flow=8328dfff-44a5-482b-9440-533e7cced582 |website=Kalamazoo Institute of Arts |access-date=May 6, 2020}}</ref> 
* KMS Fine Art Group, Baar, Switzerland<ref>{{cite web |url=http://www.faif.ch/en/artists.htm?id=225 |title=Diane Arbus Fine Art Invest Fund |publisher=Faif.ch |access-date=March 9, 2018 |archive-date=March 9, 2018 |archive-url=https://web.archive.org/web/20180309054219/http://www.faif.ch/en/artists.htm?id=225 |url-status=dead }}</ref><ref>{{cite web|access-date=May 6, 2020|title=eMuseum|url=http://collection.kiarts.org/start;jsessionid=DEB2ED887C41D5EE922C6A9C63DA00BD?t:state:flow=ac564f2e-c4d3-4a86-b636-737839cc556c|website=collection.kiarts.org|archive-date=July 30, 2020|archive-url=https://web.archive.org/web/20200730000329/http://collection.kiarts.org/start;jsessionid=DEB2ED887C41D5EE922C6A9C63DA00BD?t:state:flow=ac564f2e-c4d3-4a86-b636-737839cc556c|url-status=dead}}</ref>
* [[Los Angeles County Museum of Art]]<ref>{{cite web|author=Diane Arbus |url=https://collections.lacma.org/node/166537 |title=Diane Arbus &#124; LACMA Collections |publisher=Collections.lacma.org |access-date=March 9, 2018}}</ref>
* Maison Europeene de la Photographie, Paris<ref name=Fraenkel/>
* [[Metropolitan Museum of Art]], New York<ref>"[http://www.metmuseum.org/toah/works-of-art/2001.474/ Child with a toy hand grenade in Central Park, N.Y.C.]" [[National Galleries of Scotland]]. Accessed November 23, 2016</ref>
* [[Milwaukee Art Museum]]<ref>{{cite web|url=http://collection.mam.org/artist.php?id=479 |title=Diane Arbus &#124; Milwaukee Art Museum |publisher=Collection.mam.org |access-date=March 9, 2018}}</ref>
* [[Minneapolis Institute of Art]]<ref>{{cite web |url=https://collections.artsmia.org/search/Diane%20Arbus |title=Diane Arbus |publisher=Mia |access-date=February 17, 2018}}</ref>
* [[Moderna Museet Malmö]]<ref>{{cite web|url=https://www.modernamuseet.se/malmo/en/2008/09/22/unique-collaboration/ |title=Unique collaboration|publisher=[[Moderna Museet Malmö]]|location=Malmö|date=September 22, 2008|access-date=March 9, 2018}}</ref>
* [[Moderna Museet]], Stockholm<ref>{{cite web|url=https://www.modernamuseet.se/stockholm/en/exhibitions/francesca-woodman/photography-from-the-collection/ |title=Moderna Museet Collection &#124; Moderna Museet i Stockholm |publisher=Modernamuseet.se |date=April 3, 1958 |access-date=March 9, 2018}}</ref>
* [[Morgan Library & Museum]], New York<ref name=Fraenkel/>
* [[Museum of Contemporary Art, Los Angeles]], California<ref>{{cite web|url=https://www.moca.org/artist/diane-arbus |title=Diane Arbus • MOCA |publisher=Moca.org |access-date=March 9, 2018}}</ref>
* [[Museum of Contemporary Photography]], Chicago, IL<ref name=Fraenkel/>
* [[Museum of Fine Arts, Boston]], Massachuesetts<ref name=Fraenkel/>
* [[Museum of Fine Arts, Houston]], Texas<ref name=Fraenkel/>
* [[Museum of Fine Arts (St. Petersburg, Florida)]]<ref>{{cite web |url=http://mfastpete.org/exh/five-decades-photography-mfa-featuring-dandrew-drapkin-collection/ |title=Five Decades of Photography at the MFA, Featuring the Dandrew-Drapkin Collection &#124; Museum of Fine Arts, St. Petersburg |publisher=Mfastpete.org |date=October 4, 2015 |access-date=March 9, 2018 |archive-date=March 9, 2018 |archive-url=https://web.archive.org/web/20180309121844/http://mfastpete.org/exh/five-decades-photography-mfa-featuring-dandrew-drapkin-collection/ |url-status=dead }}</ref><ref>{{cite web|url=https://www.tampabay.com/things-to-do/visualarts/review-stunning-comprehensive-photography-survey-at-museum-of-fine-arts-st/2237372/ |title=Review: Stunning, comprehensive photography survey at Museum of Fine Arts, St. Petersburg |publisher=Tampabay.com |access-date=March 9, 2018}}</ref>
* [[Museum Folkwang]], Essen, Germany<ref name=Fraenkel/>
* [[Museum of Modern Art]], New York<ref name=Fraenkel/>
* [[Musée National d'Art Moderne]], Centre Pompidou, Paris<ref name=Fraenkel/>
* [[Museo Nacional Centro de Arte Reina Sofía]], Madrid<ref>{{Cite web|url=https://www.museoreinasofia.es/coleccion/autor/arbus-diane|title=Arbus, Diane|website=www.museoreinasofia.es|accessdate=November 11, 2022}}</ref>
* [[National Gallery of Art]], Washington, D.C.<ref name=Fraenkel/>
* [[National Gallery of Australia]], Canberra, Australia<ref name=Fraenkel/>
* [[National Gallery of Canada]], Ottawa<ref>{{cite web|url=https://www.gallery.ca/collection/artist/diane-arbus |title=Diane Arbus &#124; National Gallery of Canada |publisher=Gallery.ca |access-date=March 9, 2018}}</ref><ref>{{cite web|url=https://www.gallery.ca/collection/search-the-collection?search_api_views_fulltext=diane+arbus&sort_by=search_api_relevance |title=Search the Collection &#124; National Gallery of Canada |publisher=Gallery.ca |access-date=March 9, 2018}}</ref>
* [[National Museum of Modern Art, Tokyo]]<ref name=Fraenkel/>
* [[New Orleans Museum of Art]]<ref>{{Cite web|url=https://noma.org/first-comprehensive-exhibition-of-masterworks-from-new-orleans-museum-of-art-photography-collection-opens-in-november-2013/|title=First Comprehensive Exhibition Of Masterworks From New Orleans Museum Of Art Photography Collection Opens In November 2013|date=October 28, 2013|website=New Orleans Museum of Art|accessdate=November 11, 2022}}</ref><ref>{{Cite web|url=https://noma.org/search/Arbus,%20Diane/|title=You searched for Arbus, Diane|website=New Orleans Museum of Art|accessdate=November 11, 2022}}</ref>
* [[New York Public Library Main Branch]], New York<ref name=Fraenkel/>
* [[Pier 24 Photography]], San Francisco, California<ref name=Fraenkel/>
* The Progressive Art Collection, Mayfield Village<ref>{{Cite web|url=https://artfacts.net/institution/the-progressive-art-collection/14172|title=The Progressive Art Collection &#124; Institution|website=artfacts.net|accessdate=November 11, 2022|archive-date=March 6, 2021|archive-url=https://web.archive.org/web/20210306020456/https://artfacts.net/institution/the-progressive-art-collection/14172|url-status=dead}}</ref>
* [[Rijksmuseum]], Amsterdam, the Netherlands<ref name=Fraenkel/>
* [[San Francisco Museum of Modern Art]], California<ref name=Fraenkel/>
* [[Smithsonian American Art Museum]], Washington, D.C.<ref name=Fraenkel/>
* [[Spencer Museum of Art]], Lawrence<ref>[http://collection.spencerart.ku.edu/eMuseumPlus?service=direct/1/ResultDetailView/result.tab.link&sp=10&sp=Sartist&sp=SfieldValue&sp=0&sp=0&sp=3&sp=SdetailView&sp=0&sp=Sdetail&sp=0&sp=F&sp=SdetailBlockKey&sp=1 Spencerart.ku.edu] [[Spencer Museum of Art]]. Accessed March 7, 2018</ref>
* [[Stedelijk Museum Amsterdam]], The Netherlands<ref name=Fraenkel/>
* [[Sweet Briar College]] Art Gallery, Sweet Briar, Virginia<ref>{{Cite web |url=http://oldweb.sbc.edu/news/art-galleries/artists-relationships-display-sweet-briar/attachment/lady-bartender/ |title=Oldweb.sdc.edu |access-date=March 8, 2018 |archive-date=March 10, 2021 |archive-url=https://web.archive.org/web/20210310154915/http://oldweb.sbc.edu/news/art-galleries/artists-relationships-display-sweet-briar/attachment/lady-bartender/ |url-status=dead }}</ref>
* [[Tate]]<ref>"[http://www.tate.org.uk/art/artworks/arbus-child-with-a-toy-hand-grenade-in-central-park-n-y-c-1962-ar00524 Diane Arbus: Child with a Toy Hand Grenade in Central Park, N.Y.C. 1962 1962, printed after 1971]" [[Tate]]. Accessed November 23, 2016</ref> and [[National Galleries of Scotland]], UK (jointly held)<ref>"[https://art.nationalgalleries.org/art-and-artists/92865 Diane Arbus: Child with a Toy Hand Grenade in Central Park, N.Y.C. 1962]" [[National Galleries of Scotland]]. Accessed November 23, 2016</ref>
* [[Tokyo Metropolitan Art Museum]],<ref>[https://web.archive.org/web/20140407235356/http://www.tobikan.jp/en/ Tobikan]</ref> Japan<ref name=Fraenkel/>
* [[Vancouver Art Gallery]], Vancouver<ref>{{Cite web|url=http://vanartgallery.bc.ca/80artworks/arbus/|title=Vanartgallery.bc.ca|accessdate=November 11, 2022|archive-date=April 26, 2019|archive-url=https://web.archive.org/web/20190426010929/http://vanartgallery.bc.ca/80artworks/arbus/|url-status=dead}}</ref>
* [[Victoria and Albert Museum]], London<ref name=Fraenkel/>
* [[Whitney Museum]], New York<ref name=Fraenkel/>
* [[Williams College Museum of Art]], Williamstown, Massachusetts<ref>{{Cite web|url=https://egallery.williams.edu/objects/13873/child-with-a-toy-hand-grenade-in-central-park-nyc|title=Child with a Toy Hand Grenade in Central Park, NYC|website=egallery.williams.edu|accessdate=November 11, 2022}}</ref>
* [[Ydessa Hendeles Art Foundation]], Toronto<ref>{{Cite magazine|url=https://www.newyorker.com/culture/photo-booth/a-piercing-view-of-the-twentieth-century-through-the-eyes-of-the-teddy-bear|title=A Piercing View of the Twentieth Century, Through the Eyes of the Teddy Bear|date=September 18, 2016|magazine=[[The New Yorker]]|accessdate=November 11, 2022}}</ref><ref>{{Cite news|url=https://www.theglobeandmail.com/arts/art-and-architecture/in-small-shows-ydessa-hendeles-changed-the-art-world/article4935009/|title=In small shows, Ydessa Hendeles changed the art world|first=Robert|last=Everett-Green|newspaper=The Globe and Mail |date=November 5, 2012|accessdate=November 11, 2022|via=www.theglobeandmail.com}}</ref>
* [[Yokohama Museum of Art]], Yokohama, Japan<ref>[http://yokohama.art.museum/special/2008/collection/1/pdf/list-documentary3.pdf Yokohama.art.museum]</ref>
}}

==References==
{{reflist|30em}}

==Further reading==

===Books===
* Arbus, Doon, and Diane Arbus. ''Diane Arbus: the Libraries''. San Francisco: [[Fraenkel Gallery]], 2004. {{ISBN|1-881337-19-7}}.
* [[Patricia Bosworth|Bosworth, Patricia]]. ''Diane Arbus: a Biography''. New York: Knopf, 1984. {{ISBN|0-394-50404-6}}. (Reprinted by Heinemann in 1985, {{ISBN|0-434-08150-7}}. Reprinted by W. W. Norton in 1995, {{ISBN|0-393-31207-0}}. Reprinted by W. W. Norton in 2005 with a new afterword, {{ISBN|0-393-32661-6}}. Reprinted by Vintage in 2005 with a new foreword, {{ISBN|0-09-947036-5}}.)
* Gibson, Gregory. ''Hubert's Freaks: the Rare-Book Dealer, the Times Square Talker, and the Lost Photos of Diane Arbus''. Orlando: Harcourt, 2008. {{ISBN|978-0-15-101233-6}}.
* Lee, Anthony W., and John Pultz. ''Diane Arbus: Family Albums''. New Haven, Connecticut: Yale University Press, 2003. {{ISBN|0-300-10146-5}}.
* [[Arthur Lubow|Lubow, Arthur]]. ''Diane Arbus: Portrait of a Photographer''. New York: [[Ecco Press]], 2016. {{ISBN|978-0-06-223432-2}}.
* {{ill|Patrick Roegiers|fr|lt=Roegiers, Patrick}}. ''Diane Arbus, ou, le Rêve du Naufrage''. Paris: Chêne, 1985. {{ISBN|2-85108-374-0}}.
* [[William Todd Schultz|Schultz, William Todd]]. "An Emergency in Slow Motion: The Inner Life of Diane Arbus". New York: Bloomsbury, 2011. {{ISBN|1-60819-519-8}}.
* Tellgren, Anna. ''Arbus, Model, Strömholm''. Göttingen, Germany: Steidl, 2005. {{ISBN|3-86521-143-7}}.

===Book chapters===
* Ashby, Ruth, and Deborah Gore Ohrn. ''Herstory: Women who Changed the World''. New York: Viking, 1995. {{ISBN|0-670-85434-4}}.
* [[Gerhard Bissell|Bissell, Gerhard]]. "Arbus, Diane". In: ''[[Allgemeines Künstlerlexikon]] (Artists of the World)'', Supplement I, [[K. G. Saur Verlag|Saur]], [[Munich]] 2005, p.&nbsp;413 (in German). [http://www.degruyter.com/view/AKL/_30163152?rskey=DzE3F4&result=1&dbq_0=%22Arbus%2C+Diane%22&dbf_0=akl-name&dbt_0=name&o_0=AND Online edition] (subscription required).
* Bunnell, Peter C. ''Degrees of Guidance: Essays on Twentieth-Century American Photography''. Cambridge and New York: Cambridge University Press, 1993. {{ISBN|0-521-32751-2}}.
* Bunnell, Peter C. ''Inside the Photograph: Writings on Twentieth-Century Photography''. New York: Aperture Foundation, 2006. {{ISBN|1-59711-021-3}}.
* Coleman, A.D. "Diane Arbus, Lee Friedlander, and Garry Winogrand at Century's End". In: ''The Social Scene: the Ralph M. Parsons Foundation Photography Collection at the Museum of Contemporary Art, Los Angeles'', edited by [[Max Kozloff]]. Los Angeles: Museum of Contemporary Art, 2000. {{ISBN|0-914357-74-3}}.
* Davies, David. "Susan Sontag, Diane Arbus and the Ethical Dimensions of Photography". In: ''Art and Ethical Criticism'' edited by [[Garry L. Hagberg|Garry Hagberg]]. Oxford: Blackwell, 2008. {{ISBN|978-1-4051-3483-5}}.
* Felder, Deborah G. ''The 100 Most Influential Women of All Time: a Ranking Past and Present''. Secaucus, New Jersey: Carol Publishing Group, 1996. {{ISBN|0-8065-1726-3}}.
* Gaze, Delia, ed. ''Dictionary of Women Artists''. London and Chicago: Fitzroy Dearborn Publishers, 1997. {{ISBN|1-884964-21-4}}.
* [[Philip Gefter|Gefter, Philip]], ''Photography After Frank''. New York: Aperture Foundation, 2009. {{ISBN|978-1-59711-095-2}}
* "Diane Arbus and the Demon Lover". In: Kavaler-Adler, Susan. ''The Creative Mystique: from Red Shoes Frenzy to Love and Creativity''. New York: Routledge, 1996. Pages 167–172. {{ISBN|0-415-91412-4}}.
* Lord, Catherine. "What Becomes a Legend Most: the Short, Sad Career of Diane Arbus". In: ''The Contest of Meaning: Critical Histories of Photography'' edited by Richard Bolton. Cambridge, Massachusetts: MIT Press, 1989. {{ISBN|0-262-02288-5}}.
* Naef, Weston J. ''Photographers of Genius at the Getty''. Los Angeles: The J. Paul Getty Museum, 2004. {{ISBN|0-89236-748-2}}.
* Rose, Phyllis, editor. ''Writing of Women: Essays in a Renaissance''. Middletown, Connecticut: Wesleyan University Press, 1985. {{ISBN|0-8195-5131-7}}.
* Sicherman, Barbara, and Carol Hurd Green. ''Notable American Women: the Modern Period: a Biographical Dictionary''. Cambridge, Massachusetts: Belknap Press of Harvard University Press, 1980. {{ISBN|0-674-62733-4}}.
* Shloss, Carol. "Off the (W)rack : Fashion and Pain in the Work of Diane Arbus". In: ''On Fashion'' edited by [[Shari Benstock]] and Suzanne Ferriss. New Brunswick, New Jersey: Rutgers University Press, 1994. {{ISBN|0-8135-2032-0}}.
* Stepan, Peter. ''Icons of Photography: the 20th Century''. New York: Prestel, 1999. {{ISBN|3-7913-2001-7}}.

===Articles===
* Alexander, M. Darsie. "Diane Arbus: a Theatre of Ambiguity". ''History of Photography'', vol. 19, no. 2, pp.&nbsp;120–123, Summer 1995.
* Bedient, Calvin. "The Hostile Camera: Diane Arbus". ''Art in America'', vol. 73, no. 1, pp.&nbsp;11–12, January 1985.
* Budick, Ariella. "Diane Arbus: Gender and Politics". ''History of Photography'', vol. 19, no. 2, pp.&nbsp;123–126, Summer 1995.
* Budick, Ariella. "Factory Seconds: Diane Arbus and the Imperfections in Mass Culture". ''Art Criticism'', vol. 12, no. 2, pp.&nbsp;50–70, 1997.
* Charrier, Philip. "On Diane Arbus: Establishing a Revisionist Framework of Analysis". ''History of Photography'', vol. 36, no. 4, pp.&nbsp;422–438, September 2012.
* [[James Estrin|Estrin, James]]. [https://www.nytimes.com/interactive/2018/obituaries/overlooked-diane-arbus.html "Diane Arbus, 1923–1971"], ''[[The New York Times]]'', March 8, 2018.
* Hulick, Diana Emery. "Diane Arbus's Women and Transvestites: Separate Selves". ''History of Photography'', vol. 16, no. 1, pp.&nbsp;34–39, Spring 1992.
* Hulick, Diana Emery. "Diane Arbus's Expressive Methods". ''History of Photography'', vol. 19, no. 2, pp.&nbsp;107–116, Summer 1995.
* Jeffrey, Ian. "Diane Arbus and the American Grotesque". ''Photographic Journal'', vol. 114, no. 5, pp.&nbsp;224–229, May 1974.
* Jeffrey, Ian. "Diane Arbus and the Past: when She Was Good". ''History of Photography'', vol. 19, no. 2, pp.&nbsp;95–99, Summer 1995.
* [[Max Kozloff|Kozloff, Max]]. "The Uncanny Portrait: Sander, Arbus, Samaras". ''Artforum'', vol. 11, no. 10, pp.&nbsp;58–66, June 1973.
* [[Arthur Lubow|Lubow, Arthur]]. [https://www.nytimes.com/2018/11/15/arts/design/diane-arbus-zwirner.html "Arbus, Untitled and Unearthly"]. ''[[The New York Times]]'', November 15, 2018.
* McPherson, Heather. "Diane Arbus's Grotesque 'Human Comedy'". ''History of Photography'', vol. 19, no. 2, pp.&nbsp;117–120, Summer 1995.
* Pierpont, Claudia Roth. [http://www.newyorker.com/magazine/2016/05/23/diane-arbus-at-the-met-breuer "Full Exposure"], ''[[The New Yorker]]'', vol. 92, no. 15 (May 23, 2016), pp.&nbsp;56–67.
* Rice, Shelley. "Essential Differences: A Comparison of the Portraits of Lisette Model and Diane Arbus". ''Artforum'', vol. 18, no. 9, pp.&nbsp;66–71, May 1980.
* Warburton, Nigel. "Diane Arbus and Erving Goffman: the Presentation of Self". ''History of Photography'', vol. 16, no. 4, pp.&nbsp;401–404, Winter 1992.

==External links==
{{Commons category}}
{{Library resources box|by=yes|onlinebooks=no|wikititle=Diane Arbus}}
* {{Wikiquote-inline}}
* [https://americanart.si.edu/videos/box-ten-photographs-odyssey-diane-arbus-158825 "The Odyssey of Diane Arbus" panel discussion], John Jacob with Jeffrey Fraenkel, [[John Gossage]], Karan Rinaldo, Jeff Rosenheim, [[Neil Selkirk]], and [[Jasper Johns]], Smithsonian American Art Museum, April 6, 2018.
* [https://web.archive.org/web/20130510064141/http://theredlist.fr/wiki-2-16-601-788-view-portrait-1-profile-arbus-diane.html Diane Arbus on The Red List]
* Austin, Hillary Mac. [http://jwa.org/encyclopedia/article/arbus-diane "Diane Arbus"], ''Jewish Women: A Comprehensive Historical Encyclopedia'', March 1, 2009.
* Bissell, Gerhard. [http://gerbis.net/publications/arbus.html ''Diane Arbus''].
* Davies, Christie. [http://www.socialaffairsunit.org.uk/blog/archives/000700.php "Art as Freak Show: Diane Arbus, Revelations at the V&A"]. London: Social Affairs Unit, December 16, 2005.
* [[Arthur Lubow|Lubow, Arthur]]. "[https://www.nytimes.com/2016/05/29/arts/design/how-diane-arbus-became-arbus.html How Diane Arbus Became 'Arbus'"] ". ''[[The New York Times]]'' May 26, 2016.
* Oppenheimer, Daniel. [https://www.jewishvirtuallibrary.org/jsource/biography/arbus.html "Diane Arbus"]. ''[[Jewish Virtual Library]]'', 2004.
* [[Roberta Smith|Smith, Roberta]]. [https://www.nytimes.com/1989/05/19/arts/review-art-diane-arbus-and-alice-neel-with-attention-to-the-child.html "Review/Art; Diane Arbus and Alice Neel, with Attention to the Child"]. ''[[The New York Times]]'', May 19, 1989.
* [https://www.davidzwirner.com/artists/diane-arbus Diane Arbus at David Zwirner]

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