Word: arbus
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...work of eight photographers is displayed in this exhibit, including such well- known names as Diane Arbus, Robert Frank, and Lee Friedlander. All met with Evans at a time important in the development of their work. Recognizing their talents and interests from the start, Evans worked with them in the role of teacher and coleague. With the exception of the younger artists, he selected them to be in the anthology Quality: Its Image in the Arts, published...
...been individually acclaimed on the merit of his or her own work, the Evans influence is unmistakable, especially when there is such close available comparison. This is not to say, however, that while influenced by the same man, the photographers appear in any way related to one another. Arbus's portraits of human oddities bear little resemblance to Alston Purvis' color details of plain doorways and windows other than the similar oblong shape of their frames. As the catalogue to the exhibit states, "Each one saw a slightly different side to the man, and Evans was a master at revealing...
...light in them. He exhibits the same fascination Evans does for the seemingly insignificant. Christenberry also becomes absorbed in Evans' attraction for objects; the descendance is conspicuous in his straight - on portraits of country buildings and graveyards. The examination of some of the other photographers displayed, however, in particular Arbus, Friedlander, Levitt and Frank, requires a more involved exploration of the man and the intricacies...
...dilapidated interior of a sharecropper's shack is rendered with a clear rectilinear organization of forms and the delicate play of the patterns of natural light. There is no question of the respect Evans feels for his subjects; neither people nor objects are manipulated or abused. Diane Arbus clearly shares this same respect in her portraits of New York city eccentrics. In the portrait "Teenage Couple on Hudson Street, N.Y., 1963," the people face the camera with little fear and outward emotion. This attitude unquestionably derives from previous Evans portraits. His people always show an awareness of the camera...
...lack of outward emotion in Evans' photographs becomes increasingly apparent when compared to the posed quality of Arbus' work. It appears that she must have agreed with the subjects beforehand that they remain emotionless in order to calm down their already screaming irregularity. Their faces look as if they are literally repressing the emotions they feel. Evans' subjects, however, appear as if they have come to their emotionless states purely by chance; it is as if he has caught them in a single moment before or after something has happened. Helen Levitt's high-spirited photographs of children...