Word: arbus
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...years, starting in 1962, he was chief curator of photography at the Museum of Modern Art in New York City. In that role he turned out shows and books that powerfully influenced our understanding of what the camera could do. In particular he championed the groundbreaking work of Diane Arbus, Garry Winogrand, Lee Friedlander and William Eggleston, photographers who, as he wrote, had turned documentary photography "toward more personal ends." He once compared camera art simply to "the act of pointing." He pointed, too, expertly, to pictures that he knew the world should know about...
...STREET AMY ARBUS From 1980 to 1990, Arbus wandered the streets of Manhattan making pictures of the more style-conscious locals for the Village Voice. Looking at them now, you can't help seeing affinities with the work of her mother Diane Arbus. They both were drawn to extravagant specimens of humanity, but in Amy's pictures the skinheads, drag queens and assorted hipsters no longer seem like unsettling loners. They're self-possessed public actors, pleased to be flourishing their regalia...
...Imaginary Portrait of Diane Arbus Directed by Steven Shainberg Picturehouse 1.5 Stars Move over, Martha Stewart—exotic is the new plain, and weird is the new normal. Unfortunately, each is proving that it can be just as boring as its predecessor. “Taking the center from the margins” seems to be the raison d’être of several of the best films produced in culture-war-America over the past year, from the spectacular “Brokeback Mountain” to the delightful “Little Miss Sunshine...
...latter is not a word anyone would want to apply to Fur. Or perhaps to any movie as inherently corrupt as this one is. On the one hand, it wants to bandy a famous name about-although what value a cult figure like Arbus has, for the movie audience, even the one that gathers in the upscale specialty theaters, is problematic. On the other hand, it wants to be free to sensationally reinvent her life, mainly in order to provide the audience with images that are simultaneously revolting and sentimental. We're supposed to draw back aghast from the close...
...performance and an apparent belief that the business of art is to repel rather than to seduce. Or rather to repel and then tack on a little spurious uplift as he finally does here. Another way of putting that is that he is precisely the opposite of Diane Arbus, hopelessly enthralled and self-endangered by her obsession, yet somehow finding in her art the means of controlling it-at least for a time. Shainberg, in contrast, wishes only to lie about her life. And exploit...