Diane Arbus

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in the beginning

In 2016, The Met Breuer presented in the beginning, a landmark exhibition of Arbus’s early photographs from the first seven years of her career, from 1956–1962. These 35mm pictures had previously been presented in a supporting role to her later, iconic images. The show and accompanying catalogue marked the first time many of the images were ever seen.

Black-and-white photograph of light from a movie projector streaming across a balcony — Diane Arbus, 42nd Street movie theater audience, N.Y.C. 1958, printed later

gelatin silver print, 16 x 20 inches (sheet) [40.6 x 50.8 cm]

Black-and-white photograph of a boy wearing tie, coat, and hat with full brim — Diane Arbus, Boy in a man’s hat, N.Y.C. 1956, printed later

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Black-and-white photograph of Dracula with one eyebrow raised on a movie screen — Diane Arbus, Bela Lugosi as “Dracula,” close-up 1958

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Black-and-white photograph of a woman wearing a fur coat and hat sitting in the back of a bus — Diane Arbus, Lady on a bus, N.Y.C. 1956, printed later

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Black-and-white photograph of a headless man sitting on a chair on top of a pedestal — Diane Arbus, Headless man, N.Y.C. 1962

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Black-and-white photograph of woman carrying a child — Diane Arbus, Woman carrying a child in Central Park, N.Y.C. 1956, printed later

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Black-and-white photograph of a man with his head facing the opposite way of his body in a room lit by a single lightbulb — Diane Arbus, The Backwards Man in his hotel room, N.Y.C. 1961, printed later

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Black-and-white photograph of a drive-in theater at nighttime with clouds on screen — Diane Arbus, Clouds on-screen at a drive-in movie, N.J. 1960, printed later

gelatin silver print, 16 x 20 inches (sheet) [40.6 x 50.8 cm]

Diane Arbus42nd Street movie theater audience, N.Y.C. 1958

printed later

gelatin silver print, 16 x 20 inches (sheet) [40.6 x 50.8 cm]

Diane ArbusBoy in a man’s hat, N.Y.C. 1956

printed later

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Diane ArbusBela Lugosi as “Dracula,” close-up 1958

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Diane ArbusLady on a bus, N.Y.C. 1956

printed later

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Diane ArbusHeadless man, N.Y.C. 1962

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Diane ArbusWoman carrying a child in Central Park, N.Y.C. 1956

printed later

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Diane ArbusThe Backwards Man in his hotel room, N.Y.C. 1961

printed later

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Diane ArbusClouds on-screen at a drive-in movie, N.J. 1960

printed later

gelatin silver print, 16 x 20 inches (sheet) [40.6 x 50.8 cm]

Black-and-white photograph of a woman with dark hair wearing a pearl necklace and broach

Diane Arbus: An Aperture Monograph

The publication of Diane Arbus: An Aperture Monograph in 1972—along with the related posthumous retrospective at The Museum of Modern Art—offered the general public its first encounter with the breadth and power of her achievements. The response was unprecedented.

Black-and-white photograph of triplets wearing matching outfits sitting on a bed — Diane Arbus, Triplets in their bedroom, N.J. 1963, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a fake building facade with grass in the foreground and a scattered clouds in the sky — Diane Arbus, A house on a hill, Hollywood, Cal. 1963, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a body builder flexing on stage with his back to the crowd — Diane Arbus, Muscle man contestant, N.Y.C. 1968, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a man resting his head on his hand and a woman holding a purse and shopping bag — Diane Arbus, Elderly couple on a park bench, N.Y.C. 1969, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a dramatically lit castle at night with fog — Diane Arbus, A castle in Disneyland, Cal. 1962, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of four figures wearing formal attire gathered in front of a white wall — Diane Arbus, Four people at a gallery opening, N.Y.C. 1968, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a close up of a womans face — Diane Arbus, A woman with pearl necklace and earrings, N.Y.C. 1967, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a young man with his arm around a young woman — Diane Arbus, Teenage couple on Hudson Street, N.Y.C. 1963, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a man holding his hat over his heart — Diane Arbus, Man at a parade on Fifth Avenue, N.Y.C. 1969, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusWoman on a park bench on a sunny day, N.Y.C. 1969

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusTriplets in their bedroom, N.J. 1963

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusA house on a hill, Hollywood, Cal. 1963

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusMuscle man contestant, N.Y.C. 1968

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusElderly couple on a park bench, N.Y.C. 1969

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusA castle in Disneyland, Cal. 1962

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusFour people at a gallery opening, N.Y.C. 1968

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusA woman with pearl necklace and earrings, N.Y.C. 1967

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusTeenage couple on Hudson Street, N.Y.C. 1963

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusMan at a parade on Fifth Avenue, N.Y.C. 1969

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

All Portfolios

Black-and-white photograph of a tanned man sitting with his head resting on his hand

Diane Arbus: Magazine Work

“Like most photographers of her time, Diane Arbus looked to magazines as the sole means of earning a living taking pictures, which was not merely gratifying but essential. They offered her an opportunity to work and have her work seen, gave her access to people and events she might not have been able to photograph otherwise, and, perhaps most important of all, encouraged her to think of herself as a professional.” — Doon Arbus & Marvin Israel, foreword, Magazine Work

Black-and-white photograph of James Brown leaning against a post — Diane Arbus, James Brown backstage at the Apollo Theater, N.Y.C. 1966, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a woman with her arm around a boy — Diane Arbus, Writer Susan Sontag with her son David, N.Y.C. 1965, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a woman in a white dress holding a cross, her veil blows in the wind — Diane Arbus, Bishop by the sea, Santa Barbara, Cal. 1964, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a shirtless man with tattoos laying in the grass — Diane Arbus, Jack Dracula, the Marked Man, N.Y.C. 1961, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a woman sitting in an ornate room — Diane Arbus, Mrs. T. Charlton Henry on a couch in her Chestnut Hill home, Philadelphia, Pa. 1965, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusCharles Atlas seated in his Palm Beach home, Fla. 1969

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusJames Brown backstage at the Apollo Theater, N.Y.C. 1966

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusWriter Susan Sontag with her son David, N.Y.C. 1965

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusBishop by the sea, Santa Barbara, Cal. 1964

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusJack Dracula, the Marked Man, N.Y.C. 1961

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusMrs. T. Charlton Henry on a couch in her Chestnut Hill home, Philadelphia, Pa. 1965

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white square photograph of two figures in embrace on an empty stage, the their left is a single floor lamp illuminating the scene to their right is a poster depicting a couple kissing

Diane Arbus: Revelations

Diane Arbus Revelations was organized by the San Francisco Museum of Modern Art in 2003 and traveled to museums in the United States and Europe through 2006. The exhibition and accompanying catalogue offered the deepest exploration to date of Arbus’s career and her impact on photography.

Black-and-white photograph of two shirtless figures one with their hand on the others bicep — Diane Arbus, Two female impersonators backstage, N.Y.C. 1962

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Black-and-white photograph of a woman sitting alone at a counter — Diane Arbus, Woman at a counter smoking, N.Y.C. 1962, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a girl wearing a hat and a young boy in the bottom right corner of the frame — Diane Arbus, Girl in a watch cap, N.Y.C. 1965, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a man standing in a street holding an American flag — Diane Arbus, Veteran with a flag, N.Y.C. 1971, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a woman sitting with man laying down resting his head on her lap with water in the background — Diane Arbus, Couple on a pier, N.Y.C. 1963

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Black-and-white photograph of two women in dresses standing in front of a tent — Diane Arbus, The Albino sword swallower and her sister, Md. 1970, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a woman with dark hair and dark eyeliner looking out of the frame — Diane Arbus, Woman with eyeliner, N.Y.C. 1967, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph with a track curving through the center, a skeleton on the right, and scary faces on the wall — Diane Arbus, The House of Horrors, Coney Island, N.Y. 1962, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of a woman standing on the edge of the sidewalk with a bus in the background — Diane Arbus, Woman in a floppy hat, N.Y.C. 1970, printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusA couple kissing on stage, N.Y.C.[Valentino look alike at an audition] 1963

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusTwo female impersonators backstage, N.Y.C. 1962

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Diane ArbusWoman at a counter smoking, N.Y.C. 1962

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusGirl in a watch cap, N.Y.C. 1965

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusVeteran with a flag, N.Y.C. 1971

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusCouple on a pier, N.Y.C. 1963

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Diane ArbusThe Albino sword swallower and her sister, Md. 1970

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusWoman with eyeliner, N.Y.C. 1967

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusThe House of Horrors, Coney Island, N.Y. 1962

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Diane ArbusWoman in a floppy hat, N.Y.C. 1970

printed later

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm], edition of 75

Black-and-white photograph of five figures wearing masks with an open field in the background and cloudy sky

Diane Arbus: Untitled

The images from Untitled were made at residences for people with developmental disabilities, places Arbus repeatedly returned to for picnics and dances, and at Halloween between 1969 and 1971, the last years of her life. “These photographs… can’t be confined by critical categorization, because they are purely ecstatic; they are the pictures Arbus had been waiting all her life to take,” wrote Hilton Als. “It’s as if the most remarkable images she produced in the early sixties … were faint talismans leading Arbus to this final study, in which her justly renowned control cannot compete with the unconscious power of her subjects.”