A show of her early work emphasises the relationship between photographer, photographed—and viewer
THE TITLES of Diane Arbus’s photographs read like short stories. There are tall tales , elegiac utterances and statements that hint at her fascination with the way the real and the fictive can be brought together in a single frame . As Jeff Rosenheim, the curator of a new show of Arbus’s work at the Hayward Gallery in London, points out, her predecessors and contemporaries captioned their photographs less descriptively.
Arbus’s work was only exhibited in a few museums during her lifetime and when it was, it polarised opinion. Many praised the beauty of her compositions and her inclusive approach to human identity but others, such as Sontag, condemned her work as “anti-humanist” and exploitative. In 1965, when some of Arbus’s photographs were shown at the Museum of Modern Art in New York, a gallery worker used to wipe the saliva off the pictures each morning—viewers had spat at them the day before in disgust.
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