Diane Arbus, Bronx, New York, 1966
Diane Arbus, Washington Square Park, New York, 1965.
Elliott Erwitt, Diane Arbus photographing President Richard Nixon’s dogs in the White House garden, Washington, D.C., 1971
William Gedney, Diane Arbus, 1968
Clicking through leads you to the contact sheet this photo is from, and the Duke University Library site that allows you to browse through Gedney’s wonderful archive.
Rosalind Solomon, Brighton Beach, New York, 1984
Russel Daniels and I were at the Pier 24 some months ago looking at Diane Arbus’ work and discussing her use of the flash in some shots, natural lighting in others. Russel was enthusiastic about the flash shots, whereas I prefer the flash-less ones. The famous Arbus shot of the older lady in the veil, up close, banged with flash and a few others like it, those are wonderful photographs, but those are never my favorite Arbus. The effect of the flash brings out the ‘sideshow’ element of Arbus, in the photos of the women a generation gap, and street portrait as confrontation.
Then there is Rosalind Solomon, to some degree a follower of Arbus, but perhaps just as much of Lisette Model. Solomon uses Hasselblad and the flash. In this aspect of her work she eclipses the masters. The flash draws for Arbus, while Solomon uses the flash to draw. The closer Solomon gets with the flash, the more beautiful the photographs get, and the more empathetic.
Coke and Cotton Candy, Scottsboro, Alabama, 1976
Seeing a print of this photograph, because of the tightness of the composition and the flash, they erase the subject of a boy holding a used cotton candy stick. The strands of hair, where they end abruptly, the freckles moving into the eyes. It’s not a portrait of a boy, it’s a Brancusi. With the sepia freckles dabbed on for good measure.
“Chapalingas” is her 400-some page masterwork, there are so many wonderful flash shots. Yes there is a debt to Arbus, but Solomon travels around the US and the world. Her interest in social documentary, all shot with 6x6, connects her to Milton Rogovin. There are funerals, weddings and parades. She’s starting just as much from Dorothea Lange, but the photograph of this mother and daughter on the beach is the emotional and circumstances opposite of “Migrant Mother.” It’s superior to Lange’s most famous photograph.
There’s much to discuss about this image besides the flash on a f22 beach day. A “Madonna and child” composition, but because of the mother’s pose and eyes closed, the child seems to be holding the mother. The mother in profile, is she in the process of kissing her daughter? This profile forms a cubist composition that allows you to look at the same mouth and nose from two angles. The girl’s stare: she knows the future. All while the sun and flash move across the skin. This photograph is deeply perfect.
Diane Arbus, Albino sword swallower at a carnival, Maryland, 1970
San Francisco, modern city of many miracles, a place where winter is warmer than summer. Already one of the great cities to experience photography, a giant new space opened up a short walk from the Ferry Building called Pier 24.
The current exhibit, the Collection of Randi and Bob Fisher, (extended through March 10, free, but make reservations ASAP) is like being in a fictional museum that treats modern photography as the old museums treat the old masters, each deserving his or her own gallery. But unlike the old museums, there’s no wall text, no names, no dates, no -isms.
There’s a large gallery each for Arbus, Eggleston, Friedlander and Winogrand. And Robert Frank, Man Ray, Walker Evans. There’s a whole gallery of Robert Adams that feels like a tucked away, secret room, where you will find yourself alone with the work. Their decision to only let 20 people at once creates a level of concentration that you can no longer have at most museums, yet I was left thinking maybe they had gone too far. I felt guilty. The Bechers are well-represented with ample space to take in the work up close, and at a distance. A few of the most famous Gurskys are on display. It’s an afternoon with the Motown boxset. You’ve heard these before, many times. But it’s Smokey Robinson, it’s Marvin Gaye & Tammi Terrell, it’s “Ain’t Too Proud To Beg.”
Things that caught my attention, in no particular order:
- Early (1928-30) 6x9 contact prints from Walker Evans of abstract building compositions in New York. One wall of photos that shows Evans testing a camera and building confidence.
- Harry Callahan’s “Women Lost in Thought,” a large grid of street portraits from 1950. I’ve seen a few of these before individually, but never so many arranged in this way. The prints are exquisite, deep blacks; a modern masterpiece.
- A handful of Robert Frank’s series, Fourth of July, Coney Island, 1958
- Diane Arbus, Albino sword swallower. This is one of those photographs that I had seen in books, on the internet, but when you see it printed, it makes a critical difference. The image is obviously striking. Arbus is known for portraits of unique people, but holy shit, this albino woman has a sword in her mouth. Perhaps the difference between book and handcrafted print is that the “obvious” crucifixion aspect of the composition is given more depth by the details of the outfit, the extra sense of texture the print (you notice the hand pressing into the tent more). Also what’s so great about this photograph is the strength and static nature of the composition is offset by movement and a sense of action.
- A few of the greatest Winogrands from “The Fort Worth Fat Stock Show and Rodeo”
- A grid of Weston’s Nude on Dunes, 1936, next to the front desk. Similar to the Callahan series, to see a more complete view of these beautiful prints, comparing them next to each other, is very rare. (Is there even a book that collects them all?)
Who curated this massive exhibit of photographs, decided how to hang so many classics? Jeffrey Fraenkel, Andy Pilara, the Fishers? How about Google. Put the names Arbus, Eggleston or Friedlander into Google images and see what comes up. The algorithm determines the most linked-to images from thousands of sites, the most representative of the name. Indicative of this time and place, and the embarrassment of riches of San Francisco, the selection is as good as Google, but these are the real prints. It’s really Marvin.
Diane Arbus, Mildred Dunnock, 1964
Diane Arbus, Two Friends at Home, New York, 1965
Diane Arbus, Susan Sontag and son David, New York, 1965
Diane Arbus, Bob Horowitz
