Diane Arbus’s 1960s: Auguries of Experience

Index

237 Index Abbott, Berenice, 218n1 aberrations: Podolsky’s encyclopedia of, 144–45 Abromeit, John, 223n13 abstract expressionists, 112 action art. See performance art Adam and Eve: Arbus’s “Husband and Wife” as contemporary, 121–22 “Adam and Eve” (Arbus), 206 Adam and Eve (Cranach), 227 Adams, Ansel, 67, 218n1 Adams, Eddie, 101–2 Addams, Charles, 177 Adelman, Bob, 113, 227n34 “Adlai Stevenson” (Avedon), 95 Adorno, Theodor, 70, 221n80; concept of fissure, 60, 222n80; rejection of positivism, 60 advertising: in magazines, 10, 13, 63, 69, 86, 94, 126, 196, 224n52; McLuhan ’s criticism of, 34 “Against Interpretation” (Sontag), 99 Agee, James, 51, 52–53, 76, 84, 157, 221n62, 221n68, 221n70; introduction to Many Are Called, 54–55; on subway as location for portrait photographer, 55–56 agency given to marginalized subjects, 209–10 aging body, 153–56 Akesson, Hans Olaf, 231n5 Aktionismus: performative concept of, 116, 227n41 Albert-Alberta, 163, 172 “Aleph, The” (Borges), 175 Alexander, Grover Cleveland, 173 alienation, 34, 148, 198, 202 Allen, Joe (“the Backwards Man”), 169–70 “Allen Ginsberg, Poet” (Avedon), 95 amateur snapshot: replicating look of, 41, 126, 131, 151–52 American civil rights movement, 86; body used in line of nonviolent civil protest, 102; racial body and, 99 American dream, 189 American family, myth of: Arbus’s “Family on Their Lawn” separated from mass-media image of, 177–78; “country doctor” and tropes of, 84, 85; prosperous images promoted in 1950s magazines, 11; questioning of, 85–88; “Two American Families” contrasting different classes and demographics, 10–11. See also middle class, American American Photographs (Evans), 12, 49, 51 “American Rites, Manners, and Customs ” (1963 Guggenheim grant application), 19–20, 81–82, 176, 206, 224n40 Americans: rupture in photographic representation of, 1 238 INDEX Americans, The (Frank), 2, 12, 14, 33, 36–39, 149, 218n2; goal of personal anthropology, 37–38; as social panorama , 36, 38 American Types (Oppenheim), 48 “America, Seen through Photographs, Darkly” (Sontag), 110–11, 222n4 Anderson, Marian, 92 Andre, Carl, 125, 228n64 animality: madness as kind of human, 139–40 anomaly(ies): and disease, differentiating between, 24; in Victorian era, referred to as curiosities, 167 Another Way of Telling (Berger and Mohr), 21–22 antigallery, 2, 31; as “cultural turn” disrupting naturalized way of looking, 20–21; “Five Photographs by Diane Arbus” as microcosm of intention to suggest, 12–15; magazine projects considered, 6–15; Warhol’s 13 Most Wanted Men as, 76–77 antihero: folklore of Howard Hughes as, 192 Antin, Eleanor, 203 antipsychiatrists, 229n8 anti-war movement, 100 Antlitz der Zeit (Face of Our Time, 1929) (Sander), 2, 4, 56, 57–62, 106, 183, 215n1; Benjamin’s praise of positive portrayal of German people, 60–62; critics’ response to, 58–59; Döblin’s introduction to, 59–60; organization of, 58 Antonin Artaud: Anthology (Hirschman), 135 anxiety of influence, 196–97 “Approach to Al-Mu’tasim, The” (Borges), 175 Arbus, Allan (husband), 35, 113, 133, 134, 149, 151, 162, 226n32 Arbus, Diane, 1, 216n11–12, 216n16, 224n46, 226n21; aging body, interest in, 153–55; approach to social panorama, 88–96; Avedon and, 88–96, 224n49; background of, 91; “book of eccentrics” tradition and, 163–74; Borges and, thematic parallels between, 175, 176–82; Brassaï’s influence on, 45–47; “collage wall” of body parts, 98, 206, 207–8; commitment to palpable, and performative, interface with her subjects, 84, 104; democracy of her portrait choices and lack of organizational hierarchy , 16; depression of, 110; Evans’s influence on, 50, 54–56; on “gap between intention and effect” (see gap between intention and effect); growth from innocence to experience as photographer, xiii; Guggenheim Foundation grant proposal (1963), 19–20, 81–82, 176, 206, 216n22, 220n49, 224n40; history of photography and, 17–18, 63–64, 72, 88, 93–94, 106, 168, 203, 207, 208; letters/postcards/telegrams of, 17–18, 111, 133–34, 149, 151, 159–60, 164–65, 168, 169, 177, 180, 215n1, 216n18–19, 226n21, 227n54, 231n39, 232n12–13, 232n25, 233n54, 234n69; library of, 32, 159, 160, 193–96, 218n1; literary aspirations, 162; literature, complex relationship to, 9, 17, 46, 91, 157–63, 231n1, 231n3–6, 232n9; Model’s influence on, 39–43, 66, 67, 79; photographs in Steichen’s Family of Man exhibition, 35; powers of literary observation, 159–60; as product of culture of 1960s, xiii; reputation as “freak” photographer, 16, 110–11; rereading statements of, 64–68; romanticized, aestheticized criticism of, 15; Rubenstein’s photograph of (1971), 98, 207; search for intriguing subjects, 6; sociopolitical leanings, 5–6...