Diane Arbus is known for her controversial photography during the 1960’s that is reputed for changing what people considered socially acceptable. Her work captured the fringes of society, opening new doors for photographers who followed her. She was enthralled with the abnormal and studying and observing “freaks” was her passion. She desired to satisfy her curiosity that budded as a child when her upper class family forbade her to associate with the people who were different and odd.
Her marriage to Allen Arbus, a war photographer, spiked her interest in photography and she credits him as her first teacher. They began a partnership, as photographer and stylist that allowed them to exploit fashion through their passion for photography. They were in perfect collaboration; their love and partnership so deep that people ridiculed them, saying that one would not be able to work without the other. Arbus, however, was not satisfied by this line of work and, after some inspiration from Lisette Model, she discovered her true calling, photographing the people society looked down upon.
Her fascination with hookers, dwarfs, giants, gypsies, transvestites, nudists and the mentally ill, and her ability to photograph were un-ignorable. The public, although hesitant to grab hold of this blunt portrayal of a previously overlooked population, could not disregard how captivating her art was. She gained popularity quickly for her unmatched talent but it wasn’t until near the end of her life that people began to appreciate the meaning of her art and the subjects exposed by it. Arbus truly extended the limits of what was previously considered acceptable and crossed the line no one had been daring enough to cross before. One’s understanding of Arbus’ intentions behind her photography may never be complete, but her story gives insight into what she was attempting to capture and, perhaps, the void she was trying to fill.
Prompts:
1. Do you think that it is socially acceptable to exhibit and portray some of societies oddities in the way Arbus did? Or was her work, in your opinion, inappropriate, perverse and unethical?
2. Is it possible for any given photographer to photograph the people and places Arbus did or does it take a specific mindset/personality?
3. Arbus wrote photographic essays on many of the subjects she photographed for magazines. Use one of her photographs to inspire a story about the subject's life and write an article that could be featured with that photograph in Harper’s Bazaar or Esquire.
Monday, March 30, 2009
Thursday, February 26, 2009
Olympia's Look
The short story, Olympia’s Look, by Suzanne Vreeland describes Suzanne Manet’s response to the death of her husband, Edouard Manet. Vreeland portrays Suzanne as a quiet woman. Suzanne seems to be a bit of a pushover; she overlooked the multiple affairs her husband had, silently hoping he might confide in her, and was always by his side when he needed her. She is self-described as a “Dutch wife,” which implies that her household duties and minding to her husband and son were the most important aspects of her life. She also suggests that she is fearful of the future, without her husband, and having to take care of herself. This, again, makes me feel like her responsibilities as a wife, and the companionship she felt with Manet, played a significant role in her life prior to his death.
One passage that perfectly describes Suzanne’s knowledge and anticipation of the changes her life is about to incur is: “The next morning she begun her private program of self development. She would be alone…She’d have to speak her mind…How inconsequential her first efforts were. Helene, this soup is cold, and, Edouard, I’d prefer the window closed. At least it was a start.” This passage shows her readiness to become more self-spoken and reliant. She has decided to become the type of woman who won’t let her wishes float to the wayside in order to please some one else. She has decided to stickup for herself and not let people walk all over her. I believe this is because she is afraid of what could happen to her, now that she is on her own, if she were to be so easily manipulated and serve others before herself. This new side of Suzanne is one of a strong, proud woman; one who will survive any of life’s torments.
The second passage I find very relevant in determining Suzanne’s new personality is taken from her visit to Victorine’s house: “She realized she must be looking at Victorine in Victorine’s own way, imperiously, but as ‘the wife.’ She saw it reflected in the speck of fear in Victorine’s eye, and felt a mounting thrill of exhilaration as she sat there...knowing that she commanded it even more because Victorine needed what she could give her, known what she would say next.” This, I think, is the point at which Suzanne realizes that Victorine will never know the true love that her and Manet shared. As she continues to reveal detail after disturbing detail of Manet’s last days, she discovers that she was the only one he cared to be with. She was the one who held him through the pain and suffering, who stayed up at night and talked him through his nightmares and who brought him back to happier times by sharing stories and memories they had together. This is the most important realization for Suzanne because, even if she were a self-sufficient woman, she would always feel the emptiness of not believing she had been good enough for her husband. In this moment she recognizes that she was the best thing that ever happened to Manet and she can be content with their marriage, despite the infidelity. I feel that she now has the freedom to move on with her life and, when she thinks of her late husband, she will simply remember the happiness and love that they shared.
One passage that perfectly describes Suzanne’s knowledge and anticipation of the changes her life is about to incur is: “The next morning she begun her private program of self development. She would be alone…She’d have to speak her mind…How inconsequential her first efforts were. Helene, this soup is cold, and, Edouard, I’d prefer the window closed. At least it was a start.” This passage shows her readiness to become more self-spoken and reliant. She has decided to become the type of woman who won’t let her wishes float to the wayside in order to please some one else. She has decided to stickup for herself and not let people walk all over her. I believe this is because she is afraid of what could happen to her, now that she is on her own, if she were to be so easily manipulated and serve others before herself. This new side of Suzanne is one of a strong, proud woman; one who will survive any of life’s torments.
The second passage I find very relevant in determining Suzanne’s new personality is taken from her visit to Victorine’s house: “She realized she must be looking at Victorine in Victorine’s own way, imperiously, but as ‘the wife.’ She saw it reflected in the speck of fear in Victorine’s eye, and felt a mounting thrill of exhilaration as she sat there...knowing that she commanded it even more because Victorine needed what she could give her, known what she would say next.” This, I think, is the point at which Suzanne realizes that Victorine will never know the true love that her and Manet shared. As she continues to reveal detail after disturbing detail of Manet’s last days, she discovers that she was the only one he cared to be with. She was the one who held him through the pain and suffering, who stayed up at night and talked him through his nightmares and who brought him back to happier times by sharing stories and memories they had together. This is the most important realization for Suzanne because, even if she were a self-sufficient woman, she would always feel the emptiness of not believing she had been good enough for her husband. In this moment she recognizes that she was the best thing that ever happened to Manet and she can be content with their marriage, despite the infidelity. I feel that she now has the freedom to move on with her life and, when she thinks of her late husband, she will simply remember the happiness and love that they shared.
Tuesday, February 3, 2009
Alice Neel
Jenny by Alice Neel, 1969
Hills, Patricia. Alice Neel. New York, NY: Harry N. Abrams, Inc., 1983. Pg. 10.
Annotated Bibliography
Andrew Barker, "Alice Neel Documentary." Variety Films. 1 Feb 2009 .
“Painting was more than a profession, it was also an obsession. I had to paint.”
–Alice Neel
Alice Neel experienced some enormous tragedies in her life including the death of her first born daughter, abandonment by her husband and a nervous breakdown resulting in an attempted suicide. The film her grandson, Andrew Neel, directed discusses these tragedies and how her art thrived from them. Her two sons, both interviewed in the documentary, tell of her parenting skills, not in a demeaning manner, but rather as if, had she been a better mother, her art would have suffered. It is suggested that she was almost selfishly obsessed, making others sacrifice for the sake of her art. Most of her paintings were of nobodies, including pregnant women, the poor, people of color, children and elderly, meaning much of her audience couldn’t afford her portraits. In fact, at the time of her death much of her work remained in her home. The film portrays her distinct, shocking, evocative style, which remained unchanged throughout the many eras of popular art during her life.
Carr, Carolyn. Alice Neel: Women. New York, NY: Rizzoli International Publications, 2002.
This book speaks of Neel’s attraction to women in her paintings. Although she was also fond of male subjects, the focus is on the nude and Madonna paintings she has done. It is suggested that her experiences with motherhood as well as childbirth and children, is vividly displayed through the evolution of her paintings. She experienced multiple fazes of female portraiture ranging from motherhood and pregnancy, children and their mothers, children or infants and, finally, nude portraits. The portrait Jenny (in this book there are two portraits of Jenny which were interchangeably referred to as Peff Modelski as well) was painted shortly after the birth of her first grandchild in 1967 where her portraits of children became larger, more brightly colored and portrayed children who were eager, curious and self-obsessed. The bright colors and curious expression in the 1969 portrait of Jenny suggest that this painting followed suit with the rest of her work during this time.
Hills, Patricia. Alice Neel. New York, NY: Harry N. Abrams, Inc., 1983.
This book is based on a number of lengthy interviews with Alice Neel. Most of the biography is quoted directly from the conversations between Neel and the author with biographical inserts clarifying dates, places and events in Neel’s life. I enjoyed the information provided in this book because it was spoken directly from the artist herself and she speaks beautifully, telling intimate details of her life and painting vibrant descriptions with her words. It really gave me a feel for who she was through, simply, a few pages of her life’s stories. Although the chapter that I read did not provide any new details on her background or the portrait Jenny, it was a useful source of research and a genuinely enjoyable read.
“Painting was more than a profession, it was also an obsession. I had to paint.”
–Alice Neel
Alice Neel experienced some enormous tragedies in her life including the death of her first born daughter, abandonment by her husband and a nervous breakdown resulting in an attempted suicide. The film her grandson, Andrew Neel, directed discusses these tragedies and how her art thrived from them. Her two sons, both interviewed in the documentary, tell of her parenting skills, not in a demeaning manner, but rather as if, had she been a better mother, her art would have suffered. It is suggested that she was almost selfishly obsessed, making others sacrifice for the sake of her art. Most of her paintings were of nobodies, including pregnant women, the poor, people of color, children and elderly, meaning much of her audience couldn’t afford her portraits. In fact, at the time of her death much of her work remained in her home. The film portrays her distinct, shocking, evocative style, which remained unchanged throughout the many eras of popular art during her life.
Carr, Carolyn. Alice Neel: Women. New York, NY: Rizzoli International Publications, 2002.
This book speaks of Neel’s attraction to women in her paintings. Although she was also fond of male subjects, the focus is on the nude and Madonna paintings she has done. It is suggested that her experiences with motherhood as well as childbirth and children, is vividly displayed through the evolution of her paintings. She experienced multiple fazes of female portraiture ranging from motherhood and pregnancy, children and their mothers, children or infants and, finally, nude portraits. The portrait Jenny (in this book there are two portraits of Jenny which were interchangeably referred to as Peff Modelski as well) was painted shortly after the birth of her first grandchild in 1967 where her portraits of children became larger, more brightly colored and portrayed children who were eager, curious and self-obsessed. The bright colors and curious expression in the 1969 portrait of Jenny suggest that this painting followed suit with the rest of her work during this time.
Hills, Patricia. Alice Neel. New York, NY: Harry N. Abrams, Inc., 1983.
This book is based on a number of lengthy interviews with Alice Neel. Most of the biography is quoted directly from the conversations between Neel and the author with biographical inserts clarifying dates, places and events in Neel’s life. I enjoyed the information provided in this book because it was spoken directly from the artist herself and she speaks beautifully, telling intimate details of her life and painting vibrant descriptions with her words. It really gave me a feel for who she was through, simply, a few pages of her life’s stories. Although the chapter that I read did not provide any new details on her background or the portrait Jenny, it was a useful source of research and a genuinely enjoyable read.
Thursday, January 29, 2009
Children of the Screen
After reading Baylon’s article, “Children of the Screen,” I cannot deny that she makes very valid points, although I would like to think they are a bit extreme. Perhaps this is due to my personal choices and the choices of the people I surround myself with, but I know that my friends, family, and I love to participate in stress-less activities that do not incorporate a television or afternoon of video games and we are not obsessed with money or name brand possessions. That is not to say that I never partake in an evening of reality TV or a trip to the local shopping mall, but I prefer going to coffee with a friend, taking a hike in a beautiful place or participating in sports, clubs and group activities. At the very least I know that the people I have the most fun with are those that take a breather from the stresses of everyday life by enjoying time with others, having intellectual conversations and making life an adventure.
I realize that it would be extremely naïve of me to say that there are not people in America who would much rather come home from work and watch television than call up an old friend or read the latest popular novel. For example, consider obesity in America. I could not intelligently state that American’s are known for their overwhelming desire to participate in outdoor activities, exercise or even walk their dogs with such high statistics on death related to obesity. I am aware that there are a good number of parents in our nation who do not monitor the amount of time their children spend on the couch, watching TV or playing violent video games. Unfortunately the media is a huge part of America and there is no way to avoid the fact that people will take advantage of their ability to easily witness violence, sex and drugs through the click of a button. Watching television is in no way a crime or punishable, but it is something I feel people should limit their consumption of. It is a personal choice people make, to sit around lazily and watch TV, rather than experience life to it’s fullest.
As for the obsession with possessions in America, I find it easy to believe. People go to work on a daily basis in order to make money that they turn around and spend in order to buy their heart’s desire. We have an entire economic system based on the ability to produce and supply according to consumer’s demands. Million’s of people spend their lives working to produce faster, advertise more effectively and create new items of luxury, entertainment and “necessity.” There is a huge market for these things, and for one to indulge themselves and purchase a product that they may not need but rather simply desire, is not a sin or way to lose one’s spirit. I believe that desires are part of human nature, as well as jealousy for what others may possess. For people to buy seemingly useless products to induce temporary happiness is fine, as long as it does not result in a compulsion to buy, make money, or ignore the simple things in life. As long as money and possessions do not become the sole purpose of ones life, longing for a new outfit, toy or lawn tractor every once in awhile, does not result, in my opinion, in the “extinction of our spirits.”
I realize that it would be extremely naïve of me to say that there are not people in America who would much rather come home from work and watch television than call up an old friend or read the latest popular novel. For example, consider obesity in America. I could not intelligently state that American’s are known for their overwhelming desire to participate in outdoor activities, exercise or even walk their dogs with such high statistics on death related to obesity. I am aware that there are a good number of parents in our nation who do not monitor the amount of time their children spend on the couch, watching TV or playing violent video games. Unfortunately the media is a huge part of America and there is no way to avoid the fact that people will take advantage of their ability to easily witness violence, sex and drugs through the click of a button. Watching television is in no way a crime or punishable, but it is something I feel people should limit their consumption of. It is a personal choice people make, to sit around lazily and watch TV, rather than experience life to it’s fullest.
As for the obsession with possessions in America, I find it easy to believe. People go to work on a daily basis in order to make money that they turn around and spend in order to buy their heart’s desire. We have an entire economic system based on the ability to produce and supply according to consumer’s demands. Million’s of people spend their lives working to produce faster, advertise more effectively and create new items of luxury, entertainment and “necessity.” There is a huge market for these things, and for one to indulge themselves and purchase a product that they may not need but rather simply desire, is not a sin or way to lose one’s spirit. I believe that desires are part of human nature, as well as jealousy for what others may possess. For people to buy seemingly useless products to induce temporary happiness is fine, as long as it does not result in a compulsion to buy, make money, or ignore the simple things in life. As long as money and possessions do not become the sole purpose of ones life, longing for a new outfit, toy or lawn tractor every once in awhile, does not result, in my opinion, in the “extinction of our spirits.”
Thursday, January 22, 2009
The Picture of Dorian Gray
The film, The Picture of Dorian Gray, tells the story of an innocent young man, Dorian Gray, and his slow but undeniable corruption. Dorian is first introduced to Lord Henry Wotton, the instigator of his eventual downfall, at Basil Hallward’s house, where Basil is painting Dorian’s portrait. Lord Wotton comments on Dorian’s striking features and youthful face, then pities him for having to lose his good looks to age. Dorian, determined to live life to the fullest, makes a, seemingly harmlessly, wish that the portrait, instead of his face, would reflect his age and decisions. Unfortunately, his wish comes true. He first realizes this when Sybil Vane, a talented beauty that he falls in love with and then refutes, kills herself, and his portrait’s face begins to change. As Dorian’s actions become increasingly immoral and shady, his portrait becomes progressively more gruesome and evil while his face remains handsome, untainted. Finally, he decides to repent, start anew, and attempts to destroy the picture with a knife. As soon as the knife enters the canvas, however, it is as if Dorian has stabbed himself, and upon his death, the portrait reverts to its original form and Dorian’s demonic soul is evident on his very own face.
The message of this movie is that beauty and youth are not worth sacrificing for one’s soul. Dorian began as such a kind, caring and sincere man. His handsome features matched his genuine interior. As he was manipulated, however, he discovered the wickedness inside him and began to act upon it. As Dorian quotes in the movie, “Each of us has Heaven and Hell in them,” and Dorian chose to utilize his inner Hell.
My favorite scene in the movie was when Dorian reveals the hideous portrait to Basil. As Dorian watches Basil’s reaction to the once majestic portrait, he picks up a knife from an old carved desk. The anticipation of murder grew, as he threw the knife deeper and deeper into the face of the wood. A pile of woodchips began to form from the force Dorian used to ram the knife into the desk and pull it out again. When Basil sits down and begins to pray for Dorian, the look in Dorian’s eye reveals pure fear and hatred for what Basil might do with the information he’d been given. Dorian lunges and drives the knife into Basil’s back, accidentally striking the light hanging above the table. As the scene continues, a camera shot to the wall, with the light bouncing shadows in and out of focus, shows the distinct outline of Dorian murdering Basil, stab by stab. I love the effect of the light in this scene, especially how it is incorporated in the same fashion later on in the film, when Dorian unintentionally takes his own life. This murder scene shows Dorian at the edge of pure evil. His obsession with youth has driven him to commit a crime so malicious, that blood appears in the portrait of his soul. The moment proves just how far he is willing to go to keep his exterior pristine, regardless of its effect on his character.
The message of this movie is that beauty and youth are not worth sacrificing for one’s soul. Dorian began as such a kind, caring and sincere man. His handsome features matched his genuine interior. As he was manipulated, however, he discovered the wickedness inside him and began to act upon it. As Dorian quotes in the movie, “Each of us has Heaven and Hell in them,” and Dorian chose to utilize his inner Hell.
My favorite scene in the movie was when Dorian reveals the hideous portrait to Basil. As Dorian watches Basil’s reaction to the once majestic portrait, he picks up a knife from an old carved desk. The anticipation of murder grew, as he threw the knife deeper and deeper into the face of the wood. A pile of woodchips began to form from the force Dorian used to ram the knife into the desk and pull it out again. When Basil sits down and begins to pray for Dorian, the look in Dorian’s eye reveals pure fear and hatred for what Basil might do with the information he’d been given. Dorian lunges and drives the knife into Basil’s back, accidentally striking the light hanging above the table. As the scene continues, a camera shot to the wall, with the light bouncing shadows in and out of focus, shows the distinct outline of Dorian murdering Basil, stab by stab. I love the effect of the light in this scene, especially how it is incorporated in the same fashion later on in the film, when Dorian unintentionally takes his own life. This murder scene shows Dorian at the edge of pure evil. His obsession with youth has driven him to commit a crime so malicious, that blood appears in the portrait of his soul. The moment proves just how far he is willing to go to keep his exterior pristine, regardless of its effect on his character.
Thursday, January 15, 2009
Who is this person?
The child in portrait two instantly caught my attention. It is not obvious to me whether the child is young boy or girl, but for the purpose of this article I will describe the toddler as a male. He appears to be about 4 or 5 years of age, his plump face intensely rosy as if he had just been running in the cold, the chilly wind bringing blood to the surface of his cheeks. The boy's lips are similarly deep red, turned slightly upward, but not as if he is excited or grinning giddily. His blonde hair is thick and long, dangling perfect curls across his dainty forehead. His ravishing blue eyes are big and enticing, not fully open as if he is tired, un-alert, relaxed.
He sits in a bright blue chair, legs uncrossed, splaying in opposite directions. His left arm is resting lightly on one arm of the chair while the other is bent upward towards his face, a lone finger grazing his right cheek. The placement of his finger on his jaw, paired with his inexplicable gaze directed at the viewer, gives him a look of superiority for such a young child. I feel as if he is contemplating an issue much greater than his age should allow.
The intricate wallpaper in the background suggests he resides in an upper class area. The delicate flowers, the combination of pastels and the extent of the detail come together to create the aura of an old-fashioned, mansion-esque room. His chair placement, in the corner of the room against the art-plastered walls, could mean he is in a "time-out" chair. Perhaps he was a little too aggressive when playing with his friends during an afternoon at the park. He is contemplating his wrongdoings, his face still flustered from the fun and games recently put to an end.
Whoever this boy may be, he appears healthy with a wealthy family and a bright future. He is nicely dressed, fed to his plumpest and adorable in every aspect of a typical toddler. His contemplative stare implies he is smart, talented and able. He is an adventurous young boy, with a great life ahead.
Wednesday, January 14, 2009
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