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Her findings eventually led her to receive a grant from the Guggenheim Foundation to photograph "American Rites, Manners, and Customs" in 1963. She said that, "(freaks) don't have to go through life dreading what may happen, it's already happened. This photograph is an emotional tour of force where Arbus' direct style of photography combined with her devotion to represent the underrepresented.
Advocates for special needs say that the subjects probably didn't give permission or understand what being photographed entails. These patients are supposed to be in a safer place, and that location casts them, and the process of photographing them, in a different light. Photography allowed her transformation from an uptown, private-school-educated wife with a coy personality into someone who longed for an artistic voice independent from her bourgeois upbringing. Immediately following their marriage, she started taking photography more seriously and enrolled in classes with the famed photographer, Berenice Abbot.Her adventurousness and curious mentality craved variety and newness to stave off feelings of restlessness and boredom.
Most importantly, she started recording appointments, meetings, and ideas for prospective projects, along with quotations, bits of conversations, and books that appealed to her. Anthony Bannon, “The Biography Diane Arbus Always Deserved,” The Buffalo News, June 26, 2016, https://buffalonews. Anthony Lane, “In the Picture: A New Biography of Diane Arbus,” The New Yorker, June 2016, https://www.She simultaneously brought the extravagance as one living as a man in a woman's clothing, on par with the extravagance of chasing the suburban American dream. She improvised childcare through the help of friends and family and started life as a working artist. The artist’s daughter, Doon Arbus, who serves as administrator of her mother’s estate, signed the artwork.
She was very public about her feelings of being a social outcast within her own community, and sought solace in her subjects on the fringe. She felt damaged and she hoped that by wallowing in that feeling, through photography, she could transcend herself. On July 26, 1971 Israel found Arbus after she committed suicide in her Greenwich Village apartment by ingesting lethal sedatives and cutting her wrists. Arbus grew to despise the pictures she took of the patients in New Jersey that she vehemently sought to capture for so many years. She also stated that "the condition of photographing, is maybe the condition of being on the brink of conversion to anything.The idea of personal identity as socially constructed is one that Arbus came back to, whether it be performers, women and men wearing makeup, or a literal mask obstructing one's face. Then again, her photographic process does beg the question - why did she choose this snapshot out of all the others?
Her photo reflected on a new age of perceived comfort within society despite one's supposed otherness through the subject's confident body language and defiant gaze, which at the time this photo was taken was unusual and extraordinary. The photo flips the script, capturing the gaze of the audience lost in a collective stare towards the movie screen. This photograph is an excellent example of how Arbus could personify both type and individual identity in the same body. Shortly after this image was taken her distinctive style began to take shape as she took more risks and found out how to relate to people she sought to capture. Or perhaps the boy is a symbol, representative of a certain excitement or intensity Arbus was seeking from life and from the people that she encountered.However, when Arthur Lubow interviewed the child in the photograph, Colin Wood, as an adult, Wood said that Arbus had captured exactly what he was going through in his life at the time. She once complained to a friend that, "she was untouched by the ordinary joys and pains that make people feel alive.
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