This photo of Anderson Cooper as a baby has a lot to teach us about art as humanism and the nature of the 'freakish.'
, featuring her, Lee Friedlander, and Garry Winogrand . Its curator, John Szarkowski, wrote in the show’s catalogue, “Their aim has been not to reform life, but to know it.”Among the three, Arbus’ approach was the most radical. Friedlander and Winogrand, like Frank, Henri Cartier-Bresson, and other modern photographers, captured “decisive moments” in fleeting street scenes. Arbus often worked more like a Renaissance portrait artist, her subjects posing, looking straight at the camera.
She knew Lauro Morales, another circus performer for longer than that before she snapped the utterly beguiling “Mexican Dwarf in His Hotel Room, NYC,” in the same year.It’s this hard-won intimacy that makes Arbus’ photos so compelling, if at times disorienting. She robs viewers of their customary distance; we are drawn into the subjects’ lives—we are complicit in the relationship between the subjects and Arbus—whether we like it or not.Some of those who didn’t like Arbus’ workdidn’t like it.
, a biographer of Arbus, that he had to come in early every morning to wipe the spit that viewers had sprayed on her pictures the day before.Some critics were—and a few still are—bothered, by Arbus’ obsession with the physically disfigured. They point to—that photographing “freaks” had “a terrific kind of excitement for me.” What the critics overlook is that Arbus was excited by every new experience. She once said, “All the time I’m photographing, I’m having a terrific time.
Arbus’ magic—especially striking, seeing so many of her pictures assembled in one place—is that she found some way to transfer Mitchell’s lesson to so many black-and-white still images. She didn’t try to “normalize” what was at the time considered abnormal, but she recognized—she dramatized on film—that “normal” people weren’t so normal themselves. There was no “family of man.” There was only the distinctiveness of each individual.
wrote, “She was fascinated by people who were visibly creating their own identities…and by those who were trapped in a uniform that no longer provided any security or comfort.”
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