Diane Arbus, Woman with eyeliner, N.Y.C. 1967, gelatin silver print © The Estate of Diane Arbus

Text by Claire Ping

Copy Editor: Hillary Mitchell

Speaking of her iconic “The Kitchen Table Series” in a New York Times feature, Carrie Mae Weems once inquired, “What do women give to one another? What do they pass on to one another?” An upcoming exhibition on the works of Diane Arbus, selected by Weems, may coincidentally be offering some answers. Open from June 3–August 13 at Fraenkel Gallery, Diane Arbus Curated by Carrie Mae Weems presents 45 photographs that speak personally and powerfully to Weems.

For the acclaimed contemporary artist, who has been a recipient of the MacArthur “Genius” grant in 2013 and the first African-American woman to have a retrospective at the Guggenheim, Diane Arbus is a figure of unparalleled significance. Despite their apparent connection as women photographers and a shared focus on subjects who might be considered members of marginalized communities, it would be limiting to view either solely through such labels.

Diane Arbus, Photographer posing communion boy, N.Y.C. 1968, gelatin silver print © The Estate of Diane Arbus

Although featuring a few of Arbus’ well-recognized photographs, Weems’ selection differs from precedents by placing the spotlight on less known images. Weems’ curation will trace the evolution of Arbus’ techniques as a photographer, along with her diverse interests and broad range of subject matters. Commencing with an early image taken in 1945, depicting the then pregnant Arbus posing in front a mirror, the show soon moves on to the moment when she embarked on her career as a professional artist in 1956. Three images from this pivotal year are included in the exhibition, among them Carroll Baker on screen in “Baby Doll” (with silhouette), N.Y.C. 1956 and Kiss from “Baby Doll,” N.Y.C., 1956. Both pictures form part of a larger group set in darkened movie theatres.

Diane Arbus, Woman making a kissy face, Sammy's Bowery Follies, N.Y.C. 1958, gelatin silver print © The Estate of Diane Arbus

In Woman making a kissy face, Sammy’s Bowery Follies, N.Y.C. 1958, a woman confronts the camera with her lips pushed outward as if ready for a kiss. It is one of the earliest photographs that Arbus created by bringing her lens surprisingly close to the model, whose face occupies almost the entirety of the picture and even appears slightly blurred perhaps as a result of the proximity. The effect is instantaneous, capturing a seemingly spontaneous moment of fleeting passion and intimacy.

Diane Arbus, Kenneth Hall, the new Mr. New York City, at a physique contest, N.Y.C. 1959, gelatin silver print © The Estate of Diane Arbus

In Kenneth Hall, the new Mr. New York City, at a physique contest, N.Y.C., 1959, Arbus photographs a victorious young man on a podium lined with trophies. He folds up both arms to reveal a beautiful, muscular build. Meanwhile, his shadow, cast onto the curtain behind, curiously suggests a demon-like shape with its wings spread out and ready to take flight – an image that stands in stark contrast with the innocent and bright smile he carries on his face.

Diane Arbus, Black boy, Washington Square Park, N.Y.C. 1965, gelatin silver print © The Estate of Diane Arbus

One of the most distinguished photographers of the twentieth century, Diane Arbus’ oeuvre has been widely exhibited and left a lasting impact on the language of photography. The present show is unique, however, in exploring her legacy through the eyes of the likewise influential artist Weems. Born three decades apart, the two may be best linked by the fact that both have pushed boundaries and contributed to the crafting of a new language for creatively visualizing and representing that which has been previously overlooked or rendered invisible by society at large.