Portraits, Pastiche, and Magazine Work
Portraits, Pastiche, and Magazine Work
This chapter situates three interrelated aspects of Diane Arbus’s work within a broader cultural and critical condition, prevalent in the 1960s, in which some of the underlying sociological assumptions inherent in historically significant photographic portrait galleries (covered in Chapter 1) were thrown into question. It examines Arbus’s statements and written work which support the notion of her portraits as an antigallery that subverts social-panorama photography; Arbus’s use of pastiche in relation to her magazine assignments; and the influence of her close friend Richard Avedon.
Keywords: Diane Arbus, women photographers, photographic portrait galleries, pastiche, Richard Avedon
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