From dwarfs to giants, or what therapy has to do with the pinnacle of postmodern photography.
Iconic photographer Diane Arbus is as known for her stunning, stark black-and-white square photographs of fringe characters — dwarfs, giants, nudists, nuns, transvestites — as she is for her troubled life and its untimely end with suicide at the age of 48. Barely a year after her death, Arbus became the first American photographer represented at the prestigious Venice Biennale. In the highly anticipated biography An Emergency in Slow Motion: The Inner Life of Diane Arbus, psychologist Todd Schultz offers an ambitious “psychobiography” of the misunderstood photographer, probing the darkness of the artist’s mind in an effort to shed new light on her art. Shultz not only got unprecedented access to Arbus’s therapist, but also closely examined some recently released, previously unpublished work and writings by Arbus and, in the process, fought an uphill battle with her estate who, as he puts it, “seem to have this idea that any attempt to interpret the art diminishes the art.”
Schultz explores the mystery of Arbus’s unsettled existence through five key areas of inquiry — her childhood, her penchant for the marginalized, her sexuality, her time in therapy, and her suicide — underpinned by a thoughtful larger narrative about secrets and sex. Ultimately, Schultz’s feat is in exposing the two-sided mirror of Arbus’s lens to reveal how the discomfort her photographs of “freaks” elicited in the viewer was a reflection of her own unease and self-perception as a hopeless outcast.
Poignant and provocative, An Emergency in Slow Motion: The Inner Life of Diane Arbus offers an entirely new way of relating to and understanding one of the most revered and influential postmodern photographers, in the process raising timeless and universal questions about otherness, the human condition, and the quest for making peace with the self.