Man at a parade on Fifth Avenue, N.Y.C., 1969
A Jewish giant at home with his parents in the Bronx, N.Y.,1970
The King and Queen of a Senior Citizens’ Dance, N.Y.C., 1970
Mexican dwarf in his hotel room, N.Y.C., 1970
Further Reading
Arbus, Diane.Diane Arbus: An Aperture Monograph. Mil-
lerton, New York: Aperture, 1972.
Arbus, Diane.Diane Arbus: Untitled. Edited by Doon
Arbus and Yolanda Cuomo, afterword by Doon
Arbus. Millerton, New York: Aperture, 1995.
Arbus, Diane, and Thomas Southall.Diane Arbus: Maga-
zine Work. Edited by Doon Arbus and Marvin Israel.
Millerton, New York: Aperture, 1984.
Arbus, Diane. ‘‘Five Photographs by Diane Arbus.’’Art-
forum(May 1971).
Armstrong, Carol. ‘‘Biology, Destiny, Photography: Differ-
ence According to Diane Arbus.’’October66 (Fall 1993).
Bosworth, Patricia.Diane Arbus: A Biography.NewYork:
Alfred A. Knopf, 1984, reprinted in 1995 by W. W. Norton.
Decarlo, Tessa. ‘‘A Fresh Look at Arbus.’’Smithsonian
(May 2004).
Diane Arbus Revelations. Essays by Sandra S. Phillips, Neil
Selkirk, chronology by Elisabeth Sussman and Doon
Arbus, afterword by Doon Arbus, (Exhibition catalo-
gue). San Francisco and New York: San Francisco
Museum of Modern Art, Random House, and The
Estate of Diane Arbus LLC, 2003.
Goldman, Judith. ‘‘Diane Arbus: The Gap Between Inten-
tion and Effect.’’Art Journalv. 34, no. 1 (Fall 1974).
Hirsch, Robert.Seizing the Light: A History of Photogra-
phy. New York: McGraw Hill, 2000.
Lee, Anthony. W., and John Pultz.Diane Arbus: Family
Albums. New Haven and London: Yale University Press,
2003.
Lord, Catherine. ‘‘What Becomes a Legend Most: The
Short, Sad Career of Diane Arbus: Part I.’’Exposurev.
23, no. 3 (Fall 1985).
Rosenblum, Naomi.A History of Women Photographers.
New York: Abbeville Press, 2000.ARCHITECTURAL PHOTOGRAPHY
Architectural Photography is the representation of
architecture in images. This includes the depiction
of buildings and interiors in photographs, but also
comprises the reproduction of designs, the depic-
tion of architectural models, the participation in
preservation campaigns, and all forms of journal-
istic imagery for magazines and newspapers. This
genre of photography has wide commercial and
industrial application, as well as a long tradition
as a fine-arts practice. Architectural Photography
is a tool for architects as well as for construction
and development companies to advertise their ser-
vices or product. For industries that manufacture
components such as windows, doors, tiles, or drain
pipes, the attractive, yet accurate rendering of the
items provides a valuable shorthand reference.
Throughout its history, Architectural Photogra-
phy has been as important in interpreting architec-
tural design as in criticizing political approaches
represented in buildings and constructions. Architec-
tural Photography has also shaped architectural
design itself through its pedagogical uses. Indeed,
since the invention of photography in the mid-nine-
teenth century, Architectural Photography has been
of primary importance to instruct architects-in-train-
ing as well as historians and others interested in the
field. This included some of the technical derivations
of Architectural Photography such as photogram-
metry and (aerial) topogrammetic photography.
Architectural Photography may not have been
more than just another aspect of the commercial
and industrial use of photography if it had not
been for the work of E`uge`ne Atget. Atget linked
the nineteenth and the twentieth centuries, both in
his choice of subjects and in his stylistic approach.
A frantic collector of edifices and details, who was
especially attentive to situations that ordinarily
might be overlooked, within three decades work-
ing on his own, he produced a grand oeuvre in
Architectural Photography. This treasure trove
was not widely known until it was discovered
toward the end of Atget’s life in the 1920s by the
Parisian avant-gardists. The Americans Man Ray
and his then-assistant Berenice Abbott were
instrumental in bringing Atget’s work to the atten-
tion of the New York fine arts and publishing
world. The latter figure followed Atget’s lead by
amassing an extraordinary portfolio of architec-
tural photographs of New York in the 1930s.
At about the same time Walker Evans contributedARBUS, DIANE