To ensure the ongoing availability of Diane Arbus Revelations, Aperture is proud to release this vitally important volume on the fiftieth anniversary of the posthumous 1972 Arbus retrospective at the Museum of Modern Art and the simultaneous publication of Diane Arbus: An Aperture Monograph. Revelations explores the origins, scope, and aspirations of Arbus's wholly original voice. Arbus's frank treatment of her subjects and her faith in the intrinsic power of the medium have produced a body of work that is often shocking in its purity, in its steadfast celebration of things as they are. Presenting many of her lesser-known or previously unpublished photographs in the context of the iconic images reveals a subtle yet persistent view of the world. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career. It also includes a new contribution by Sarah Meister, executive director of Aperture, alongside essays by Sandra S. Phillips, senior curator of photography, emeritus, at the San Francisco Museum of Modern Art, and a discussion of Arbus's printing techniques by Neil Selkirk, the only person authorized to print her photographs since her death. An extensive chronology by Elisabeth Sussman, guest curator of the San Francisco Museum of Modern Art show, and Doon Arbus, the artist's eldest daughter, is illustrated by more than three hundred additional images and composed primarily of excerpts from the artist's letters, notebooks, and other writings, amounting to a kind of autobiography. An afterword by Doon Arbus precedes biographical entries on the photographer's friends and colleagues, compiled by Jeff L. Rosenheim, curator in charge of the Department of Photographs at the Metropolitan Museum of Art, New York. These texts help illuminate the meaning of Diane Arbus's controversial and astonishing vision.

Following the death of a renowned and eccentric collector-author of Stuff, a seminal philosophical work on the art of accumulation-the fate of the privately endowed museum he cherished falls to a peripatetic stranger who had been his fervent admirer. This peculiar institution (The Society for the Preservation of the Legacy of Dr Charles Alexander Morgan) is dedicated to the annihilation of hierarchy: peerless antiquities commune happily with the ignored, the discarded, the undervalued and the valueless. What transpires as the caretaker assumes dominion over this reliquary of voiceless objects and over its visitors is told in a manner at once obsessive and matter of fact, and in language both cocooning and expansive. A wry and haunting tale, The Caretaker, like the interplanetary crystal that is one of the museum's treasures, is rare, glistening and of a compacted inwardness. Kafka or Shirley Jackson may come to mind, and The Caretaker may conjure up various genres-parables, ghost stories, locked-room mysteries-but Doon Arbus draws

Following the death of a renowned and eccentric collector-the author of Stuff, a seminal philosophical work on the art of accumulation-the fate of the privately endowed museum he cherished falls to a peripatetic stranger who had been his fervent admirer. In his new role as caretaker of The Society for the Preservation of the Legacy of Dr. Charles Morgan, this restive man, in service to an absent master, at last finds his calling. The peculiar institution over which he presides is dedicated to the annihilation of hierarchy: peerless antiquities commune happily with the ignored, the discarded, the undervalued and the valueless. What transpires as the caretaker assumes dominion over this reliquary of voiceless objects and over its visitors is told in a manner at once obsessive and matter-of-fact, and in language both cocooning and expansive. A wry and haunting tale, The Caretaker, like the interplanetary crystal that is one of the museum's treasures, is rare, glistening, and of a compacted inwardness. Kafka or Shirley Jackson may come to mind, and The Caretaker may conjure up various genres-parables, ghost stories, locked-room mysteries-but Doon Arbus draws her phosphorescent water from no other writer's well.

"Diane Arbus: A Chronology" is the closest thing possible to a contemporaneous diary by one of the most daring, influential and controversial artists of the twentieth century. Drawn primarily from Arbus' extensive correspondence with friends, family and colleagues, personal notebooks and other unpublished writings, this beautifully produced volume reveals the private thoughts and motivations of an artist whose astonishing vision derived from the courage to see things as they are and the grace to permit them simply to be. Further rounding out Arbus' life and work are exhaustively researched footnotes that amplify the entire chronology. A section at the end of the book provides biographies for 55 family members, friends and colleagues, from Marvin Israel and Lisette Model to Weegee and August Sander. Describing the "Chronology" in "Art in America," Leo Rubinfien noted that "Arbus... wrote as well as she photographed, and her letters, where she heard each nuance of her words, were gifts to the people who received them. Once one has been introduced to it, the beauty of her spirit permanently changes and deepens one's understanding of her pictures." The texts in "Diane Arbus: A Chronology" originally appeared in "Diane Arbus: Revelations." This volume makes this invaluable material available in an accessible, unique paperback edition for the very first time.
Diane Arbus (1923-1971) revolutionized the terms of the art she practiced. Three volumes of her photographs have been published posthumously by Aperture and have remained continuously available.