Silent Dialogues: Diane Arbus & Howard Nemerov, by Alexander Nemerov
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Silent Dialogues: Diane Arbus & Howard Nemerov, by Alexander Nemerov
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Silent Dialogues, by art historian Alexander Nemerov, is a probing, intimate reflection about photographer Diane Arbus, the author's aunt, and her brother, Pulitzer Prize–winning poet Howard Nemerov, the author's father. "I have no memories of Diane Arbus," begins Alexander Nemerov in the first of two meditative essays that comprise this book. "A Resemblance" examines Howard Nemerov's complicated responses to his sister's photography. "The School" focuses on a body of Arbus' work known as the Untitled series, photographs made at residences for the mentally disabled between 1969 and 1971, in the last years of her life. Through their work, the author explores the siblings' disparate and distinct sensibilities, and in doing so uncovers signs of an unexpected aesthetic kinship. Illustrations complementing the essays include numerous examples of Arbus' photographs; paintings by artists as diverse as Pieter Brueghel, Norman Rockwell, Paul Feeley and Johannes Vermeer; and a selection of poems by Howard Nemerov, chosen by his son.
Silent Dialogues: Diane Arbus & Howard Nemerov, by Alexander Nemerov- Amazon Sales Rank: #900660 in Books
- Brand: Nemerov, Alexander/ Arbus, Diane (PHT)/ Nemerov, Howard (CON)
- Published on: 2015-03-24
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x 7.00" w x .50" l, .0 pounds
- Binding: Paperback
- 100 pages
Review Even if one does not accept the sometimes metaphysical import Nemerov ascribes to the images, the intensity of his examination of them may well guide one not only to look harder at Arbus’s already widely and profoundly scrutinized canon, but at all images. What Nemerov calls “the fanatical quality of attention in poet and photographer,” he himself has in spades, as well as a rich mystical imagination. It’s unlikely that anyone who reads this book will put it down less critical, less observant, or less attentive to the possible, at turns fanciful and profound, relations between things. (Larissa Archer Hyperallergic)
About the Author Alexander Nemerov is the Carl and Marilynn Thoma Provostial Professor in the Arts and Humanities at Stanford University. His books include "Silent Dialogues: Diane Arbus and Howard Nemerov, Wartime Kiss: Visions of the Moment in the 1940s" (Princeton), and Acting in the Night: Macbeth and the Places of the Civil War.During a relatively brief career, Diane Arbus created a distinctly personal style of portraiture that made her one of the great 20th-century photographers. Born in New York in 1923, by the 1950s she was supporting herself by working for magazines such as "Vogue" and "Glamour". Two Guggenheim awards (1963 and 1966) allowed her to travel and undertake her own projects. The artist died in 1971. Retrospectives of her work have been shown at the Victoria and Albert Museum, London, and The Metropolitan Museum of Art, New York.
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4 of 4 people found the following review helpful. "A photograph is a secret about a secret. The more it tells you the less you know." By R. M. Peterson Diane Arbus (née Nemerov) is famous. Her poet brother, Howard Nemerov, is less so. (Nonetheless, based on my more-than-passing acquaintance with the work of each, I prefer his poetry to her photographs.) In SILENT DIALOGUES, Alexander Nemerov -- Howard's son, Diane's nephew -- writes about the siblings, their personal relationship, and connections (and differences) between their approaches to their respective crafts.The book is intelligently and handsomely produced. It contains two essays by Alexander Nemerov. They are inter-related, although the first, "A Resemblance", deals more with Howard's "complicated responses to his sister's photography", while the second, "The School", focuses on a dozen photographs Diane made at residences for the mentally retarded between 1969 and 1971. Accompanying the text are numerous illustrations -- Diane's photographs, texts of Howard's poems, and other cultural ephemera that Alexander refers to.Howard didn't care for Diane's photography. She gave him a print of her most famous photograph, "Identical twins, Roselle, N.J. 1966", which she inscribed "to h" and signed at the bottom. He kept the print, neither matted nor framed, in a drawer in the living room along with his children's drawing supplies. But then Howard didn't like photography as a medium: "He thought it was just a mechanism, a copy of the world. * * * There was no imagination, no creativity, to it. * * * Photography was part of the journalistic disenchantment of the world -- a pragmatic wish to know, to expose, to develop. And it was a kind of voyeurism."Alexander writes that a dose of competitive artistic jealously might very well have underlain Howard's attitude towards Diane's photography. In any event, Alexander did not inherit his father's prejudice. He is a careful and sympathetic commentator on her photography . . . and on photography in general. Reading the second essay opened up for me a different way of thinking about photography. And the book as a whole made me more (though not totally) receptive to Arbus's photography.By and large, Alexander's prose is excellent. Of the two pieces, I prefer the first, which is a more traditional non-fiction essay, whereas the second from time to time threatens to drift off into prose poetry. There are numerous explications of Arbus photographs, especially ones from her "Untitled" series (taken at a school in New Jersey for the mentally retarded); some of Alexander's observations are, I think, insightful and valid, others fanciful and far-fetched. Some of the connections he finds between Howard's work and Diane's, or between their work and other cultural artifacts, seem largely to be coincidences; anyone rummaging through assorted cultural odds and ends will eventually come up with the sorts of seemingly portentous relationships that Alexander does. Still, the exercise has a certain fascination.The title of the book is taken from a letter that an adult Diane Arbus wrote her brother: "The silent dialogue we have had all our lives on these matters is the more extraordinary for what we seem to have heard." In a similar vein is the excerpt from Diane's writings that I have appropriated for the title to this review.
0 of 0 people found the following review helpful. A well produced book, with many of Diane Arbus' ... By Robert Reitter A well produced book, with many of Diane Arbus' most arresting photographs, and interesting speculations about them. Of course no amount of prose can really explicate her work. this effort is worthwhile because it is written by a nephew, who though he did not know his aunt at all well, can think and write about her with unique insight.
4 of 6 people found the following review helpful. wordy dialogues By c. tisdell I found the insights about his father and his aunt, Diane Arbus of interest, but I did have a problem with the author's style. I found myself having to read passages over and over to grasp his intent. In fairness, I do not like wordy prose. Many of his reference's to various paintings and other connections he makes with Ms. Arbus's work seemed a bit of a stretch at times. What will remain with me is how Diane's brother struggled with her work perhaps her fame. Only a family member can provide this level of detail about the family dynamics.The book is beautifully produced. Although the cover design, though elegant does not capture the mood of the subject matter or convey the contents of this work.
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