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 …23-1971) wrote that she was compiling her photographs into a ‘Family Album,’ likening it to a ‘Noah’s Ark’ and imagining in it the people who might be remembered and saved in the aftermath of the tumultuous 1960s.” Exhibition label, Portland Museum of Art, Diane Arbus’ cast of characters is a startlingly unusual group. They are people held together by all sorts of bonds, traditional and alternative, yet each merits special attention. Her mothers,…  … Friedlander, Garry Winogrand, and Diane Arbus was introduced together in an exhibition at the Museum of Modern Art, New York, entitled New Documents, setting the standard for a new notion about the ‘documentary.’ In his wall label for that exhibit John Szaskowski wrote, ‘In the past decade a new generation of photographers has directed the documentary approach toward more personal ends. Their aim has been not to reform life, but to know it.’ 18….  … work. I can’t stand to give him even that much credit. NF: Has your work aroused censorship in America? CS: No, I don’t think so. But I wasn’t surprised when Metro Pictures felt they should put up a warning label for kids. NF: You mean the sign at the exhibition of the Sex Pictures that read, “Parents might want to view the works inside before letting their children see them.” CS: Yes. But on the other hand, I suppo… INTERVIEW: “Interview with Artist Cindy Sherman – A Woman of Parts” (1997)  …unes of Depression times, but your photographs are not critical. I find them more of a glorification—glorification of the plain and simple reality. W.E.: I’m pleased to hear you say that, because I didn’t like the label that I unconsciously earned of being a social protest artist. I never took it upon myself to change the world. And those contemporaries of mine who were going around falling for the idea that they were going to bring d… INTERVIEW: Walker Evans – “The Thing Itself is Such a Secret and so Unapproachable” (1974) | ||||||||||||||
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