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She frequented Hubert's Museum freak shows, investigated body builder competitions, beauty contests, and youth gang meetings, which are all events where voyeurism is encouraged. Hubert's was located in Times Square, which was a seedy epicenter of hedonism; an area not often frequented by women. This live show was open from 1925-1969 and for 25 cents one could gaze upon human oddities, such as the bearded lady, or Zip the human pinhead, as well as performers such as sword swallowers and snake charmers. This show was a safe space for one to gaze upon unique humans, and gave Arbus a taste of where her interests were to develop. She later approached subjects independently and sought out those who live on the margins of society, those that are often thought of as grotesque. Her magazine projects and personal projects overlapped and merged, sometimes evolving into and out of one another. Marvin Israel, a lover and fellow product of an upper-class Jewish family in New York inspired Arbus to do some of her best work. Israel is also accredited for encouraging and shaping Richard Avedon's best work, among many other modern photographers of that era. He was her intellectual equal and the two shared much in common, but Israel refused to leave his wife for Arbus. Her adventurousness and curious mentality craved variety and newness to stave off feelings of restlessness and boredom. She once complained to a friend that, "she was untouched by the ordinary joys and pains that make people feel alive." She also stated that "the condition of photographing, is maybe the condition of being on the brink of conversion to anything." Arbus was truly looking for an avenue of self-fulfillment and validation in her personal life as much as her profession. This image is often criticized as being disturbing to viewers. Arbus sought to expose the underbelly of society, which is often overlooked or ignored. What becomes apparent is the more insistent, larger narrative of American sensibility, lost in the social upheavals of the 1960s. Critic Susan Sontag wrote about Arbus' aesthetic insensibilities in her book, On Photography, which is a very influential piece of critique questioning the legitimacy of photography as an art form, written in 1977. She categorized Child with a toy hand grenade in Central Park, N.Y.C, among Arbus' work as a whole, as picturing people who are "pathetic, pitiable, as well as repulsive." This image remains an icon despite Sontag's scathing review, and has continued to grow in fame as the visual impact of the image is haunting and timeless. Grenade light Sign , Neon like , Grenade lamp, Grenade Wall decor, Grenade night light, edge Lit LED, Grenade art

Arbus's short and troubled life resulted in a body of work that was, and continues to be, both celebrated for its compassion and condemned for its objectification. More than anything else, Arbus remains a mystery, a controversial mystery. It is often the case that art historians (and sensationalist news columnists) want to make her out to be more of a freak as to explain the nature of her work. They cite potential (and unconfirmed) sexual relations with her brother and her daughter's relationship with Marvin Israel (who was Arbus's long-time passion). Diane Nemerov grew up in New York City in a wealthy Jewish family who owned a successful fur company named Russeks. She was the second of three children who all grew-up to be creatives. (Howard, the eldest, grew up to be a Pulitzer Prize winning poet and the younger, Renee became an artist). Raised in a series of lavish homes in Upper East Side of New York City, her childhood consisted of maids and governesses helping raise her and her siblings. Diane's mother, Gertrude, struggled with bouts of depression preventing her from intellectually supporting Diane while her father, David, stayed busy with work. The rest of her life, she would try separating herself from her family and upbringing. Many have thought that she did this through her work, as an extension of her personal suffering, for she felt oppressed in her own community and felt akin to her subjects as a social outcast.Arbus engages with the event with a critical lens into the otherwise superficial meaning of ceremonies that make up our everyday existence. Her portrayal of judgment requires of us to ask ourselves if there is any one true meaning of the conventions of physical female beauty. Arbus wrote, "It took about ten hours of interviews, sashaying, and performing what they called their talent and the poor girls looked so exhausted by the effort to be themselves that they continually made the fatal mistakes which were in fact themselves..." American photographer Diane Arbus was born on March 14, 1923. Known for her images of individuals on the fringes of society, including dwarfs, circus performers, the mentally ill, and transgendered persons, Arbus was one of the 20th century’s most provocative artists. This photograph is of Nat and June Tarnapol, a successful agent and publisher in the pop music business and his well-coiffed wife. When Arbus stopped June in a bookstore to ask her to sit for a photograph, it was because she was impeccably dressed. Arbus wrote, "...she suggested I wait until warm weather so I can do it [photograph] around the pool!" Yet, Arbus did not want to recreate an idyllic family portrait. Once photographing the wealthy family at their home in the New York suburbs, Arbus spent almost eight hours shooting the family. Her truth-by-exhaustion technique made her ultimate photo far more interesting. It is a powerful statement confirming that traditional family roles can be stifling. Her cathartic uncovering of this sense gave rise to a bold photographic narrative that became the emblematic and diarist project detailing Arbus's own life and views. By understanding this image further, one understands how the artist's personal biography can affect the work they seek to produce, which is a theme consistent in Modern and Post-Modern Art.

Segal, David. "Double Exposure." The Washington Post, May 12, 2005, https://www.washingtonpost.com/wp-dyn/content/article/2005/05/11/AR2005…. She started her photography career shy and avoiding actual human interaction and chose pre-constructed scenes like wax museums or unbeknownst audiences such as this image. She would often wait for the opportune moment in parks and city sidewalks, often photographing people from behind or without their consent or knowledge. She obliged the grip of the photographic excellence as the search for the perfect moment became dire. She gave up shooting movie theaters when she changed from her 35mm camera to a more professional, albeit bulkier, medium format camera. Shortly after this image was taken she started using a 2 ? inch twin-lens reflex Rolleiflex, then later a Mamiya C33, which are harder to use with discretion. The medium format camera produces a square negative, which came to be one of Arbus' compositional signatures. Shortly after this image was taken her distinctive style began to take shape as she took more risks and found out how to relate to people she sought to capture. As fashion photographers, Diane and Allan were constantly looking for new assignments, generating ideas for magazines, and traveling. Diane longed to photograph on her own terms, not just to work as a glorified stylist. Furthermore, the fact that her ideas dictated many of the photographs that made the magazine spreads endowed her with the courage to move away from fashion to find a new purpose.This somber and mysterious photo shows severely handicapped patients walking and stumbling along dressed in their Halloween masks. During their outdoor walk under grey skies and moonlight, Arbus makes a strong use of the camera's flash. The scene revealed goes a level beyond the usual photos of Arbus's consenting subjects living in the outside world. These patients are supposed to be in a safer place, and that location casts them, and the process of photographing them, in a different light. In addition, the scene is reminiscent of James Ensor's ghastly portrayals of the rich and corrupt, an association that adds to the complexity of interpreting this series of photographs. Henderson, Jane. "Sibling incest, WU poet discussed in upcoming Diane Arbus biography." St. Louis Post-Dispatch, June 2, 2016, https://www.stltoday.com/entertainment/books-and-literature/book-blog/s…