Unpublished Photographs by Diane Arbus will be on view at Fraenkel Gallery, 55 Grant Avenue, from October 8 through November 15, 1980. This exhibition is the first since the Museum of Modern Art retrospective in 1972 to present a significant body of previously unseen images.

Included will be approximately thirty vintage prints dating from 1959 to 1971, Arbus’ twelve serious productive years. Although the popular image of Diane Arbus is as a photographer of “freaks”, most of the people she photographed were, in fact, quite ordinary people whom she met on the street. In addition to this work, the exhibition will present a number of early 35mm pictures, work from the 60s done in New York and California (where Diane Arbus meets Mae West) and a remarkable group of images from 1968 of poverty stricken blacks in their South Carolina cabins. All of the photographs in the exhibition were printed by Arbus herself.

Concurrent with the exhibition at Fraenkel Gallery, Picture Magazine will devote an entire special issue to these photographs.

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Beginning with an extremely rare street view from 1845 by W.H. Fox Talbot, the exhibition will highlight 19th century work by masters as Edouard Baldus, and the Bisson Freres in France, Roger Fenton in Great Britain and Giorgio Sommer in Italy. Although little attention has been paid to the architectural work of Carleton E. Watkins, this was an important aspect of his career, and one to which he brought his own comprehensive vision. Two mammoth-plate views by Watkins are included among other American works.

The twentieth century has produced photographers such as Eugene Atget, Berenice Abbott, Walker Evans, and Harry Callahan, for whom architecture proved to be a source of continuing visual interest. This exhibition also includes contemporary work by photographers who have conscientiously expanded the tradition, such as Nicholas Nixon, Bill Dane, and Lewis Baltz.

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His three books (The New West, 1974; Denver, 1977; and Prairie, 1978) will be followed this year by the Aperture monograph From the Missouri West. This series of landscapes, begun in 1975, includes images made from the Missouri River westward to the Pacific. Of these pictures, Adams has written, “What I wanted, if possible, was to rediscover some of the landforms that had impressed our forebears…I set out making one precautionary requirement of myself in order to try not to lie – I determined always to include some evidence of man.”

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O’Sullivan learned to photograph at the gallery of Mathew Brady, and the in the branch managed by Alexander Gardner in Washington. His major contribution to the history of photography, however, began with the images he made during the Civil War, in 1862-1865. From 1867-1869 O’Sullivan was official photographer to the King Survey, officially known as the Geological Exploration of the 40th Parallel. In 1870 he was appointed Photographer to the Darien Survey, with the purpose of determining possible canal routes through the Isthmus of Panama. O’Sullivan’s last and most mature group of images were made during his years with the Wheeler Expedition, surveying the One-Hundredth Meridian (1871, 1873-1874). He died in 1882 in Staten Island, of tuberculosis, at the age of forty-two.

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Loewy and Puiseux, two French astronomers at the Obsevatoire de Paris made telescopic views of the moon during the years 1894–1904. The images were printed with great sensitivity as unusually large photogravures, and information regarding the exact date and hour of exposure was printed beneath each image. Seven of these rare gravures are included in the exhibition.

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Seventy years after Loewy and Puiseux, NASA astronauts also made photographs of the moon. These mostly hand-held Hasselblad pictures, selected from an extensive archive at the Space Imagery Center in Tucson, were made on Apollo missions 11, 12, 14, and 15 during the years 1969–1972. They focus on bits of strange apparatus, plain hunks of rock, and patches of soil, often without horizons. Astronauts’ arms and legs appear as fragments around the edges, while there shadows fall accidentally on the scene.

Like their French predecessors, the NASA astronauts made their photographs purely for scientific purposes. Yet both groups of pictures contain strong similarities to much significant photographic work being made today.

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