Blaze starr diane arbus contact
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Blaze Starr in her living room, Baltimore, Md.
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Title:Blaze Starr in her living room, Baltimore, Md.
Artist:Diane Arbus (American, New York 1923–1971 New York)
Printer:Neil Selkirk (American, born England, 1947)
Person in Photograph:Blaze Starr (American, Wilsondale, West Virginia 1932–2015 Wilsondale, West Virginia)
Date:1964, printed later
Medium:Gelatin silver print
Dimensions:Image: 37.1 × 37.1 cm (14 5/8 × 14 5/8 in.);
Sheet: 50.8 × 40.6 cm (20 × 16 in.)
Classification:Photographs
Credit Line:Gift of Neil Selkirk, 2012
Object Number:2012.552.12
Rights and Reproduction:© The Estate of Diane Arbus
Inscription: Estate stamp in black ink, verso TL: "ALL RIGHTS RESERVED // This image may not be reproduced in any // way whatsoever without written permission // from The Estate of Diane Arbus."; Estate stamp and inscription in black ink, verso TC: "Copyright © 1964 // The Esta
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Blaze Starr at home, Diane Arbus
Artwork Overview
Blaze Starr at home, 1964
Where object was made: United States
Material/technique: gelatin silver print
Image Dimensions Height/Width (Height x Width): 21.5 x 20.7 cm
Image Dimensions Height/Width (Height x Width): 8 7/16 x 8 1/8 in
Mat Dimensions (Height x Width): 19 x 14 in
Credit line: Gift of Esquire, Inc.
Accession number: 1980.0222
Not on display
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Lee, Anthony W., and John Pultz. Diane Arbus: Family Albums. Italy: Yale University Press, 2003.
Southall, Thomas, and Doon Arbus, Marvin Israel. Diane Arbus: Magazine Work. Lawrence, Kansas: Spencer Museum of Art, The University of Kansas, 1984.
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Diane Arbus (American, 1923–1971), Blaze Starr, Baltimore, 1964, Gelatin silver print, Gift of H. Russell Albright, MD, 91.528
It is often said that a portrait photograph represents some kind of exchange between the photographer and the subject, and that the resulting image, as the product of this exchange, has something from both of these figures in it. Such a description however, fails to account for the intervention of the camera—or at least the camera’s functions that are outside of the photographer’s control. There is no question, for example, that Diane Arbus is present here in the framing, the sharpness, the exposure, and even in Blaze Starr’s pose (which would surely be different in front of an operatorless camera), but the camera introduces its own particularly intrusive qualities. Arbus was a revolutionary figure in the history of photography, in part because she intuitively understood the role of the camera in these exchanges. She once described the photographic proc