Arbus, Diane. Arbus, Friedlander, Winogrand. New Documents, 1967.

Museum of Modern Art, New York, 2017. By Sarah Hermanson Meister with essay by Max Kozloff.  [Book on the landmark 1967 exhibit of photographs at MoMA by Diane Arbus, Lee Friedlander, and Garry Winogrand. Reproduces all the photographs plus documents about the show, for which a catalog was never previously issued, despite its renown.] 1st edition, hardcover clothbound with dust jacket. 188 pages. New in original shrinkwrap. Issued at $45. Summary:

Published by the Museum of Modern Art (MoMA) in 2017, this volume serves as both a retrospective and a definitive scholarly record of the landmark 1967 exhibition, "New Documents." Curated by John Szarkowski, the original show is widely considered one of the most influential events in 20th-century photography.

The Core Premise: A Shift in Vision

The 2017 book captures the moment when documentary photography shifted from social reform (the "concerned" photography of the early 20th century) toward a personal, subjective "snapshot" aesthetic. Szarkowski famously noted that these photographers aimed not to reform the world, but to know it.

The "New Documents" Trio

The book examines the distinct yet overlapping styles of the three featured artists:

• Diane Arbus: Known for her portraits of people on the margins of society. Her work challenged viewers to confront the "freakish" and the mundane with equal intensity, utilizing a square format and direct flash.

• Lee Friedlander: Focused on the "social landscape." His work is characterized by complex compositions, often featuring reflections in storefront windows, shadows, and the visual clutter of urban American life.

• Garry Winogrand: The quintessential street photographer. His tilted horizons and rapid-fire captures of New York City streets embodied a raw, kinetic energy that defined the "snapshot aesthetic."

2017 Edition Features

Unlike the original 1967 show, which lacked a formal catalog due to budget constraints, this 50th-anniversary publication provides:

• Full Plates: Reproductions of all 94 photographs included in the original exhibition.

• Archival Context: Previously unpublished installation photographs of the 1967 gallery space.

• Critical Analysis: An essay by curator Sarah Hermanson Meister that dissects the exhibition’s reception and its enduring legacy on the medium.

Significance

The book solidifies the "New Documents" legacy as the turning point where photography was accepted as an idiosyncratic, artistic pursuit rather than a purely journalistic or objective tool. It remains an essential text for understanding how the contemporary "photographic eye" was formed.