“There are 8 million fashions in the naked city and Amy Arbus is going to photograph all of them…a few at a time.”  So read the tag line of the Village Voice’s monthly fashion feature, “On the Street,” which ran from 1980 to 1990, and is the subject of a new book and exhibit of the same name.  The book includes 100 of the 500 black-and-white portraits that appeared in the paper - 27 of which are currently on display at New York’s Cohen Amador Gallery. 

The gig was Arbus’ first hired job as a photographer, and for 10 subsequent years she hunted the streets of New York looking for the kids who inspired the city with their interesting faces, and inventive, theatrical styles.  In her current exhibition, Arbus, daughter of the late photographer Diane Arbus, offers a body of work that is not only timely for its ‘80s style, but for the mood that fashion was reflecting.  So, shortly after the opening, we caught up with Arbus to discuss the relevance of the eccentric styles she captured, as well as the motivations behind them.  In her own words: 

The people you photographed all look like they would be friends.  What drew you to a subject?
“I was drawn to interesting faces and the unusual combinations of things people put on.  I tried to avoid basic black.  I liked people who where mixing textures.  As the years went on my editors wanted more outrageous things.  We created themes through what I would find. But they tended to go for the more extreme stuff.  I like the fashion concepts rather then the particularly punk; like the guy with the continuous line of eyeliner running across his face.  I loved the people who where mixing and matching.” 

You shot quite a few kids that where just on the cusp of breaking out – like Madonna. What is the story behind that portrait? 
“I recognized her from the gym as the girl who stood around naked the longest.  When I stopped her she said the ‘the Village Voice is reviewing my first single, “Everybody,” next week.’  And when I called her later that week for a quote she told me she was wearing her pajamas under her coat.  I think she looked so classy even with the stains.  It’s all there.  She knew what was going to happen top her.”

Did you get that sense from other rising stars like The Clash and Anna Sui?
“There was a sense in most of the people I met that they were determined to succeed.  We knew that we could make it somehow.  That has all changed now.  It was an innocent time.  There was freedom to be who they where.  And being noticed was a way to succeed.  

Why do you think that has changed?
“These people wanted to have fun and that is in the air again.  But, I don’t think it’s a political statement anymore.  Dressing in unique ways doesn’t do anything anymore.  It had a lot more meaning then.” 

The portrait of The Clash looks like the only spontaneous shot that is not posed.  Where did you spot them?
“I was on the set of Martin Scorsese’s movie “The King of Comedy” waiting for my naked walk on part.  They where hanging out with some groupies and I knew who they where.  I didn’t need to talk to them.  They where busy but busy doing nothing.  It was all right there.”

How did you approach people?
“I considered it a game and either they agreed to play for ten minutes or not.  They got a little fame and a trophy (a photograph) in the mail.  I was doing a blend of fashion and portraiture.  I was posing them.  But when people would say ‘no,’ I was crushed.  But for the most part people weren’t afraid of being photographed. I don’t think I could intimidate anyone.” 

You soon became know around town as the photographer from “On the Street” and people began to seek you out.  How did that change things?
“They wouldn’t seek me out so much as wait for me to come along.  I didn’t need to explain.  Being in “On the Street” was like getting a prize for your creativity.” 

If you where doing this assignment today where would you go looking for street style? 
“I’d go to Chelsea because all of the galleries are there now.  Madison Square Park around the Shake Shack on a Saturday.  Thompson Square Park.”

What are you working on now?
“I’m working on a theatre project photographing characters in costume and in character out of the context of the play.  And a project photographing rites and rituals, wherever I travel or teach.  Parades, contests.  And I’m trying to find a dozen people from “On the Street” to photograph again.”

~Sara Costello

See It:

Amy Arbus’ On the Street is on view at the Cohen Amador Gallery until October 14^th, (212) 759-6740, 41 E. 57^th St, 6 Fl, New York, cohenamador.com

Arbus’ On the Street, $26.37, is available at amazon.com

Amy Arbus photo courtesy of A. J. Epstein
"On the Street" photos courtesy of the Cohen Amador Gallery