Myths of origin: Julia Margaret Cameron and Clementina Hawarden -- After and in the fracture: Claude Cahun, Lee Miller, and surrealism -- Truth in Photography: Dorothea Lange and Imogen Cunningham -- Rough street: Diane Arbus and Vivian Maier -- Afterimages: Ana Mendieta and Francesca Woodman -- Performances: Nan Goldin, Nikki Lee, Catherine Opie, and Zackary Drucker -- The original experience: Carrie Mae Weems and Sally Mann -- Ethnographies and portraits: Mary Ellen Mark, Rineke Dijkstra, and Zoe Strauss -- A history of photography: Aida Muluneh and Lalla Essaydi -- Counterdiscourse, seeing anew: Rebecca Belmore and Matika Wilbur.
Summary:
Women Photographers and Feminist Aesthetics" makes the case for a feminist aesthetics in photography by analysing key works of twenty-two women photographers through ten thematic chapters and includes the work of cis- and trans-woman photographers. Developing the argument that through aesthetic force emerges the truly political, Claire Raymond moves beyond polarization of the aesthetic and the cultural. Instead, photographic works are read for their subversive political and cultural force, as it emerges through the aesthetics of the image. This book makes use of in-depth readings of a small number of photographs, but covers expansively the history of photography, from nineteenth-century Europe to twenty-first century Africa and Asia. Women Photographers and Feminist Aesthetics puts forth original interpretations of well-known photographers such as Diane Arbus, Sally Mann, and Carrie Mae Weems, analysing their work through the rubric of gender, class, and race. Finally, this book pays close attention to the representation of indigenous North Americans in photography and contemporary Native American women photographers' response to this history.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.