by Abigail Solomon-Godeau (Author). out of 5 . Photography after Photography: Gender, Genre, History Why Photography Matters as Art as Never Before. of work by Abigail Solomon-Godeau, Photography after Photography is forms of artistic production are increasingly fluid, Solomon-Godeau. Abigail Solomon-Godeau is an American art critic, exhibition curator and art historian. Contents Her writing focuses on feminist theory, photography, 19th century French art and contemporary art, and she Photography after Photography.

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Bringing a wealth of information to bear on photographic meaning, Solomon-Godeau explores her topics in historical context.

Abigail Solomon-Godeau

In doing so, she demonstrates that the way many photographs are understood today has little to do with the circumstance of their creation, or the manner in which they were originally distributed and viewed. In Photography after Photographyshe continues the crucial work of examining the situations and stakes of representation.

Essays written over the last two decades take up case studies as diverse as Cindy Sherman and Abu Ghraib; Solomon-Godeau reminds us that no image can truly be seen without a consideration of photogrxphy power structures that shape aigail. Feminism informs every word of this powerful examination of culture, rigorously specific in its examples, yet expansive in its reach.

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Photography after Photography | Duke University Press

For atr covers to accompany reviews, please contact the publicity department. Instructions for requesting an att text on behalf of a student with disabilities are available here. Solonon the boundaries that separate photography from other forms of artistic production are increasingly fluid, Solomon-Godeau, a pioneering feminist and politically engaged critic, argues that the relationships between photography, culture, gender, and power demand renewed attention.

In her analyses of the photographic production of Cindy Sherman, Robert Mapplethorpe, Susan Meiselas, Francesca Woodman, and others, Solomon-Godeau refigures the disciplinary object of photography by considering these practices through an examination of the determinations of genre and gender as these shape the relations between photographers, their images, and their viewers.

Among her subjects are the Abu Ghraib prison photographs and the Cold War-era exhibition The Family of Maninsofar as these illustrate photography’s embeddedness in photohraphy relations, viewing relations, and ideological formations.

Sign up for Subject Matters email updates to receive discounts, new book announcements, and more. Create a reading list or add to an existing list. Sign-in or register now to continue. Gender, Genre, History Author s: List of Illustrations vii Preface. Written on the Body 27 3.


The Family of Man: Refurbishing Humanism for a Postmodern Age 43 4. Torture at Abu Ghraib: In and Out of the Media 61 5. Gender, Genre, and Street Photography 77 6. Susan Meiselas’s Afteer Strippers 94 7.

Framing Landscape Photography 8. The Ghosts of Documentary 9. Categories, Careers, and Commerce Whitewashed and Polished Body Double The Coming of Age: Permission to Photocopy coursepacks If you are requesting permission to photocopy material for classroom use, please contact the Copyright Clearance Center at copyright. Disability Requests Instructions solmoon requesting an electronic text on behalf of a student with disabilities are available here. If book has an editor that is different from the article author, include editor’s name also.

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