Ulteriori informazioni
Abigail Solomon-Godeau is Professor Emerita of the Department of History of Art and Architecture at the University of California, Santa Barbara, and the author of several books, including Photography at the Dock: Essays on Photographic History, Institutions, and Practices; Male Trouble: A Crisis in Representation; Rosemary Laing; Chair à canons: Photographie, discours, féminisme; and coauthor of Birgit Jürgenssen.
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Sarah Parsons is Associate Professor of Art History at York University.
Sommario
List of Illustrations vii
Preface. May the Bridges We Burn Light the Way / Sarah Parsons ix
Introduction 1
1. Inside/Out (1995) 10
2. Written on the Body (1997) 27
3. The Family of Man: Refurbishing Humanism for a Postmodern Age (2004) 43
4. Torture at Abu Ghraib: In and Out of the Media (2007) 61
5. Harry Callahan: Gender, Genre, and Street Photography (2007) 77
6. Caught Looking: Susan Meiselas's Carnival Strippers (2008) 94
7. Framing Landscape Photography (2010) 107
8. The Ghosts of Documentary (2012) 123
9. Inventing Vivian Maier: Categories, Careers, and Commerce (2013) 141
10. Robert Mapplethorpe: Whitewashed and Polished (2014) 156
11. Body Double (2014) 171
12. The Coming of Age: Cindy Sherman, Feminism, and Art History (2014) 189
Notes 207
Bibliography 237
Index 249
Info autore
Abigail Solomon-Godeau is Professor Emerita of the Department of History of Art and Architecture at the University of California, Santa Barbara, and the author of several books, including Photography at the Dock: Essays on Photographic History, Institutions, and Practices; Male Trouble: A Crisis in Representation; Rosemary Laing; Chair À canons: Photographie, discours, fÉminisme; and coauthor of Birgit JÜrgenssen.
Sarah Parsons is Associate Professor of Art History at York University.
Riassunto
In essays analyzing the photography of luminaries such as Cindy Sherman, Robert Mapplethorpe, and Susan Meiselas, pioneering feminist art critic Abigail Solomon-Godeau extends her politically engaged and theoretically sophisticated inquiry into the historical and cultural circuits of power as they shape and inform the practice, criticism, and historiography of photography.
