Photography after Photography

Gender, Genre, History

Nonfiction, Art & Architecture, Art History, Photography
Cover of the book Photography after Photography by Abigail Solomon-Godeau, Duke University Press
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Author: Abigail Solomon-Godeau ISBN: 9780822373629
Publisher: Duke University Press Publication: March 23, 2017
Imprint: Duke University Press Books Language: English
Author: Abigail Solomon-Godeau
ISBN: 9780822373629
Publisher: Duke University Press
Publication: March 23, 2017
Imprint: Duke University Press Books
Language: English

Presenting two decades of work by Abigail Solomon-Godeau, *Photography after Photography *is an inquiry into the circuits of power that shape photographic practice, criticism, and historiography. As 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 2006 Abu Ghraib prison photographs and the Cold War-era exhibition The Family of Man, insofar as these illustrate photography's embeddedness in social relations, viewing relations, and ideological formations.

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Presenting two decades of work by Abigail Solomon-Godeau, *Photography after Photography *is an inquiry into the circuits of power that shape photographic practice, criticism, and historiography. As 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 2006 Abu Ghraib prison photographs and the Cold War-era exhibition The Family of Man, insofar as these illustrate photography's embeddedness in social relations, viewing relations, and ideological formations.

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