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Women's Camera Work: Self/Body/Other in American Visual Culture
Contributor(s): Davidov, Judith Fryer (Author)

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ISBN: 0822320541     ISBN-13: 9780822320548
Publisher: Duke University Press
OUR PRICE: $118.70  

Binding Type: Hardcover - See All Available Formats & Editions
Published: May 1998
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Annotation: "What a splendid achievement this book is. It is rich in texture, nuanced, fascinating--an outstanding work."--Miles Orvell, Temple University

"Davidov is an eloquent and passionate reader of texts and images. . . . She gives us a chance to think about a set of relationships among major American women photographers that few people know about."--Iris Tillman Hill, Duke University


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Additional Information
BISAC Categories:
- Photography | Photoessays & Documentaries
- Social Science | Women's Studies
- Photography | History
Dewey: 770.82
LCCN: 97034684
Series: New Americanists
Physical Information: 1.41" H x 6.34" W x 9.6" L (2.19 lbs) 512 pages
Themes:
- Chronological Period - 1851-1899
- Chronological Period - 20th Century
- Sex & Gender - Feminine
 
Descriptions, Reviews, Etc.
Publisher Description:
Women's Camera Work explores how photographs have been and are used to construct versions of history and examines how photographic representations of otherness often tell stories about the self. In the process, Judith Fryer Davidov focuses on the lives and work of a particular network of artists linked by time, interaction, influence, and friendship--one that included Gertrude K sebier, Imogen Cunningham, Dorothea Lange, and Laura Gilpin.

Women's Camera Work
ranges from American women's photographic practices during the nineteenth and early twentieth centuries to a study of landscape photography. Using contemporary cultural studies discourse to critique influential male-centered historiography and the male-dominated art world, Davidov exhibits the work of these women; tells their absorbing stories; and discusses representations of North American Indians, African Americans, Asian Americans, and the migrant poor. Evaluating these photographers' distinct contributions to constructions of Americanness and otherness, she helps us to discover the power of reading images closely, and to learn to see through these women's eyes.

In presenting one of the most important strands of American photography, this richly illustrated book will interest students of American visual culture, women's studies, and general readers alike.


 
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