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Abigail Solomon-Godeau is one of the best, if not the best, critical historians of photography in the country as well as one of the most sophisticated and theoretically astute feminist art historians writing today. -- Linda Nochlin, author of Women, Art, and Power and Other Essays Abigail Solomon-Godeau is one of photography's most astute long-standing contemporary commentators. In Photography after Photography, she 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 the power structures that shape it. Feminism informs every word of this powerful examination of culture, rigorously specific in its examples, yet expansive in its reach. -- Johanna Burton, editor of MIT's 2006 October Files, Cindy Sherman

Abigail Solomon-Godeau is one of photography's most astute long-standing contemporary commentators. In Photography after Photography, she 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 the power structures that shape it. Feminism informs every word of this powerful examination of culture, rigorously specific in its examples, yet expansive in its reach. -- Johanna Burton, editor of MIT's 2006 October Files, * Cindy Sherman * Abigail Solomon-Godeau is one of the best, if not the best, critical historians of photography in the country as well as one of the most sophisticated and theoretically astute feminist art historians writing today. -- Linda Nochlin, author of * Women, Art, and Power and Other Essays *

Solomon-Godeau's essays are lucid and make for captivating reading. . . . It is fitting for Solomon-Godeau to present a collection that spans such a broad range of topics in a manner that is cohesive, challenging, and attentive to photography's complex formal and cultural history. -- Will Carroll * ASAP/Journal * While Solomon-Godeau's overarching goal is to offer a feminist critique of the art world - particularly of critical discourse around art - in some of her essays she also discusses topics that fall outside this lens, such as the role of desire in photography and images of torture. In this sense, the anthology reflects the range of Solomon-Godeau's practice and interest as an art critic and scholar. -- Ela Bittencourt * Hyperallergic * With its refusal to separate photography from power and patronage, Abigail Solomon-Godeau's Photography After Photography arrives at an auspicious moment.. . . Bringing a wealth of information to bear on photographic meaning, Solomon-Godeau explores her topics in historical context. 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. -- Dore Bowen * Art in America * Solomon-Godeau shines when applying deconstructive feminist analysis to broader questions of representation in visual culture, and the market forces that collude to elevate an artist's reputation to master status. -- Wendy Vogel * Camera Austria *

Abigail Solomon-Godeau is one of photography's most astute long-standing contemporary commentators. In <i>Photography after Photography</i>, she 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 the power structures that shape it. Feminism informs every word of this powerful examination of culture, rigorously specific in its examples, yet expansive in its reach. --Johanna Burton, editor of MIT's 2006 October Files, Cindy Sherman

Author Information

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.

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