The pair of Portraitstudie images . . . suggest that international exchanges and collaborations were central to the development of photography well beyond the initial flurry of activity around 1839.
This essay suggests that the interactions that took shape within the physical boundaries of [Stieglitz’s gallery] open insights into the broader dynamics of cultural discrimination and privilege.
This process of what I term a “re-membering” of history through Weems’s body and gaze indicts the landscape and the buildings that populate as key players in multiple histories.
Edmonton: University of Alberta Press, 2017; 376 pp.; 60 color illus.; 4 maps; ISBN: 9781772122985; Paperback: $34.95
Reviewed by: Katherine Mintie, Postdoctoral Scholar, DePauw University
Darcy Grimaldo Grigsby
Chicago: University of Chicago Press, 2015; 224 pp.; 131 color illus.; 27 b/w illus.; ISBN 9780226192130; Cloth: $45.00
Reviewed by: Rachel Stephens, Assistant Professor of American Art, Department of Art and Art History, The University of Alabama
Sarah Kate Gillespie
Cambridge, Mass.: The MIT Press, 2016; 232 pp.; 69 b/w illus.; ISBN 9780262334082; Hardcover: $31.95
Reviewed by: Ellen Handy, Art Department, The City College of Art, New York
Margaretta M. Lovell, Jay D. McEvoy, Jr., Professor of American Art, Art History Department, University of California, Berkeley
The visual rhetorics incorporated into these images trigger (in different ways) both physical appetite and social appetite, and their mechanisms for doing so appear to have remained constant in recent decades despite new competition from expansive digital venues. They incorporate power relations, aesthetic pleasure, and voyeurism. But food aesthetics are neither universal nor isolated; they echo (and feed) the cultural and political contexts in which they circulate so we can see change over time within underlying sameness.
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