Claire Raymond Boeken

Focusing on the intersection of aesthetics and gender, the book explores Francesca Woodman's photography through a feminist lens, connecting her to historical women artists like Julia Margaret Cameron. Rather than simply analyzing her self-portraits biographically, it presents Woodman as a conceptually advanced artist who contributes to discussions on Enlightenment aesthetics and the complexities of the sublime. This inquiry highlights the nuanced dynamics of gender within the realm of artistic expression.

Exploring the intersection of femininity and violence, this work examines the contributions of notable women artists and writers such as Carrie Mae Weems and Toni Morrison. Raymond reveals how sadistic violence is intricately woven into the narratives and imagery of American women's literature and photography, showcasing a recurring pattern that challenges traditional representations of women. Through this analysis, the book highlights the complex dynamics of gender and power in the creative expressions of these influential figures.

The book explores the uncanny nature of photography, highlighting its ability to challenge political and social power structures. It examines how certain photographs, by evoking feelings of unease, critique capitalist and industrial dominance. Spanning from early photography with William Henry Fox Talbot to contemporary works by Bear Allison and Devin Allen, the analysis employs detailed interpretations and modern political and aesthetic theories to reveal how these images reflect and contest societal norms.

Focusing on feminist aesthetics, this book analyzes the works of twenty-two women photographers, including both cis and trans artists. Through ten thematic chapters, it explores how these photographers challenge traditional narratives and contribute to the discourse on gender and representation in the medium of photography. By highlighting their unique perspectives and artistic expressions, the book advocates for a broader understanding of feminist contributions to the visual arts.

Exploring the intricate connections between face, identity, photography, and temporality, this theoretical work delves into the concept of the temporal episteme within selfie culture. It analyzes how selfies influence perceptions of self and identity over time, offering insights into contemporary practices of self-representation and the implications of capturing moments through photography.

Exploring the disintegrative nature of Francesca Woodman's final works, Claire Raymond examines how the artist's use of diazotype—a medium that deteriorates when exposed to light—reflects the fragility of stable images. The analysis delves into theoretical and curatorial aspects, highlighting the contrast between ephemeral art and lasting impressions. Raymond's insights reveal how Woodman's creations engage with themes of impermanence and transformation, making a significant contribution to the understanding of contemporary art.

Exploring the intersection of photography and politics, this book posits that the act of seeing is vital to existence. It examines how photography serves as a medium of political activism, particularly through the lens of African American, Indigenous American, Latinx, and Asian American artists. By analyzing the paradoxical relationship between photography and societal invisibility, the author highlights the role of photographic practices in addressing issues of political, social, and epistemological erasure in contemporary contexts.

"Cultures create and ascribe meaning to monsters, endowing them with characteristics derived from their most deep-seated fears and tabboos. In this volume, Millikin Raymond explores Frankenstein and Mathilda from a feminist and cultural studies perspective, illuminating the cultural transgressions that each work presents through its monsters. Frankenstein, Or, The Modern Prometheus, conceived by Shelley at the age of nineteen and published before she was twenty, is the most famous and enduring imaginative works of the Romantic era. Shelley was keenly aware of contemporary scientific developments and incorporated them into Frankentstein. Monsters includes the 1831 edition of Frankenstein, which Shelly revised as an adult, respecting the artistic maturity ansd agency of the author. Mathilda, Shelley's second long work of fiction written between August 1819 and February 1820, deals with taboos that haunt our society to this day: incest and suicide. Published for the first time in 1959, it was becaome Shelley's best-known work after Frankenstein. The verision edited by Elizabeth Nitchie in 1959 is presented here."--Back cover