This artistic research scrutinizes how sickness has been represented in art photography and examines new ways to approach, think about and create photographic art about sickness. The dissertation combines theoretical research and artworks. The theoretical part shows that while scholars have concentrated on the ethics of what kind of images of sickness or suffering ought to be shown or on the psychology of why some images of sickness bother viewers, most art photographers have concentrated on depicting personal illness experiences.0The research applies anthropologist Arthur Kleinman?s definitions on sickness, illness and disease in a diagram to examine how photographic artworks approach the topic. To understand the functions and the meanings of the different approaches, the research draws especially from Julia Kristeva?s writings on the abject. The main results of the research, artworks Leftover and White Rabbit Fever are intertwined with the theoretical part.

This feminist retelling of the history of photography puts women in the picture—and, more importantly, behind the camera! In ten thematic, chronological sections, Tate Modern curator Emma Lewis explores the vital role women artists have played in shaping the ever-evolving medium of photography. Lewis has compiled work from more than 200 different women and nonbinary photographers along with short essays on 75 different artists, many informed by her interviews with the subjects. From the studio portraiture of the late nineteenth century to the photojournalism of Dorothea Lange and Lee Miller in the early twentieth—and from second-wave feminist critiques of gender roles to contemporary selfies and social media personae—this volume examines different genres, styles, and approaches to photography from the 1800s to the present. UNPARALLELED IN SCOPE: International, inclusive, and intersectional, this comprehensive volume tells the story of a versatile and innovative medium. From early-twentieth-century self-portraits responding to modernity and changing notions of womanhood, to photojournalistic images documenting the climate crisis, the photographs in this book demonstrate the varied ways that women respond to and shape the global cultural landscape. The artists profiled here include: • Sheila Pree Bright • Imogen Cunningham • Paz Errázuriz • Nan Goldin • Kati Horna • Mari Katayama • Dora Maar • Lee Miller • Tina Modotti • Zanele Muholi • Shirin Neshat • Cindy Sherman • Lieko Shiga • Lorna Simpson • Amalia Ulman • And more! INSIGHTFULLY ORGANIZED: The thematic chapters of this project showcase photography's changing role in society and art. They allow the author to explore and contextualize how this role has (or hasn't) made space for women and people of marginalized genders, and how the work done on the margins of the medium pushes the boundaries of technology and creative expression. This is not simply a collection of "women photographers"—it's a book about how and why women and nonbinary artists have used photography to respond to and shape their own realities. Perfect for: • Photographers, artists, and students, and art lovers • Anyone interested in the history of photography • Intersectional feminists • Trailblazing women—and the people who love and support them!

Sander L. Gilman, whose pioneering work on the history of stereotypes has become a model for scholars in many fields, here examines the images that society creates of disease and its victims.

Exploring the mechanisms and strategies used in different cultures across Hispano-America and the Caribbean to narrativise, represent and understand HIV/AIDS as a social and human phenomenon, this book examines a wide range of cultural, artistic and media texts, as well as issues of human phenomenology, to understand the ways in which HIV positive individuals make sense of their own lives, and of the ways in which the rest of society sees them. Drawing on a variety of cultural texts from cinema, television, photography and literature, the author considers the manner in which contemporary cultural forms have shaped a body of public opinion in response to the social and cultural impact of HIV/AIDS, re-interpreting the condition in the light of advances in treatment. With attention to both the temporality and spatiality of production, this book examines whether heterosexual and homosexual, and masculine and feminine bodies are narrativised in the same manner, considering the question of whether representations foster discrimination of any kind. The book also asks whether representations across Latin America are homogenous or varied according to national, social or cultural context, and explores the commonalities between the representations of HIV/AIDS in Hispano-America and the Caribbean and other global narratives. A detailed study of the various representations of HIV/AIDS and the construction of public opinion, this book will appeal to scholars of cultural, media and film studies, the sociology of health, the body and illness, and Latin American and Caribbean Studies.

Illness narratives have become a cultural phenomenon in the Western world. In what ways can they be seen to have aesthetic, ethical and political value? What do they reveal about experiences of illness, the relationship between the body and identity and the role of the arts in bearing witness to illness for people who are ill and those connected to them? How can they influence medicine, the arts and shape public understandings of health and illness? These questions and more are explored in Illness as Many Narratives, which contains readings of a rich array of representations of illness from the 1980s to the present. A wide range of arts and media are considered such as life writing, photography, performance, film, theatre, artists' books and animation. The individual chapters deploy multidisciplinary critical frameworks and discuss physical and mental illness. Through reading this book you will gain an understanding of the complex contribution illness narratives make to contemporary culture and the emergent field of Critical Medical Humanities.

Outlaw Representation is a Beacon Press publication.

No one is more conscious of the faults of this work than the author. Therefore some self -criticism should be woven into this foreward. There are two possible methodologically pure solutions to this book's theme: a de scriptive catalog of the pictures couched in the language of natural science and accom panied by a clinical and psychopathological description of the patients, or a completely metaphysically based investigation of the process of pictorial composition. According to the latter, these unusual works, explained psychologically, and the exceptional circum stances on which they are based would be integrated as a playful variation of human expression into a total picture of the ego under the concept of an inborn creative urge, behind which we would then only have to discover a universal need for expression as an instinctive foundation. In brief, such an investigation would remain in the realm of phenomenologically observed existential forms, completely independent of psychiatry and aesthetics. The compromise between these two pure solutions must necessarily be piecework and must constantly defend itself against the dangers of fragmentation. We are in danger of being satisfied with pure description, the novelistic expansion of details and questions of principle; pitfalls would be very easy to avoid if we had the use of a clearly outlined method. But the problems of a new, or at least never seriously worked, field defy the methodology of every established subject.

For most of literary history, personal confessions about illness were considered too intimate to share publicly. By the mid-twentieth century, however, a series of events set the stage for the emergence of the illness narrative. The increase of chronic disease, the transformation of medicine into big business, the women's health movement, the AIDS/HIV pandemic, the advent of inexpensive paperbacks, and the rise of self-publishing all contributed to the proliferation of narratives about encounters with medicine and mortality. While the illness narrative is now a staple of the publishing industry, the genre itself has posed a problem for literary studies. What is the role of criticism in relation to personal accounts of suffering? Can these narratives be judged on aesthetic grounds? Are they a collective expression of the lost intimacy of the patient-doctor relationship? Is their function thus instrumental—to elicit the reader's empathy? To answer these questions, Ann Jurecic turns to major works on pain and suffering by Susan Sontag, Elaine Scarry, and Eve Sedgwick and reads these alongside illness narratives by Jean-Dominique Bauby, Reynolds Price, and Anne Fadiman, among others. In the process, she defines the subgenres of risk and pain narratives and explores a range of critical responses guided, alternately, by narrative empathy, the hermeneutics of suspicion, and the practice of reparative reading. Illness as Narrative seeks to draw wider attention to this form of life writing and to argue for new approaches to both literary criticism and teaching narrative. Jurecic calls for a practice that's both compassionate and critical. She asks that we consider why writers compose stories of illness, how readers receive them, and how both use these narratives to make meaning of human fragility and mortality.

AIDS & Representation explores portraits and self-portraits made in response to the AIDS epidemic in America in the 1980s and 1990s. Addressing the work of artists including Mark Morrisroe, Robert Blanchon and Felix Gonzalez-Torres through the interrelated themes of sickness and mortality, desire and sexual identity, love and loss, Fiona Johnstone shows how the self-representational practices of artists with HIV and AIDS offered a richly imaginative response to the limitations of early AIDS imagery. Johnstone argues that the AIDS epidemic changed the very nature of visual representation and artistic practice, necessitating a radical new approach to conceptualising and visualising the human form. An extended epilogue considers the ongoing art historicization of the epidemic, re-contextualising the book's themes in relation to contemporary photographic works. More than just a historical discussion of the art of the AIDS crisis, AIDS and Representation contributes to an emergent body of scholarship on the visual representation of illness. Expanding the established genre of the autopathography or illness narrative beyond the predominantly textual, this important contribution to art history and health humanities sensitively unpicks the entanglements between aesthetic form and the expression of lived experiences of critical and chronic ill health.

This timely study demonstrates how images of beauty and ugliness have constructed a visual history that records the artificial boundaries dividing "healthy" bodies from those that are "ill". "Gilman tells an excellent tale."—Jewish Chronicle