From Julia Margaret Cameron to Imogen Cunningham to Nan Goldin, women photographers have often made other women their subjects. What these pictures have in common is an unusually subtle sort of empathy, a shared knowledge, a warmth that male photographers only rarely bring to their photos of men. This warmth hasn't been much in evidence recently, edged out by an ironic, often savagely satirical distance in much of Cindy Sherman's work and by a complex array of narrative conventions in the work of young storytellers like Anna Gaskell, Justine Kurland, Tracey Moffatt, Malerie Marder, and Dana Hoey. Though most of the latter photographers regard the women in their pictures (some of whom are the artists' surrogates) with obvious affection, the theatrical nature of the work renders any emotion suspect, and the artifice keeps viewers at arm's length. Perhaps this is as it should be; even the most unmediated photographs are fictions. Still, it's something of a relief to see work that, without being in any way reactionary, puts aside distancing mechanisms and recognizes the bond between women on both sides of the camera as an important... More >>>