Abigail Solomon-Godeau
[Writer and theorist, b. 1947, New York, lives in Santa Barbara, California.]

 Whatever the elements that differentiate an art photograph of a female nude encountered in a museum from a photographic pin-up, both types of image may posit a similar—if not identical—set of subject/object relations, and induce or foster fantasies that are themselves symptoms of the unequal ordering of sexual difference [in a patriarchal society]. 
 The teaching of photography tends to be cordoned off from what goes on in the rest of the art department. So while young painters are reading art magazines and often as not following to some degree developments in film, performance or video, photography students are reading photography magazines, disputing the merits of documentary mode over self expression, or resurrecting onto the fourth generation an exhausted formalism that can no longer generate either heat or light. 
 The shared conviction that the art photograph is the expression of the photographer’s interior, rather than or in addition to the world's exterior, is, of course, the doxa of art photography and has been a staple of photographic criticism almost from the media’s inception. Implicit in the notion of the of the photographer’s expressive mediation of the world through the use of his or her instrument is a related constellation of assumptions: originality, authorship, authenticity, the primacy of subjectivity. 
 Seriality and repetition, appropriation, intertextuality, simulation or pastiche: these are the primary devices employed by postmodernist artists. 
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