authorship and art. In the essays about individual photographers, more than once Solomon-Godeau recognises, and endorses, Roland Barthes’ insistence on the separation of the art from the artist (or, in Barthes’ original terminology, the death of the author). Such attention to Barthes’ theory highlights one of the conflicts I see in this text. At times, Solomon-Godeau seems to participate in the coupling of art and artist. For instance, in the essay ‘Inventing Vivian Maier’, the titular female only became recognised as a photographer by accident, and now fans and critics alike are seeking personal details in the minutiae of her work in order to understand her oeuvre more completely. Similarly, readers of this collection might feel the need to personify Solomon-Godeau based on her work, to see the two linked too closely. However, this feeling might be symptomatic of reading an entire collection of Solomon-Godeau’s work, and less apparent if one were to read each piece individually in various spaces. By the close of this text, readers can be certain that they will have gained not only a deeper understanding of Solomon-Godeau’s work, but also a sense of confidence about ‘how’ to look at photographs more appropriately. In the examples throughout the essays, gender politics, specifically Laura Mulvey’s conceptualisation of the ‘male gaze’, are referenced as cues to keep our perspectives in check. Throughout this collection, it is clear that photography is often staged as a power struggle over the look. Solomon-Godeau’s essays reverse that struggle, teaching viewers how to recognise such vulnerability and change one’s perspective.

中文翻译：

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放克色情：超美学和黑人性文化，LH Stallings

作者和艺术。在关于个别摄影师的文章中，所罗门-戈多不止一次承认并赞同罗兰·巴特坚持将艺术与艺术家分离（或者，在巴特的原始术语中，作者的死亡）。对巴特理论的这种关注凸显了我在本文中看到的冲突之一。有时，所罗门-戈多似乎参与了艺术与艺术家的结合。例如，在“发明薇薇安·迈尔”一文中，这位名义上的女性只是偶然被认可为摄影师，现在粉丝和评论家都在寻找她作品中的个人细节，以更全面地了解她的作品。同样，本系列的读者可能会觉得有必要根据她的作品将所罗门-戈多拟人化，以看出两者之间的联系过于紧密。然而，这种感觉可能是阅读了所罗门-戈多的整个作品集的症状，如果在不同的空间中单独阅读每一部作品，这种感觉就不那么明显了。在本书结束时，读者可以肯定，他们不仅对所罗门-戈多的作品有了更深入的了解，而且对“如何”更恰当地看待照片也有了信心。在整篇文章的例子中，性别政治，特别是劳拉·穆尔维对“男性凝视”的概念化，被引用为控制我们观点的线索。在整个系列中，很明显，摄影通常是作为外观的权力斗争而上演的。所罗门-戈多的文章扭转了这种斗争，教观众如何识别这种脆弱性并改变自己的观点。