“The success of Women’s Camera Work is the scrupulous and sensitive consideration of the lives of both the photograph (as text) and the photographer (as practitioner) in a culture that has often marginalized both.”—Paul Grainge, American Studies

“[P]acked with information of interest to students of photography and, indeed, of twentieth-century American culture. . . .”—Jean Chothia, American Studies

“Judith Fryer Davidov’s new book is a major contribution to the field not only for the research that she has done into the careers of eight American women photographers working predominantly during the first half of the twentieth century, but also because her study challenges scholars to think anew about how photographic history and the representation of otherness have been constructed. . . . Davidov’s book is important for injecting a feminist perspective into the medium’s critical literature. She ultimately suceeds in decentering the established historiography and begins the process of accounting more fully for women’s camera work.”—Frank H. Goodyear, American Studies International

“The success of Women’s Camera Work is the scrupulous and sensitive consideration of the lives of both the photograph (as text) and the photographer (as practitioner) in a culture that has often marginalized both.”—Paul Grainge, American Studies

“[P]acked with information of interest to students of photography and, indeed, of twentieth-century American culture. . . .”—Jean Chothia, American Studies

“Judith Fryer Davidov’s new book is a major contribution to the field not only for the research that she has done into the careers of eight American women photographers working predominantly during the first half of the twentieth century, but also because her study challenges scholars to think anew about how photographic history and the representation of otherness have been constructed. . . . Davidov’s book is important for injecting a feminist perspective into the medium’s critical literature. She ultimately suceeds in decentering the established historiography and begins the process of accounting more fully for women’s camera work.”—Frank H. Goodyear, American Studies International

“What a splendid achievement this book is. It is rich in texture, nuanced, fascinating—an outstanding work.”—Miles Orvell, Temple University

“Davidov is an eloquent and passionate reader of texts and images. . . . She gives us a chance to think about a set of relationships among major American women photographers that few people know about.”—Iris Tillman Hill, Duke University

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