tity and the malleability of appearance through
photography. In their work, personas take on the
quality of masks and costumes recalling Riviere’s
notion ‘‘feminity could be shown to be a ‘masquer-
ade,’ something that had to be endlessly performed
and reinvented’’ (Evans, 109). Ju ̈rgen Klauke’s
films and photographic sequences, likeSelf-Perfor-
mance (1972–1973) andProSecuritas(1987) simi-
larly explore issues of sexuality, the psyche, and
self-presentation. Lorna Simpson uses text and ima-
gery to question the empirical meaning in both
means of expression. Photographs likeShe(1992)
intentionally reveal and conceal aspects of the sub-
ject’s identity so the viewer is left wondering about
the gender due to the androgenous clothes, non-
descript stance, and cropped-out face. Contempor-
ary artist Rene ́e Green uses photography to explore
race and gender, including stereotypes about Black
culture and male and female roles in that culture.
Black male photographers have also pushed the
boundaries of representation in exploring what it
means to be a Black man in contemporary society.
Anthony Barboza creates striking images that tread
on both gender and racial stereotypes. Finally,
questions of gendered representation are piquant
in Japanese artist Yasumasa Morimura’s imperso-
nations of famous works of art like Manet’sOlym-
pia(Portrait (Futago), 1988) and western icons of
popular culture like Audrey Hepburn and Bridget
Bardot. The work of these artists suggests that the
transcendence of gender can take place fictively,
cognitively, and actually.
PatrickMathieuSeealso: Arbus, Diane; Brandt, Bill; Brassaı ̈;
Bourke-White, Margaret; Cahun, Claude; Clark,
Larry; Dada; Farm Security Administration; Femin-
ist Photography; Group f/64; Heinecken, Robert;
History of Photography: Interwar Years; History
of Photography: the 1980s; Kerte ́sz, Andre ́; Kruger,
Barbara; Man Ray; Mapplethorpe, Robert; Mori-
mura, Yasumasa; Newton, Helmut; Nude Pho-
tography; Pictorialism; Representation and Race;
Sherman, Cindy; Simpson, Lorna; Surrealism;
Weston, Edward; Witkin, Joel-Peter; Woodman,
FrancescaFurther Reading
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Bright, Deborah. ‘‘Women, Photography and the Art estab-
lishment: How Far Have We Come?’’ Symposium at the
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Carson, Fiona, and Claire Pajaczkowska, eds.Feminist
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Cooper, Emmanuel.Fully Exposed: The Male Nude in
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Edited by Fiona Carson and Claire Pajaczkowska. New
York: Routledge, 2001. 109.
Friedan, Betty.The Feminine Mystique. New York: Norton,
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Golden, Thelma, ed.Black Male: Representations of Mas-
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Rosenblum, Naomi.A History of Women Photographers.
New York: Abbeville Press Publishers, 1994.REPRESENTATION AND RACE
The intersection of representation and race, more
specifically, photographic representation and race,
suggests numerous complex discussions. These in-
volve defining race and racialization as concepts
and social practices; and then considering the
ways in which photography is implicated in inter-
pretations and constructions of race. Early photo-
graphy was considered to be a realist instrumentREPRESENTATION AND RACE