Retrieved from http://en.wikipedia.org/wiki/Walker_Evans
Evans's photo of Allie Mae Burroughs, a symbol of the Great Depression
Olin presents different theories of the gaze by Mulvey, Fried, Freud, Sartre and Lacan. She discusses power in the gaze in relation to these theories, such as Freud’s castration anxiety and scopophilia. She also defines “gaze” as useful for uniting formal and social theory. As a concrete example of this definition, Olin presents us with a photograph of “Sharecropper’s Wife” by Walker Evans in which she discusses the need for someone to gaze and the possibility of someone to gaze back. This, as well as the theories she presents, has to do with the consequence of looking.
When I flipped through this article the first time, I was struck by the photograph of the woman. She looks so unhappy, hardened by years on the farm. I knew that she was a farmer of some sort, but then I looked at the title and realized that she farmed someone else’s land. She was named in relation to her husband in this title, perhaps as a statement of the under appreciation of women or more likely, just the praise of ordinary men who are not famous.
Olin presents different theories of the gaze by Mulvey, Fried, Freud, Sartre and Lacan. She discusses power in the gaze in relation to these theories, such as Freud’s castration anxiety and scopophilia. She also defines “gaze” as useful for uniting formal and social theory. As a concrete example of this definition, Olin presents us with a photograph of “Sharecropper’s Wife” by Walker Evans in which she discusses the need for someone to gaze and the possibility of someone to gaze back. This, as well as the theories she presents, has to do with the consequence of looking.
When I flipped through this article the first time, I was struck by the photograph of the woman. She looks so unhappy, hardened by years on the farm. I knew that she was a farmer of some sort, but then I looked at the title and realized that she farmed someone else’s land. She was named in relation to her husband in this title, perhaps as a statement of the under appreciation of women or more likely, just the praise of ordinary men who are not famous.
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