Sabine Weiss was a Swiss photographer, best known for her street photography in the humanist style.
Her work reflects the optimism of the Wirtschaftswunder, of ‘Les trente glorieuses’, of the post–World War II economic expansion.
Furthermore, the term humanist photography, strictly linked with the Family of Man photo exhibition which traveled around the world, was the instrumentalization of photography to obtain “niemals wieder Krieg!.”
I don’t quite know what to think of Didion’s writing and whether I would like to read it.
She seems similar to contemporary Susan Sontag, however, Didion seems strictly non-philosophical.
Something did catch my eye, however, it is Philosophy and Vulnerability: Catherine Breillat, Joan Didion, and Audre Lorde (2019) by Matthew R. McLennan, a book in which Catherine Breillat, Joan Didion and Audre Lorde are called rigorous “nonphilosophers”.
Update 24/12: I was wrong. I came to that conclusion after delving into the White Album (1979) book, which seems to be an interesting portrait of 1960s counterculture. But not only that, she gave the world a beautiful nobrow analysis. In the book The White Album (1979)there is a passage where she writes about her habit of watching outlaw biker movies and she says:
“I suppose I kept going to these movies because there on the screen was some news I was not getting from The New York Times. I began to think I was seeing ideograms of the future.”
bell hooks was an American author and social activist, working in the intersectionality of race, capitalism, and gender.
She is perhaps best known for Ain’t I a Woman?(1981).
I first came into contact with her work by way of Angry Women (1991), a book in the RE/Search series.
She also wrote on Paris Is Burning (1990) in a vocabulary typical of her corpus:
“Within white supremacist, capitalist, patriarchy the experience of men dressing as women, appearing in drag, has always been regarded by the dominant heterosexist cultural gaze as a sign that one is symbolically crossing over from a realm of power into a realm of powerlessness.”
bell hooks on Paris is Burning in a piece published in Black Hooks (1992)
Each of these words, white, supremacist, capitalist, patriarchal, hetero-sexist sounds as meaningful and portentous as vacuous and meaningless. It is a description of a state of affairs that betrays a desire for change. The form of this change, however, is not spelled out. Would bell hooks prefer communism instead of capitalism?
Nevertheless, looking at old interviews on Charlie Rose, bell hooks comes across as a gentle, well-read and smart woman.