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was adapting to her purposes a device shared by artists as dissimilar as Cindy Sherman, Les Krims, Nancy Dwyer, and Hannah Wilke. By staging her body in ways that appear deliberately calculated both to generate and emphasize what Laura Mulvey termed is "to-be-looked-at-ness" or what Godeau called "disturbance in the field" that Woodman creates by girding the torso with three garter belts instead of one, by suspending superfluous stockings from the wall. A Freudian approach considers the visual pleasure or scopophilia' is usually understood as an erotic pleasure gained in looking at another person or at images of other bodies. This pleasure is voyeuristic when it is dependent on the object of this gaze being unaware, not looking back.

Whether the gaze at the body provoked by Woodman's pictures is inflected narcissistically, voyeuristically, or fetishistically, the nature of that look must inevitably determine the meaning the spectator imputes to it. It is interesting in this context to compare Kruger's work, which attempts to direct her work to female spectator along the axis of language. According to Godeau, in contrast to Kruger's unmistakable stance, Woodman's production in general stages no act or defiant, provides meliorative construction.
Despite their diversity, these artists have all succeeded in overcoming some formidable obstacles. They only invented the feminist side using photographic images, we need to popularise it.

Learn more about this author, Fatmir Terziu.
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