The author of the passage cites Rosenblum’s book most likely in order to
The condition of scholarship devoted to the history of women in photography is confounding. Recent years have witnessed the posthumous inflation of the role of the hobbyist Alice Austen into that of a pioneering documentarian while dozens of notable senior figures—Marion Palfi, whose photographs of civil-rights activities in the South served as early evidence of the need for protective legislation, to name one—received scant attention from scholars. And, while Naomi Rosenblum’s synoptic History of Women Photographers covers the subject through 1920 in a generally useful fashion, once she reaches the 1920s, when the venues, forms, applications, and movements of the medium expanded exponentially, she resorts to an increasingly terse listing of unfamiliar names, with approaches and careers summarized in a sentence or two.suggest that the works documented most thoroughly by historians of women in photography often do not warrant that attention, offer an explanation for the observation that not all aspects of the history of women in photography have received the same level of attention, provide an example of a way in which scholarship on the history of women in photography has been unsatisfactory, suggest that employing a strictly chronological approach when studying the history of women in photography may be unproductive, provide support for the notion that certain personalities in women’s photography have attained undue prominence
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