Photographic Documents and Postmodern Fictions: Photobooks by Susan Meiselas and Gregory Crewdson

Abstract

Susan Meiselas's historical photographs in Nicaragua contrast sharply with Gregory Crewdson's postmodern, overtly fictional photographs in Twilight. Examining differences in the photographers' depiction of time, action, public space, and gender, this essay argues that the two photobooks resist neat distinctions between the photograph as document and the photograph as picture.

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