Claire Stansfield crying at the Formosa Café, Février 1994, Los Angeles
Autoportrait de Valeria Golino par moi-même, Los Angeles, Avril, 1991
Throughout her thirty-five years behind the camera, Parisian photographer Bettina Rheims has returned time and again to a single eternal muse: the female body. Having come into prominence at the end of the Second Wave and continuing work to well into the Third, the self-identified feminist photographer has made images of strippers and acrobats, celebrities and transgender youth; she’s photographed simulated orgasms, anonymous women in hotel rooms, the Madonna lactating the blood of Christ. Her new retrospective book, out now by Taschen, features over five hundred of her favorite snaps, images that when seen together offer a portrait of female eroticism that is both coherent and contradictory, raw and refined.