Photographic representations of women living with or beyond breast cancer have gained prominence in recent decades. Postmillennial visual narratives are both documentary projects and dialogic sites of self-construction and reader-viewer witness. After a brief overview of 30 years of breast cancer photography, this essay analyzes a collaborative photo-documentary by Stephanie Byram and Charlee Brodsky, Knowing Stephanie , and a memorial photographic essay by Brodsky written ten years after Byram’s death, “Remembering Stephanie” . The ethics of representing women’s postsurgical bodies and (...) opportunities for reader-viewers to engage in “productive looking” are the focal issues under consideration. (shrink)

by Charlee BrodskyStephanie Byram was my friend. She died of breast cancer at age thirty-eight on June 9, 2001. She lived eight years after the disease was discovered.With her cancer diagnosis at age thirty, Stephanie’s life changed. She became more known to others than she would have otherwise. She always had a close circle of friends who were drawn to her because of her candor, her intellect, her impish humor, her steadiness, her sensitivity. But after her diagnosis, many more people (...) knew of Stephanie Byram because of her willingness to share. Stephanie went public with breast cancer.Stephanie called the work that we produced our “art project.” The work consisted of my photographs and her words, and it took many forms. We exhibited in galleries; published pieces in newspapers, magazines, and journals; produced a thirty-minute video with filmmaker Mary Rawson; and the Univeristy of Pittsburgh published the work as a book. The project garnered recognition and many awards.Recently, I d .. (shrink)