Abstract
By observing images by Rineke Dijkstra and Nan Goldin, we revisit Mauricio Lissovsky’s (2008) notion of waiting machine, thinking relationships between the waiting of photographers and the portrayed mothers. This study aims to address, by the works New Mother (1994) and From here to motherhood (1986-2000), the way in which the photographers, in portraying the maternal experience, imbue the image with its quality and re-establish the power of indeterminacy of the Lyssovskian machine in the face of an anti-machine of female expectation.
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