ABSTRACT
Tee Corinne’s series of portraits and self-portraits in Scars, Stoma, Ostomy Bag, Porto-cath: Picturing Cancer in Our Lives as an aesthetic and social statement about illness and disability functioning in productive, absorbing, and imaginative ways. This chapter reviews the final photography project created by United States-based white, lesbian, feminist photographer Tee Corinne, titled Scars, Stoma, Ostomy Bag, Portacath: Picturing Cancer in Our Lives. American artists Hannah Wilke and LaToya Ruby Frazier are both notable for their work on chronic illness. Audre Lorde’s explicit interest in fostering women’s connections across differences as a way to engage fully with a brutally oppressive world must be broken, provides us with an important precedent within the history of lesbian feminist thought on the political implications of cancer, disability, illness, and intimacy. Lorde challenges women living with cancer to accept death and use one’s confrontation with dying as both a weapon and a tool.
