What do Sophie Calle, Rineke Dijkstra, Susan Meiselas, and Hannah Starkey all have in common? They’re all on the list of 100 contemporary women photographers picked out by the UK’s Royal Photographic Society, after an open call for nominations. Over 1300 photographers were recommended to the organisation by the general public, which was slimmed down by a judging panel headed up by photographer Rut Blees Luxemburg.
The final list includes well-known names but also less recognised image-makers such as Native American artist Wendy Red Star, Moscow-based photographer Oksana Yushko, and Paola Paredes from Ecuador. Each Heroine will be awarded a Margaret Harper medal, named after the first female president of The Royal Photographic Society, and the first female professor of photography in the UK. An exhibition and accompanying publication will follow, all part of a bid to highlight women working in what is still a male-dominated industry.
“Although it was a truly challenging exercise having to consider 1300 women, being a part of the jury for Hundred Heroines was ultimately an incredibly stimulating and inspirational process,” says Luxemburg. “This final list reflects both the global expanse of female practice and the intergenerational input into contemporary photography. It reflects the wide range of methodologies, practices and diverse approaches of women working with the photographic medium. This is a moment of change and this list of heroines pays heed to it.”
French photographer Valérie Belin’s portraits are not what they seem. Often focusing on the female form, they pick out the intersection between nature and culture in the construction of human identity. “In my work you always see someone who wants to be someone else,” says Belin. “With these portraits, I transform them into someone else.” Early on in her career she was interested in typologies, and created series on bodybuilders and Michael Jackson lookalikes. Her 2001 series Transsexuels is about metamorphosis, and shows trans women at the beginning of their transition; in 2003 she cerated Mannequins, using soft light and eye-level viewpoints to breathe life into realistic shop dummies. “Suddenly you realise this is a representation of Western beauty; a representation of a stereotype,” she says – a stereotype she aims to deconstruct. Belin is primarily a studio photographer but some of her shots are captured outdoors – the superimpositions in Brides (2012) show fast food joints and sex shops shot in New York, for example, juxtaposed with a photograph of a bride. For Belin, these …
“The works selected here have all run up against a more or less bitter-sweet reality, and their authors have liberally arranged, glued, assembled, masked and cut out the components of that reality in order to present it to us as something different, eminently subjective, and decidedly moving,” writes Raphaëlle Stopin, artistic advisor for the 2018 Prix HSBC. She’s writing of the 12 photographers shortlisted for two top prizes, which this year have gone Antoine Bruy (France, 1986) and Petros Efstathiadis (Greece, 1980). The other shortlisted photographers are: Olivia Gay (France, 1973), with the series Envisagées; Karin Crona (Sweden 1968), De la possibilité d’une image; Elsa Leydier (France, 1988), Platanos con platino; Sandra Mehl (France, 1980), Ilona et Maddelena; Shinji Nagabe (Brazil, 1975), Espinha; Michele Palazzi (Italy 1984), Finisterrae; Walker Pickering (USA, 1980), Esprit de corps; Marie Quéau (France, 1985), Odds and ends; Brea Souders (USA, 1978), Film electric; and Vladimir Vasilev (Bulgaria, 1977), T(h)races.