Discovered objects and images play a vital role in the work of Vancouver-born, Brooklyn-based artist Sara Cwynar. Her practice blends collage, still life and portraits in photographic and filmic forms, incorporating material sourced on eBay, or at flea markets and the like. So when the opportunity arose to hold an exhibition at the Minneapolis Institute of Art last autumn, followed by a show at Milwaukee Art Museum this spring, it seemed a serendipitous moment to unearth works incorporating items from an archive close by.
“Some of the pictures that I’ve used as source material over the years came from an eBay seller who bought the archive of an old photo studio in Milwaukee,” she explains. “I think it was operational from the 1950s to the 1970s or so, and it closed down a long time ago. I like that they tie in to the location; I have repurposed some of the negatives from that for this show.”
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.”
BJP-online Loves Maria Sturm’s You don’t look Native to me, Jean-Vincent Simonet’s psychedelic images of Tokyo, Roger Melis’ photographs of East Germany, Dawoud Bey’s exhibition Places in History, and the fact that MACK’s First Book Award is now open-entry
“It’s a bit hard to find words for this – You don’t look Native to me won the PHmuseum Women Photographers Grant,” says Maria Sturm. “I feel exponentially happy and glad to be sharing the list with other women photographers whose work I admire.”
Sturm has won the prize in a strong year for the PHmuseum Women Photographers Grant, with the 31 shortlisted photographers including Magnum Photos’ Diana Markosian, Sputnik Photos’ Karolina Gembara, and Taylor Wessing Photographic Portrait Prize-winner Alice Mann. But her long-term project You don’t look Native to me, which shows young Native Americans in Pembroke, North Carolina impressed the judges with its sensitive approach to its subjects.
Has anything improved since Linda Nochlin’s 1971 essay Why Have There Been No Great Women Artists? The fact that women make up just 15.5% of the artists’ files on Wikipedia suggests not. According to L’Observatoire de l’Egalite, only 30% of the artists exhibited in galleries are women, even though more than 60% of art students in France are women.
Even so, there is some cause for optimism – as French photographer Vincent Ferrané points out. “Of the top 500 contemporary artists in 2017 [in France], only 14% of women,” he says. “But 30% of those were born after 1980.”
When she was a teenager, Ohio-based artist Carmen Winant discovered a collection of photo albums filled with pictures of her mother giving birth to her three children. “It was an amazing and slightly terrifying feeling to witness myself being born [in 1983],” she recalls. In 2016, Winant became a mother herself, and noticing a lack of visual work about the experience of giving birth, was moved to produce her own series. “Though it is so common, there is nothing normal about birth,” she says. “I wanted to create a visual, pictorial language that might contribute towards a greater, and more nuanced, understanding.” The resulting installation at New York’s Museum of Modern Art (MoMa) and the coinciding book, My Birth, incorporate her mother’s photographs of herself giving birth and found imagery of anonymous women undergoing the same experience, as well as a written piece by Winant exploring the shared yet solitary ownership of the experience of birth. Presented chronologically, the images trace the process of labour and birth from the earliest contractions to the breastfeeding of …
Fiona Rogers founded her online Firecracker platform to help showcase the best talent in female photography. What followed was a community of photographers all celebrating and sharing amazing work and it wasn’t long before the Firecracker grant was born. “It felt like the natural evolution was to be even more supportive. Something that went beyond showcasing work online. It started out pretty small: everybody contributed £10 to put into the pot and then we managed to flip that into a grant that was £1,000 and now it’s grown to £2,000.”
Earlier this year, Riccardo Bononi won first place in the Sport category at the 2015 Sony World Photography Awards for his project, Las Valkyrias de Bolivia. Bononi visited Bolivia on an unrelated research project, only to find himself photographing in the poorest neighbourhood in La Paz. The Valkyries are a group of women farmers from the countryside who come into the city and enter the ring for a series of wrestling bouts. The women, who raise their children all by themselves and work between the fields and the urban street markets, were the perfect example of migration from the countryside to urban environments, as well as a striking example of feminine strength. What’s the genesis of the project? My initial reasons for going to Bolivia were far away from the wrestling ring of El Alto. I had the opportunity to collaborate with a researcher from SOAS, University of London on a project looking at the migration of people from the countryside to the cities, along with the dispersion of traditional knowledge. My first impression of Bolivia was that of a …
“All of my sessions require a tribute, but a good slave knows that tribute in itself is not enough,” Mistress Jezabel writes on her wish list. “A submissive who goes out of their way to please Mistress is one who is remembered affectionately by Her. Expensive is often good, but what’s more important is to find something that pleases Her.” Mistress Jezabel, a London-based dominatrix (willing to travel to America and across Europe), is one of many women 23-year-old Sophie Skipper, from Long Melford in Suffolk, photographed for her collection entitled He wants to see my Amazon Wish List. Speaking from her Cardiff home – she graduated from the documentary photography course at the University of South Wales last year – she tells of being interested in gift-giving and “whether it can ever be a selfless thing”. She noticed women using a hashtag on Twitter, Tumblr and Pinterest – #myamazonwishlist – with a link to a list of exclusive items on the shopping website Amazon. “I realised the wish list idea is …
When Raphaela Rosella was a teenager, her twin sister became pregnant. “I called her a slut and told her to get an abortion because I thought she could have a better life,” says the Australian photographer, who is now 27 and took part in last year’s Joop Swart Masterclass. “But what is a better life? On reflection, I realised my reaction framed my sister’s pregnancy as a social problem. Instead of supporting her choice, I assumed that becoming a mother at a young age was irresponsible and irrational. Most public discourses do not consider that becoming a mother at a young age could ever be a rational choice,” she explains. Years later, after spending time with a young, homeless mother, pregnant with her third child, Rosella was inspired to start the evocatively titled project, You didn’t take away my future, you gave me a new one. Following mothers Tammara, Nunjul and Rowrow, it proposes that teenage pregnancies aren’t necessarily ‘irrational’ or ‘irresponsible’, and can have positive outcomes. “Tammara was part of my previous project …