In the rich tapestry of photographic history, the role of women photographers has often been overshadowed or underrepresented. However, in 1975, the landscape began to shift as the exhibition “Women of Photography: An Historical Survey” emerged as a pivotal moment in recognizing and celebrating the contributions of women to the art and craft of photography. This groundbreaking exhibition not only showcased the work of pioneering female photographers but also served as a platform for exploring the unique perspectives, challenges, and innovations they brought to the medium. The San Francisco Museum of Modern Art (SFMOMA) is the site of the first major exhibition, whose goal was to claim the role of women photographers in the history of photography, largely and unfairly dominated by male figures. This exhibition followed a very first pioneering initiative, restricted to American women photographers, which took place in 1906 in Hartford, entitled “Photographs all made by women”.
Context and Significance
The mid-20th century was marked by significant social and cultural changes, including the women’s liberation movement, which sought to address gender disparities across various fields, including the arts. Photography, as both an artistic expression and a means of documentation, was not exempt from these discussions. Despite their talent and creativity, women photographers often faced barriers to recognition and opportunities for exhibition and publication.
Against this backdrop, “Women of Photography: An Historical Survey” emerged as a response to the need for greater visibility and acknowledgment of women’s contributions to the medium. Curated by a team of scholars and photographers passionate about promoting gender equity in photography, the exhibition aimed to reclaim and highlight the overlooked narratives and achievements of women photographers throughout history.
Exploring the Exhibition
The exhibition featured a diverse array of works spanning various genres, styles, and time periods, providing viewers with a comprehensive overview of women’s involvement in photography from its inception to the contemporary era. Visitors were invited to embark on a journey through time, encountering the pioneering works of early trailblazers alongside the bold and innovative creations of contemporary practitioners.
One of the exhibition’s primary objectives was to challenge conventional narratives of photographic history, which often centered on male figures while marginalizing or erasing the contributions of women. By foregrounding the work of female photographers, the exhibition offered a corrective lens through which to reassess the evolution of the medium and its impact on society.
Themes and Perspectives
“Women of Photography: An Historical Survey” explored a wide range of themes and perspectives that resonated with the experiences and concerns of women across different epochs and cultures. From intimate portraits and domestic scenes to documentary photography and experimental imagery, the exhibited works reflected the diverse interests, identities, and struggles of women photographers.
Many of the exhibited photographs addressed issues of identity, representation, and agency, challenging prevailing stereotypes and conventional notions of femininity. Through their lens, women photographers captured the complexity and nuance of the female experience, offering nuanced and multifaceted portrayals that defied easy categorization.
Moreover, the exhibition provided a platform for dialogue and engagement, inviting viewers to reflect on the role of gender in shaping artistic practice and reception. Through curated talks, panel discussions, and educational programs, attendees had the opportunity to delve deeper into the socio-cultural contexts in which these photographers lived and worked, fostering a greater appreciation for their contributions and legacy.
A Woman’s Eye
Like the 1906 exhibition, the Margery Mann and Anne Noggle curated exhibition remains very focused on the USA, but it is the first exhibition that honours women photographers in a prestigious institution, such as the SFMOMA. It was an opportunity for the curators to mark its differences with the vision of Anne Tucker, who had published the book “A Woman’s Eye” in 1973: for Mann and Noggle, there would be no feminine specificity that touches the vision in photography, in a debate that continues to this day.
In another debate that is still going on today, one could ask whether it is relevant to present women photographers as a category that needs special attention in order to be appreciated, even though women express a special sensitiveness when it comes to photography.
This exclusive focus on gender, far from assimilating women to disadvantaged minorities, has the advantage of emphasizing the militant struggle that points to the very long history of disregard and discredit directed at women, unfortunately crossing different cultures and historical periods, from which no society in the world has completely freed itself today.
Legacy and Impact
“Women of Photography: An Historical Survey” left an indelible mark on the history of photography, catalyzing broader conversations about gender representation, diversity, and inclusion within the medium. By foregrounding the work of women photographers, the exhibition not only celebrated their achievements but also paved the way for future generations of female practitioners.
In the years following the exhibition, there has been a growing recognition of the importance of amplifying diverse voices and perspectives within the photographic community. Institutions and curators have become more attuned to the need for gender parity in exhibition programming and collection practices, leading to a reevaluation of canonical narratives and a renewed emphasis on inclusivity.
Moreover, “Women of Photography: An Historical Survey” inspired subsequent generations of women photographers to pursue their artistic ambitions with confidence and determination. By reclaiming their place in photographic history, these pioneering women have empowered others to challenge the status quo and push the boundaries of the medium further.
In conclusion, “Women of Photography: An Historical Survey” stands as a testament to the resilience, creativity, and ingenuity of women photographers throughout history. By shining a spotlight on their contributions, the exhibition not only enriched our understanding of photographic practice but also reaffirmed the importance of gender equity and representation in the arts. As we continue to navigate the complexities of the 21st century, the lessons and legacies of this seminal exhibition remain as relevant and inspiring as ever.
Extended list of woman photographers exhibited at SFMOMA 1975 exhibition “Women of Photograpy: An Historical Survey”
Berenice Abbott – (USA), Diane Arbus – (USA), Alice Austen – (USA), Jessie Tabox Beals – (USA), Ruth Bernhard – (USA – German born), Margaret Bourke-Whilte – (USA), Annie W. Brigman – (USA), Reva Brooks – (Canada), Julia Margaret Cameron – (England), Imogen Cunningham – (USA), Judy Dater – (USA), Elsa Dorfman – (USA), Nell Dorr – (USA), Gisele Freund – (German), Ingeborg Gerdes – (USA), Laura Gilpin – (USA), Claudine Geunlot – ( ??), Adelaide Hanscom – (USA), Florence Henri – (France – USA born), Abigail Heyman – (USA), Lotte Jacobi – (USA – German born), Frances Benjamin Johnston – (USA), Gertrude Kasebier – (USA), Jeannette Klute – (USA), Dorothea Lange – (USA), Joanne Leonard – (USA), Marketa Luskacova – (Czech Republic), Mary Ellen Mark – (USA), Kate Matthews – (USA), Lisette Model – (USA), Tina Modotti – (USA – Italian born), Barbara Morgan – (USA), Marion Palfi – (USA – German born), Jane Reece – (USA), Marcia Resnick – (USA), Naomi Savage – (USA), Sonia Landy Sheridan – (USA), Doris Ulmann – (USA), Alisa Wells – (USA)
-> this list may be not complete
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