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Posts from the “Women” Category

Sarah Rose Smiley: Coming Home – Milk, Honey, Healing

Posted on November 1, 2021

Coming Home: Milk, Honey, Healing © Sarah Rose Smiley and Taewee Kahrs

Anyone who has survived trauma knows all too well that the healing process is non-linear; it moves like a circle, going around and around again in a cycle that can sometimes feel like it is spiraling out of control. For many sexual assault survivors, social stigmas and victim-blaming cause them to retreat into a state of isolation that further harms the healing process.

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With the understanding that photography can be a therapeutic tool, American photographer Sarah Rose Smiley and collaborator Taewee Kahrs — both sexual assault survivors — created the project “Coming Home: Milk, Honey, Healing“. In drawing from their own experiences, they have created a series of intimate images of vulnerability, pain, loss, joy, and triumph that reflect their inner states and disrupt the buttoned-down images of survivors that mainstream media has constructed as “respectable” in order to make themselves visible to the people who need to see them most — other survivors struggling to heal themselves.

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“Photography has always been a therapeutic tool and survival skill because it gave me an outlet when hard things were happening in my life,” says Smiley. “It showed me a type of world-building and laid the foundation for storytelling combined with social justice to share my experiences and those of others in a way that wasn’t speaking for them, but rather uplifting them.”

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Read the Full Story at Blind

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Coming Home: Milk, Honey, Healing © Sarah Rose Smiley and Taewee Kahrs
Categories: Art, Books, Exhibitions, Photography, Women

The Personal Journey of Documenting Breast Cancer

Posted on October 1, 2021

“When you are losing your sense of self, sometimes you feel like your mind is going with it; Or sometimes you justlike to shake up the neighborhood.” © Iri Greco / BrakeThroughMedia

Over the past 50 years, breast cancer has been on the rise in industrialized nations due to a complex mixture of factors including genetics, modernization, and improved screening procedures. In 2020, female breast cancer became the most commonly diagnosed form of the disease, with an estimated 2.3 million new cases worldwide. One in eight women in the United States is expected to be diagnosed within their lifetime.

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Despite its current prevalence, breast cancer has a long history. Because of its visibility, it was the most frequently described form of cancer in ancient texts. Mastectomies have been recorded as early as 548 AD, its earliest notation as recommended treatment for Eastern Roman Empress Theodora. Despite its long existence, breast cancer remained largely uncommon until the Industrial Revolution, when advancements in science and technology brought about seismic shifts — but remained a matter discussed behind closed doors until First Lady Betty Ford spoke openly about her diagnosis in 1974.

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Since then, breast cancer has come to the fore, and with it a host of conversations that center, question, and expand the way we think about the disease. Artists have historically been at the forefront of the discussions, pushing the boundaries of representation and visibility with the understanding that “Seeing is believing but feeling is the truth,” a sentiment first espoused by seventeenth English clergyman Thomas Fuller that underscores the ways in which empathy can transform our worldview.

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Read the Full Story at The Luupe

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©Kea Taylor/Image Works
“My plait, which I cut off when I started to lose hair. I had long hair for all of my life before. I felt there were big changes in my life, but I didn’t fully realize them.” © Alyona Kotchetkova
Categories: Art, Photography, The Luupe, Women

Ruth Orkin: The Centennial

Posted on October 1, 2021

People lying on Tanglewood Lawn, Lenox, Massachusetts, 1948 © Ruth Orkin

At the age of 17, Ruth Orkin (1921–1985) decided to ride a bicycle from Los Angeles to New York in order to attend the 1939 World’s Fair. She made the trip in a matter of three weeks, photographing her journey along the way — a singular feat that spoke to Orkin’s ability to realize her greatest ambitions.

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“Ruth had a big personality. She was very charismatic,” says her daughter Mary Engel, Director of the Ruth Orkin Photo Archive, who is honoring the centennial of her mother’s birth with the new book Ruth Orkin: A Photo Spirit and exhibition “Ruth Orkin: Expressions of Life”. Working across genres, Orkin created a singular archive of mid-twentieth century life, capturing a feeling of optimism that defined the modern. Orkin’s empathic eye found its home whether photographing celebrities or strangers she encountered on the street.

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Although Orkin was an unconventional mother, telling her children Mary and Andy to call her “Ruth” so she could hear them in a crowd, she never put work above her family. Although she always carried a camera around her neck, Orkin brilliantly integrated her practice into every aspect of her life to avoid any sense of intruding upon those she loved.

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Read the Full Story at Blind

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Geraldine Dent, Cover of McCall’s, New York City, 1949 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2021
Famous Malted Milk, New York City, 1950 © Orkin/Engel Film and Photo Archive; VG Bild-Kunst, Bonn 2021
Categories: Art, Blind, Books, Exhibitions, Manhattan, Photography, Women

Judy Chicago: The Flowering

Posted on July 23, 2021

Boxing-ring advertisement, Artforum, 1971, Jack Glenn Gallery, Corona Del Mar, CA

“I had a singular vision from very early on and for a long time I didn’t understand why I kept encountering so much resistance in the word,” legendary feminist artist, educator, and activist Judy Chicago tells Dazed. As a white, cis, middle-class, Jewish-American woman coming of age in the mid-twentieth century, Chicago was not content to allow society to dictate the trajectory of her life. She learned from an early age that the only way forward was to craft her own identity and path – a lesson that served her throughout her trailblazing career.

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To call Chicago “prolific” would be an understatement; her output is monumental, her mediums as varied and all encompassing as womanhood itself, her style and subject matter a one-woman revolution in the history of art. Now, with her first-ever career retrospective opening on August 28 at San Francisco’s de Young Museum, Chicago brings together works from her groundbreaking projects including The Dinner Party (1974-1979), The Birth Project (1980–1985), PowerPlay (1982–1987), Holocaust Project: From Darkness into Light (1985–1993), and The End: A Meditation on Death and Extinction (2015–2019, which broke through the boundaries proscribed around gender in the contemporary art world.

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Although Chicago is outspoken and fearless when it comes to challenging sexism and misogyny, she is no extrovert; public appearances are simply a necessary part of her work. It is in the studio alone with her work where she draws energy and builds strength, her dedication and determination necessary to play the long game. Her projects are like icebergs: massive in scope, though what the public sees is only the pinnacle of years of research and development.

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Such could be said of The Flowering: The Autobiography of Judy Chicago (Thames & Hudson), the extraordinary 416-page memoir that she penned while in social isolation. Releasing July 20, Chicago takes us on an intimate tour of her development as an artist, sharing the challenges, struggles, and triumphs to make space for women in the male dominated art world, which established false hierarchies that continue to this day. Refusing to play along, Chicago subverted the system from within, using her work to call out established notions of art, history, and gender, restoring the Divine Feminine to its rightful place in the pantheon.

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Read the Full Story at Dazed

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Judy Chicago on a Doublehead bronze at the Shidoni Foundry, Santa Fe, NM, 1986 Photograph © Donald Woodman/Artists Rights Society (ARS), NY
Judy Chicago. Rainbow Pickett, 1965 (re-created 2004). Latex paint on canvas-covered plywood, 118.79 × 119.79 × 132 in Collection of David and Diane Waldman.
Categories: 1960s, 1970s, 1980s, 1990s, Art, Books, Dazed, Painting, Women

A Visual Conversation Between Carrie Mae Weems and Diane Arbus

Posted on July 20, 2021

Diane Arbus, Black boy, Washington Square Park, N.Y.C. 1965 © The Estate of Diane Arbus

“The thing that’s important to know is that you never know. You’re always sort of feeling your way,” Diane Arbus said — a truth that challenges us to acknowledge we are not fully in control of our lives or our destinies, but rather charged to navigate the world with the understanding there is always something that will escape our perception or comprehension. Such wisdom requires that we act with faith, yet remain receptive to what we may uncover along the way, for it is only in the unknown that possibility can be found.

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Photography, being both incredibly precise and prone to all sorts of “accidents,” makes this abundantly clear; for all our intentions, there’s still space for new understandings to emerge. With the portrait, artists explore the landscapes of the physical and psychological worlds simultaneously.

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For Diane Arbus and Carrie Mae Weems, the photograph is a space to consider communities largely misrepresented, marginalized, or erased from the history of Western art. Whether using documentary or staged photographs, Arbus and Weems create tender, thoughtful, and honest portraits that engage with complex issues of identity, gender, and race in contemporary American life.

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Read the Full Story at Blind

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Carrie Mae Weems, Untitled (Woman and Daughter with Makeup), from the Kitchen Table Series, 1990 © Carrie Mae Weems

Categories: 1960s, 1970s, 1980s, 1990s, Art, Blind, Books, Exhibitions, Photography, Women

Hazel Hankin: Never Before Seen Photos of NYC in the 1970s &’80s

Posted on July 19, 2021

Hazel Hankin. Skate dancers at Park Circle Roller Disco, Brooklyn, NY, 1978.
Hazel Hankin. Busy street scene, Lower East Side, 1976.

Growing up in Midwood, Brooklyn, in the 1960s, Hazel Hankin led a sheltered life until she started going into Manhattan as a teenager. “The wider world of New York City opened up to me. It was gritty and a little scary, but also a place of energy, excitement and possibilities. It was a time of great social and political ferment,” Hazel says, rattling off an impressive list of liberation movements, anti-imperialist activism and radical feminist consciousness-raising groups that transformed her worldview. 

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As the Black Panther Party and the Young Lords fought for human rights, Hazel was keenly aware that the importance of justice extended to something as basic as housing. “New York was affordable,” she remembers. “You could live on a modest income, and there were jobs to be had if and when you needed one. If you were an artist, an activist, or just a young person trying things out, you could get an apartment, make a little money, and do just that.” 

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After graduating high school at age 16, Hazel enrolled at university the Pratt Institute in NYC but had to drop out after problems at home caused undue stress. “I rented an apartment with my friend Michele — who tells people now that we ran away from home together at 18,” Hazel says with a laugh, looking back fondly on her years living near the Flatbush entrance to Prospect Park. 

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Determined to continue her studies, Hazel got an office job working days and enrolled in Brooklyn College, where she studied painting and photography, taking courses at night. At that time, the contemporary art world excluded photography from its ranks, a practice that would continue for the next two decades. Largely unprofessionalised, photography drew artists like Hazel, who gravitated to the fluidity of form and could move seamlessly between portrait, documentary, photojournalism, and street photography over the course of a single afternoon. 

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Read the Full Story at i-D

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Hazel Hankin. Two boys, Park Slope, Brooklyn, 1977.
Hazel Hankin. Neighborhood salsa band performance, Lower East Side, 1976.
Categories: 1970s, 1980s, Art, Brooklyn, i-D, Manhattan, Photography, Women

Sara Cwynar: Glass Life

Posted on June 16, 2021

Sara Cwynar, Tracy (Pantyhose), 2017, from Glass Life (Aperture, 2021) © Sara Cwynar

The Pictures Generation of the 1970s ushered in a new era of photography, one that helped catapult its prominence within the contemporary art world, as artists took up the camera to explore the intersection between identity, iconography, and ideology in American culture. Half a century later, digital technology has democratized the production and proliferation of images, creating a veritable deluge of visual effluvia. Surrounded by screens big and small, we are constantly reading and reacting to images of all types, subtly and substantially reshaping our perceptions of ourselves and modern life.

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In her 2019 book, The Age of Surveillance Capitalism: The Fight for a Human Future at the New Frontier of Power, author Shoshana Zuboff introduces the term “glass life” to describe the ways in which data-driven technology operates, insidiously infiltrating itself through convenience while simultaneously eroding significant social bonds and boundaries including privacy, intimacy, and self-determination. “The greatest danger is that we come to feel at home in glass life or in the prospect of hiding from it,” Zuboff warns. “Both alternatives rob us of the life-sustaining inwardness, born in sanctuary, that finally distinguishes us from the machines.”

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Recognizing the crux of her work within this idea, Canada-born, New York based artist Sara Cwynar adopts this idea as the title of her new monograph, Sara Cwynar: Glass Life (Aperture), which brings together the artist’s multilayered portraits and stills from her films Soft Film (2016), Rose Gold (2017), and Red Film (2018). A kaleidoscopic examination of contemporary life that explores subjective notions of beauty, the fetishization of consumerism, and the archives that have emerged around these ideas, Glass Life deftly deconstructs the ways images relentlessly reshape perception in ways subtle and overt, becoming as pervasive and wily as words themselves.

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Read the Full Story at Blind

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Sara Cwynar, Tracy (Cézanne), 2017, from Glass Life (Aperture, 2021) © Sara Cwynar
Categories: Art, Blind, Books, Photography, Women

Emily Sujay Sanchez: Stories of Trauma, Survival and Healing

Posted on May 31, 2021

Emily Sujay Sanchez

“My story is no different from women who look like me,” says Emily Sujay Sanchez, a Bronx-based photographer of Dominican heritage, who recounts a story of trauma, survival, and healing that first took root when she picked up the camera at the age of 23.

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“I had just moved back to Providence, Rhode Island, after having my son. It was a really rough time,” Sanchez says. “ I had this baby and separated from my son’s father, right away. I was suffering from postpartum depression, though at the time I didn’t know what it was. I couldn’t find work, and then when I did it was an overnight job one hour away from home, working in the coat checkroom at a casino. I was going through it.”

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But providence, as it were, intervened and Sanchez enrolled in a photography course being taught at a local school. “I took into to film and darkroom and I will never forget the feeling because I was able to quiet everything that was going on at the time,” Sanchez says, then stills herself, holding back the tears.

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“I still remember the first photographs I took. My instructor sent me out and said, ‘Take pictures of what attracts you and look at the lines’ — whatever the hell that meant!” Sanchez laughs. “The city is deserted, there’s nothing really going on. I was walking around this area and there was a diner. I saw a waitress outside smoking a cigarette on her break. Her eyes were glazed and she was completely in her own world. I asked if I could take her picture and she said, ‘Sure.’”

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Read the Full Story at Blind

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Emily Sujay Sanchez
Emily Sujay Sanchez
Categories: Art, Blind, Bronx, Latin America, Photography, Women

Guzman: 90s Girls

Posted on May 27, 2021

Guzman. Total, Total, 1996.

On his first day at the studio in 1983, Constance Hansen remembers asking Russell Peacock to clean the stove. She laughs at the reversal of gender roles and then adds, “It was for a photo shoot. I remember asking Russell what photographers he liked and what he wanted to do and he started talking about riding his bicycle through Europe for six months and sculpture. Meanwhile I was in full commercial mode, working around the clock.”

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A bustling still life photographer, Hansen’s posh client roster included Bergdorf Goodman, Bonwit Teller, Lord & Taylor, and Balducci’s – but things began to change when Peacock began collaborating with her. Paging through the luxurious art book style catalogues for Yohji Yamamoto and Comme des Garçons, inspiration struck. “We thought fashion photography looked like fun, not knowing how difficult it was,” Peacock says.

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After business hours ended, they opened studio to the downtown scene, inviting club icons like Dianne Brill and Marilyn for portraits, styling them in clothes by emerging designers like Marc Jacobs and Isabel Toledo, and publishing in the Village Voice, aRude, Taxi, and Interview. To establish a distinct identity, they adopted the name Guzman.

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“There were no doubles in photography at that time and everyone was against it except Paula Greif,” Hansen says. As creative director at Barney’s, Greif got Guzman its first big music gig – shooting the cover of Rockbird, Debbie Harry’s 1986 solo album. “We worked with Stephen Sprouse, Andy Warhol, and Linda Mason. We were trying not to act blown away but we were,” Hansen says.

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By 1990, Guzman had opened a 3,000 square foot studio on 31st Street in Manhattan. They also secured a Los Angeles photo agent, who get them gigs in the music industry, bringing in an extraordinary line up of artists including Sting, the Neville Brothers, Digable Planets, Luther Vandross, and Dru Hill. “It was a golden era,” Hansen says. “Someone would call us up to do whatever we wanted.”

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Read the Full Story at Dazed

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Guzman. En Vogue, EC3, 1997.
Guzma. SWV, Release Some Tension, 1997.
Categories: 1990s, Art, Dazed, Fashion, Music, Photography, Women

Megan Doherty: Stoned in Melanchol

Posted on May 24, 2021

Megan Doherty

Growing up in Derry, Ireland, artist Megan Doherty first picked up the camera as a teen to make reference photos for paintings. Soon after, she became enthralled with the possibility of using photography to bring to life images that fueled her imagination. 

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Young and ambitious, Doherty felt confined by small-town life. “I was feeling trapped, unfulfilled, and seeking escape from reality by any means necessary,” she says.  “I got lost in films that gave me a glimpse into the possibilities outside of what I knew and also allowed me to observe how captivating mundanity could be if viewed through a new perspective.”

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Gradually, Doherty realised that she could turn the camera onto her world to transcend the limits of her environment. She began photographing intimate moments with friends, both staged and unfolding in real-time. The result is a collection of photographs titled Stoned in Melanchol (Setanta Books), a Rizla style box of 50 prints.

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Read the Full Story at Huck

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Megan Doherty
Megan Doherty
Categories: Art, Huck, Photography, Women

Underexposed: Women Photographers from the Collection

Posted on May 20, 2021

Mickalene Thomas, Les Trois Femmes Deux, 2018.

History is filled with works of art that have survived save one salient point: the name of the person to whom their creation might be attributed. In the 1929 essay A Room of One’s Own, British author Virginia Woolf knowingly surmised, “I would venture to guess that Anon, who wrote so many poems without signing them, was often a woman.”

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Even though it wasn’t until the twentieth century that women began to command the political and cultural capital to demand credit where it was due, their contributions are all too often left out of the pantheon alongside their male counterparts. It is only in recent years that mainstream institutions have begun to center those relegated to the margins of history, and in doing so offer new paradigms by which we may reconsider women’s roles in shaping the world.

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The new exhibition, “Underexposed: Women Photographers from the Collection”, in Atlanta, brings together 100 works made over the past century, presents a panoply of perspectives and approaches across a wide array of genres including photojournalism, documentary, portraiture, and advertising. Featuring works by Berenice Abbott, Margaret Bourke-White, Sally Mann, Nan Goldin, Diane Arbus, Zanele Muholi, Sheila Pree Bright, Cindy Sherman, Mickalene Thomas, and Carrie Mae Weems, the exhibition explores image making through the female lens.

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Read the Full Story at Blind

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Nan Goldin, Cookie and Sharon on the Bed, Provincetown, MA, 1989.

Categories: Art, Blind, Exhibitions, Photography, Women

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