‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists
Shirin Neshat, “Land of Dreams” (2019), film still. © Shirin Neshat, courtesy of the artist, Gladstone Gallery, and Goodman Gallery, Johannesburg, Cape Town, and London. All images courtesy of Laurence King Publishing, shared with permission
‘The Women Who Changed Photography’ Chronicles 50 Trailblazing Artists
October 16, 2024
ArtBooksHistoryPhotography
Kate Mothes
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In 1929, sought-after New York fashion model Lee Miller moved to Paris to apprentice with surrealist photographer Man Ray, joining an influential circle of artists. She and Ray worked so closely together, in fact, that many of her photos have been erroneously attributed to him.
Like many women, Miller’s work was often overshadowed by her male counterparts. A new book, The Women Who Changed Photography: And How to Master Their Techniques, marks Miller’s contribution to photography among 49 more groundbreaking artists who incorporated unique techniques blazed a trail for future generations.
Cindy Sherman, “Untitled #577” (2016)
From Zanele Muholi’s bold black-and-white visages to masters of disguise, like French surrealist Claude Cahun (1894-1954) and contemporary artist Cindy Sherman, identity plays a vital role in many of the practices featured.
Iranian artist Shirin Neshat, for example, often delves into the complexities of womanhood within Islamic cultural and religious value systems. Pushpamala N. employs narrative and figuration in images that critique stereotypes of women in India.
Released by Laurence King Publishing last month, The Women Who Changed Photography chronicles the individuals, aesthetics, and approaches that have shaped the field. Grab your copy on Bookshop.
Pushpamala N., “Yogini F-24” (2000–2004) from Native Women of South India: Manners and Customs
Claude Cahun, “Self Portrait (Holding Mask)” (undated)
Julie Cockburn, “Feed the Birds (Women)” (2019)
Shirin Neshat, “Rebellious Silence” (1994)
Julia Margaret Cameron, portrait of Julia Jackson Duckworth (1846-1895)
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