As the season heats up, 2 of the most intriguing exhibitions I have caught so far are group shows highlighting some inspiring photography by women. The National Arts Club features innovative and iconic photographers from the 20th -21st Centuries, while Elizabeth Houston Gallery highlights the work of some contemporary women pushing the boundaries of this era’s technology and context.
Here’s what you need to know to go and have your eyes delighted and your mind blown:
“Since its inception, The National Arts Club has admitted women on a full and equal basis establishing a long history of exclusivity through inclusivity. “Women and Photography” pays tribute to Spencer Trask and co-founders who recognized and celebrated the contributions of female artists. This exhibition showcases a range of subject and form to challenge the notion that women in photography have a singular vision. The new voices and pioneering icons represented include Lisette Model, Marjan Teeuwen, Brea Souders, Trine Søndergaard, Fatemeh Baigmoradi, Helen Levitt, Yoko Ikeda, Simone Rosenbauer, and Marcia Resnick.” Women and Photography, Sept. 30 – Oct. 25
“Photographs are “privileged moments” plucked from time and space by photographers—or so Susan Sontag reminds us. Often in photographic history and elsewhere, that authorial privilege has been afforded to men. Refreshingly, the moments presented to us at Elizabeth Houston Gallery between October 9th and December 7th are decidedly women’s. With works from twelve artists on view, SHE mediates between degrees of abstraction and experience from a feminist, and at times feminine, perspective, holding a mirror up to the world around us.
“The group exhibition brings together an international roster of emerging and established photographers: Arielle Bobb-Willis, Chloe Rosser, Svetlana Bailey, Cig Harvey, Corine Vermeulen, Daniela Edburg, Sally Gall, Laura Pannack, Sandra Kantanen, Weronika Gesicka, Liz Nielsen, and Kathrin Linkersdorff. While their imagery is divergent—there are portraits, landscapes, and still-life of sorts—the selection of works in SHE underscores the relational capacity of the photographic medium, mapping its connections to ourselves and others, bodies and objects, and reality itself.”