Author Archives: Catherine Kirkpatrick

PWP a “Must See” at PhotoPlus

Join us at Booth #1013 during PhotoPlus to celebrate women in photography! There will be a photo walk, drawings for prizes, and news of our upcoming exhibitions. We look forward to seeing you at the Javits Center October 24-26!Girl_Camera_600

– Catherine Kirkpatrick

 

 

 

 

30 For 30: Looking Back With Thanks

To celebrate Women’s History Month, we’re featuring items from the PWP Archives* each day on this blog. In looking back, we see not only where we started, but how far photography, women, and the world have come since 1975.

PWP Me Generation SlidesWhen I first saw the PWP archives in 2009, I almost fainted. The storage unit where they were kept was jammed from top to bottom with lightning fixtures, old exhibition signs, bags of paper plates and party napkins, folders filled with yellowing documents, postcards and publications, some disintegrating into powder. It felt like an episode of Extreme Hoarders, with me in a starring role. I was new to the PWP board and this wasn’t what I expected. Waves of shock, anger, fury and rage swept over me.

When they subsided—somewhat—I looked again and realized that in those papers was the story of another time. The 1970s and 80s when PWP got going don’t seem that long ago—not long enough to be history, yet they are.

PWP publications from the 1970s and 1980s assembled by actual cut and paste

PWP publications from the 1970s and 1980s assembled by actual cut and paste

In the archive was a picture of photography before the digital bang, when serious meant black-and-white, large was 11″x14″, and photo processing labs dotted Chelsea. It was a time when spreading the word meant putting words down on paper, probably with a typewriter. If you wanted to add a picture and create a flyer, you had to futz around with Scotch tape, then erase any telltale lines with a daub or two of correction fluid. It was actual, not virtual, because in 1975, unless you were involved with the Homebrew Club in Menlo Park, California, you didn’t have a personal computer. There was no social media because there was no Internet, only sixty-odd nodes of something called the ARPANET, a government-sponsored project linking large frame computers at high-tech schools.

PWP's IMPRINTS Magazine in the 2000s utilized the power of Adobe Photoshop and InDesign

PWP’s IMPRINTS Magazine in the 2000s utilized the power of Adobe Photoshop and InDesign

But the digital wave was coming. The PWP archive tells of women entering photography, of photography rising in the art world, but most of all, it shows the granular sweep of tech into every aspect of modern life. It changed how we think and how we do things.

Looking at dingy PWP show cards from the 1970s I thought how easy it was for me to fine-tune contrast and color on my Mac. I thought about the many font choices I had, even the ability to adjust spacing between individual letters. I was a proud digital girl, maybe too proud. It stunned and humbled me.

Samples of early PWP branding

Samples of early PWP branding

I reached out to early PWP leaders like Dannielle Hayes and Dianora Niccolini, heard stories of how they struggled to break into the field and get attention for their work. I thought about how easy it was for me to search online for opportunities, and when those opportunities came, how easy it was to spread the word on Facebook, Instagram and Twitter. No paper, no Wite-Out, no tape.

I began to see things from a wider perspective, and realized that history isn’t just dry words in books, it’s all around us and with us every day. Before an age disappears into memory then dust, it is filled with people and life.

PWP group portrait from the late 1970s or early 1980s

PWP group portrait from the late 1970s or early 1980s

In the rush of progress, in the astonishing beauty of what is now possible in photography, it’s easy to overlook the women who founded PWP and those who wrote so poignantly to it. It’s easy to forget their struggles in our own. Yet they made it better for those who came after, reminding us that lives and actions, however small, matter and add up.

Late 1970s or early 1980s letter to PWP from a young girl seeking advice

Late 1970s or early 1980s letter to PWP from a young girl seeking advice

Major joints of history are clear, connective tissue less so, and for too long too many, including women, have been left out. To understand people and their culture, we collect and preserve, but to do that, first need to see their human worth. PWP would like to thank curator Randy Gue and Emory University’s Rose Library for the transformative gift of acknowledgment. We are humbled by it and deeply proud.

Many thanks to Donna Rocco and Vanetta Myers for their expert help with social media; President Fredda Gordon for her enthusiasm and support; Darleen Rubin and Meryl Meisler for giving so generously of their thoughts, time, and wonderful pictures; Stephanie Cohen for her iconic images of PWP; and Dianora Niccolini and Dannielle Hayes for setting something in motion that has touched many lives and continues to this day.

– Catherine Kirkpatrick

*The PWP Archives were acquired by the Stuart A. Rose Manuscript, Archives, & Rare Book Library of Emory University

Links to all the 30 For 30 Women’s History Month blogs:
Help Me Please! Hopelessly Waiting…
Exhibition and Anger
Spreading the Word
Early Ads On Paper
Cards and Letters
A Lady, a Truck, a Singing Dog
Women of Vision
A Show of Their Own
Taking It To the Street
Sisters of Sister Cities
Sold!
Education and More
Face of a Changing City
Digital Enabling
Expanding Walls and Other Possibilities
A Wonderful Life–Lady Style
Branding–the Good, the Bad, and the Ugly
The Great Change Sweeps In
PWP Goes Live!
Honoring the Upcoming
Continuity Through Change
Reaching Out
Eye a Woman Naked
Rapidly Multiplying Alternative Options
Women In the World, As Themselves
Kudos!
Friends Who Overcame and Inspired
Reversing the Gaze
Photography and More
Chicks Telling It Like It Is
Looking Back With Thanks

 

 

 

 

 

30 For 30: Chicks Telling It Like It Is

To celebrate Women’s History Month, we’re featuring items from the PWP Archives* each day on this blog. In looking back, we see not only where we started, but how far photography, women, and the world have come since 1975.

Since the start of PWP, seeing the work and hearing the stories of other women photographers has been crucial. These talks inform, instruct, and inspire. Through changes in technology, aesthetics, and meeting places, they remain the beating heart of PWP. Here’s a quick look at some of the wonderful speakers we’ve had over the years:

Speakers Frances McLaughlin-Gill, Eva Rubinstein, members gathered for a PWP talk, 1970s-80s

Speakers Frances McLaughlin-Gill, Eva Rubinstein, members gathered for a PWP talk, 1970s-80s

Many of the women who spoke in the first years of PWP were either early members or big supporters of the group. This image from the late 1980s or early 1990s pictures Erika Stone (left), Raeanne Rubenstein (center), with Mariette Pathy Allen who was president of PWP in the 1990s:

Erika Stone, Raeanne Rubinstein, Mariette Pathy Allen

Erika Stone, Raeanne Rubinstein, Mariette Pathy Allen

When PWP celebrated some of the pioneering legends of women’s photography in the early 2000s, Erika Stone was a vibrant participant (center photo, bottom right, and right photo to the left of Ruth Gruber).

PWP's Pioneers of Photography evening

PWP’s Pioneers of Photography evening

It was a popular, all-star evening. In the left picture above former PWP president Katherine Criss speaks with Rebecca Lepkoff. The center image above features Tequila Minsky, Rebecca Lepkoff, Nancy Reynolds, Katherine Criss (top row, left to right); Ruth Gruber and Erika Stone (bottom row, left to right). The right image above shows Erika Stone and Ruth Gruber, who is holding up her book Witness.

PWP member Catherine Steinmann with Rebecca Lepkoff; Ruth Gruber; Nancy Reynolds

PWP member Catherine Steinmann with Rebecca Lepkoff; Ruth Gruber; Nancy Reynolds

These ladies were movers and shakers, and they came prepared to work the room and sign books. Their spirit was tremendous. Another speaker whose unshakable spirit moved PWP was handicapped, near-blind photographer Flo Fox:

Flo Fox speaking at PWP (with then president Beth Portnoi Shaw), and out taking pictures

Flo Fox speaking at PWP (with then president Beth Portnoi Shaw), and out taking pictures

Memory runs deep for members of the organization. In a short video, Dianora Niccolini, PWP’s first president, reflects on an early studio photo of the group: Dianora Niccolini on the studio group image

– Catherine Kirkpatrick

*The PWP Archives were acquired by the Stuart A. Rose Manuscript, Archives, & Rare Book Library of Emory University

Links to all the 30 For 30 Women’s History Month blogs:
Help Me Please! Hopelessly Waiting…
Exhibition and Anger
Spreading the Word
Early Ads On Paper
Cards and Letters
A Lady, a Truck, a Singing Dog
Women of Vision
A Show of Their Own
Taking It To the Street
Sisters of Sister Cities
Sold!
Education and More
Face of a Changing City
Digital Enabling
Expanding Walls and Other Possibilities
A Wonderful Life–Lady Style
Branding–the Good, the Bad, and the Ugly
The Great Change Sweeps In
PWP Goes Live!
Honoring the Upcoming
Continuity Through Change
Reaching Out
Eye a Woman Naked
Rapidly Multiplying Alternative Options
Women In the World, As Themselves
Kudos!
Friends Who Overcame and Inspired
Reversing the Gaze
Photography and More
Chicks Telling It Like It Is
Looking Back With Thanks

 

30 By 30: Photography and More

To celebrate Women’s History Month, we’re featuring items from the PWP Archives* each day on this blog. In looking back, we see not only where we started, but how far photography, women, and the world have come since 1975
Barbara Koppelman & Lynne R. Cashman ©Joan Tedesci

Barbara Koppelman & Lynne R. Cashman ©Joan Tedesci

By the 1990s, women photographers weren’t just in the game, they were knocking it out of the park, with Cindy Sherman, Annie Liebovitz, and Sally Mann among the best known artists in the world. But with successful careers, came crowded, more complicated lives.

In 2018, as corporate America struggles to retain women who juggle work, children, and aging parents, often opting out, PWP continues to offer a haven of support and a way to stay in touch with the field on their own terms.

PWP members at Portfolio '97 (B. Koppelman, L. Cashman, K. Criss center) ©Joan Tedesci

PWP members at Portfolio ’97 (B. Koppelman, L. Cashman, K. Criss center) ©Joan Tedesci

PWP Members Dannielle Hayes & Meryl Meisler

PWP Members Dannielle Hayes & Meryl Meisler

Meryl Meisler says: “I joined PWP shortly around 1983, shortly before the Art Parade. Half jokingly I refer to PWP as my adult “Girl Scout Troop.” Being part of a positive and supportive community of people who share a passion for photography has helped me stay true to my inner desire and not give up. I’ve made some of my best friends through PWP, been graciously given honest advice, as well as opportunities to have my work exhibited and published. One member even wrote the introduction to both my books. Kudos to PWP!”

"Self Portrait, Girl Scout Oath 1975" (detail) Meryl Meisler courtesy of Steven Kasher Gallery

“Self Portrait, Girl Scout Oath 1975″ (detail) Meryl Meisler courtesy of Steven Kasher Gallery

PWP_BW_Magazine_1999_CovIn this 1999 November/December issue of the PWP Magazine, Mariette Pathy Allen writes about women photographers’ success and continuing needs:

“In the ’90s, the number of women photographers grew substantially. Many have become equally successful to men…. Nevertheless, there’s still a need to hear women speak about how they have created lives for themselves combining photography with other demands in our lives such as parenting and partnering.”

A late 1970s or early 1980s PWP newsletter with images of a PWP holiday party

A late 1970s or early 1980s PWP newsletter with images of a PWP holiday party

For all the fun, PWP is part of a long tradition of women’s organizations dedicated to strengthening member resolve, improving skills, and providing opportunities for leadership. It is a place for friendship and learning, reinvention and second acts; a room of their own where women can share their lives and art without judgment or fear.

In 2002, a PWP exhibition showed that the issue of life balance is never far from women’s minds, including those behind the lens:

Life_In_Out_Balance_28

– Catherine Kirkpatrick

*The PWP Archives were acquired by the Stuart A. Rose Manuscript, Archives, & Rare Book Library of Emory University

Links to all the 30 For 30 Women’s History Month blogs:
Help Me Please! Hopelessly Waiting…
Exhibition and Anger
Spreading the Word
Early Ads On Paper
Cards and Letters
A Lady, a Truck, a Singing Dog
Women of Vision
A Show of Their Own
Taking It To the Street
Sisters of Sister Cities
Sold!
Education and More
Face of a Changing City
Digital Enabling
Expanding Walls and Other Possibilities
A Wonderful Life–Lady Style
Branding–the Good, the Bad, and the Ugly
The Great Change Sweeps In
PWP Goes Live!
Honoring the Upcoming
Continuity Through Change
Reaching Out
Eye a Woman Naked
Rapidly Multiplying Alternative Options
Women In the World, As Themselves
Kudos!
Friends Who Overcame and Inspired
Reversing the Gaze
Photography and More
Chicks Telling It Like It Is
Looking Back With Thanks

 

 

 

 

 

 

 

30 For 30: Reversing the Gaze

To celebrate Women’s History Month, we’re featuring items from the PWP Archives* each day on this blog. In looking back, we see not only where we started, but how far photography, women, and the world have come since 1975.

In art, men have always gazed at women, but by the 1970s women were looking back, and not necessarily in the eye.

Left & right images ©Dianora Niccolini; center portrait of Dianora Niccolini ©Don Wong

Left & right images ©Dianora Niccolini; center portrait of Dianora Niccolini ©Don Wong

Dianora Niccolini, PWP’s first president, is famous for her male nudes. She was born in Florence, Italy, where the human body, male and female, is glorified publicly in the statues of Michelangelo, Donatello, and Ammannati, often in very large sizes.

After World War II, her family came to America, and she wound up at the Germain School of Photography, where she was the only woman in the class. Many of the students were Korean War vets, and “always got the pat on the back.” Which was okay till she went looking for a job and couldn’t find one. One photo agency told her straight out: “ “We won’t hire women. We’ve never hired a woman as a photographer.”

Eventually she found work at Cornell Medical College, sweeping up after the male photographers, the moved to Manhatten Eye, Ear & Throat Hospital, then to Lenox Hill where she founded the medical photography department, then to St. Clare’s where she did the same.

Along the way Niccolini did some female nudes, then embarked on a series of male nudes, which was unusual for the time and pre-dated Robert Mapplethorpe by several years. In 1975, she had a show of these at the Third Eye Gallery in Greenwich Village. It was favorably reviewed by Gene Thornton of the New York Times who wrote, ”Dianora Niccolini comes about as close to idealization as is possible in photography.” And Joanne Milani of the Florida Museum of Photographic Arts where some of these images have been exhibited, said: “in these photographs, Niccolini shows not individual men but archetypes…. They are like the figures the ancient Greeks placed on their temples to represent the sun god or the god of the oceans. As such, they are mythic embodiments of nature’s powers.”

Other women were also moving in this direction. A late 1970s or early 80s newsletter describes a talk Vivien Marachevic gave at PWP:

“Last December Vivien Marachevic showed her photographs from four series: Naked Men, Male Burlesque, Live Sex Shows and Porn Stars. Since 1978, Vivien has worked weekdays at magazines…and weekends photographing male nudes, portraits, and erotic subject matter.”

PWP Newsletter article about Vivien Marachevic photographing male burlesque

PWP Newsletter article about Vivien Marachevic photographing male burlesque

“For the Naked Males series, Vivien advertised for models in the Soho News and the Village Voice. She says she had ‘very few weirdos’…and found that most men ‘did it for the experience of being photographed by a women.’”

Women_Photograph-See_Men_collage

PWP’s founder, Dannielle Hayes, put together one of the early anthologies of women photographers called Women Photograph Men. Despite some heavy hitters like Mary Ellen Mark, Barbara Morgan, and Martha Swope, there was deep concern on the part of publisher William Morrow over the male nudity. Patt Blue’s picture was closely examined to figure out whether a diffuse line was a man urinating or a stream of sunshine. The book came out in the fall of 1977 to great reviews and no lawsuits. A different anthology called Women See Men was published the same year by McGraw Hill. Something was in the air.

– Catherine Kirkpatrick

*The PWP Archives were acquired by the Stuart A. Rose Manuscript, Archives, & Rare Book Library of Emory University

Links to all the 30 For 30 Women’s History Month blogs:
Help Me Please! Hopelessly Waiting…
Exhibition and Anger
Spreading the Word
Early Ads On Paper
Cards and Letters
A Lady, a Truck, a Singing Dog
Women of Vision
A Show of Their Own
Taking It To the Street
Sisters of Sister Cities
Sold!
Education and More
Face of a Changing City
Digital Enabling
Expanding Walls and Other Possibilities
A Wonderful Life–Lady Style
Branding–the Good, the Bad, and the Ugly
The Great Change Sweeps In
PWP Goes Live!
Honoring the Upcoming
Continuity Through Change
Reaching Out
Eye a Woman Naked
Rapidly Multiplying Alternative Options
Women In the World, As Themselves
Kudos!
Friends Who Overcame and Inspired
Reversing the Gaze
Photography and More
Chicks Telling It Like It Is
Looking Back With Thanks