Exhibition Review: Underexposed: Women Photographers from the Collection
Sandy Skoglund (American, born 1946), Gathering Paradise, 1991, dye coupler print, 47 x 60 ½ inches, 1991.270. Gift of Mr. and Mrs. James L. Henderson, III.
Text by Dani Martin
In Atlanta, the High Museum of Art debuted their new exhibition “Underexposed: Women Photographers from the Collection” on April 17th. Curated by Sarah Kennel with assistance from Maria Kelly, the show runs through August 1st and showcases one hundred photographs from their expansive collection — and, as its title suggests, is a tribute to female photographers and their underexposed yet impactful contributions to photography.
Imogen Cunningham (American, 1883-1976), Magnolia Blossom, 1975, gelatin silver print, 10 ¼ x 13 inches. Purchase with funds from a Friend of the Museum. © The Imogen Cunningham Trust
The exhibition chronicles roughly the last hundred years of photographic history, featuring the pioneers of the medium through to today’s contemporary artists. Rand Suffolk, director of the High Museum, comments, “With this exhibition’s focus on women photographers, ‘Underexposed’ highlights a trajectory of participation and influence extending from the earliest days of photography to a leading role in defining the medium today.”
Ilse Bing (American, born Germany, 1899-1998), Self-Portrait in Mirrors, Paris, 1931, printed ca. 1941, gelatin silver print, 1987.14. High Museum of Art, Atlanta. Purchase with funds from Georgia-Pacific Corporation.
The exhibition opens with the foundations and background of women in the photography industry when the idea of the “New Woman” propelled women out of traditional roles and into the workforce and art world. Featured works include that of Imogen Cunningham, Dorothea Lange, and Margaret Bourke-White, as well as the iconic Ilse Bing photo, Self-Portrait in Mirrors, Paris.
Elizabeth Turk (American, born 1945), Calaeno, 2018, Van Dyke print, High Museum of Art, Atlanta, purchase with funds from Lucinda W. Bunnen for the Bunnen Collection, 2019.182. (c) Elizabeth Turk.
As it continues, the collection moves into experimental processes and photographs, including works from Barbara Kasten and Sheila Pinkel. Elizabeth Turk’s Calaeno is also featured, demonstrating her unique and exploratory take on photography.
Sheila Pree Bright (American, born 1967), Untitled 13, from the Suburbia series, 2006, dye coupler print, 49 1/2 inches, 2009.130. Gift of Sandra AndersonBaccus in loving memory of Lloyd Tevis Baccus, M.D. © Sheila Pree Bright.
Additionally, there is a deep reflection and consideration on how these photographs provide commentary on gender, society, identity, and femininity. Photographers like Diane Arbus, Nan Goldin, Sandy Skoglund, and Susan Worsham focus on the female gaze and what femininity means at its core. Skoglund’s Gathering Paradise depicts an almost otherworldly view of suburban, domestic life clad in pink hues and Sheila Pree Bright’s Untitled 13, from the Suburbia series, illustrates an interior of a contemporary home that, upon second glance, evokes a sense of emptiness.
Zanele Muholi (South African, born 1972), Zibuyile I (Syracuse), 2015, gelatin silver print, 25 5/8 x 17 inches, 2017.300. Purchase with funds from the Donald and Marilyn Keough Family and the H. B. and Doris Massey Charitable Trust.
Rounding out the collection, the focus shifts toward portraiture, displaying photographs from Judy Dater, Zaneli Muholi, and Carrie Mae Weems, both portrait and self-portrait images. Muholi’s Zibuyile I (Syracuse) is part of a more extensive series using costuming to comment on African femininity.
Mickalene Thomas (American, born 1971), Les Trois Femmes Deux, 2018, dye coupler print, 2018.214, High Museum of Art, Atlanta. purchase with funds from the Friends of Photography.
This show is integral to uplifting and educating the public about women’s leadership and power within the photography industry. It is not only important but rather necessary to acknowledge their history and prowess. Women have been fundamental to the exploration and discoveries of photography and continue to create lasting, impactful moments in contemporary times. The High’s “Underexposed” does the essential work of elevating women and emphasizing their innovations, and inspiring originality.
