Dianne Blell - Tattooing the Beloved
Dianne Blell
Tattooing the Beloved
Archival Pigment Photograph
c. 2000-2007
19 x 13 inches
Signed, titled, dated and # 1/10 on verso.
Dianne Blell - Courting the Beloved
Dianne Blell
Courting the Beloved
Archival Pigment Photograph
c. 2000-2007
32 x 26 Inches
Signed, titled, dated and # 2/8 on verso.
Berenice Abbott - West Street, New York
Berenice Abbott
West Street, New York
Silver Gelatin Photograph
1938, Printed 1979
16 x 20 inches, Mounted on Board 24 x 30 inches
Photographer’s signature and # 51/60, in pencil on mount's recto and hand stamp on mount's verso
Berenice Abbott - Lyric Theater
Berenice Abbott
Lyric Theater
Silver Gelatin Photograph
1936, Printed Later
10 1/2 x 13 3/4 inches, mounted on 16 x 20 inches board

Signed and editioned 44/60 in pencil on recto

Berenice Abbott - Fourth Avenue, No. 154, Brooklyn
Berenice Abbott
Fourth Avenue, No. 154, Brooklyn
Silver Gelatin Photograph
1936, Printed 1979
15 1/2 x 19 1/2 inches, Mounted on 24 x 30 inches board
Signed lower right and numbered 51/60 on lower left recto
Berenice Abbott - Tri-boro Barber School, 264 Bowery, New York
Berenice Abbott
Tri-boro Barber School, 264 Bowery, New York
Silver Gelatin Photograph
23 x 18 1/2 inches, Mounted on 36 x 30 inches board

Signed and numbered 3/40 in pencil on mount’s recto; Parasol Press "Retrospective" portfolio hand stamp on mount’s verso.

Imogen Cunningham - Two Callas
Imogen Cunningham
Two Callas
Silver Gelatin Photograph
1929, Printed Later
13 1/2 x 10 1/2 Inches

Signed and dated in pencil on the mount, the photographer's 862 Folsom Street, San Francisco, California 94107' label on verso.

Imogen Cunningham - Magnolia Blossom
Imogen Cunningham
Magnolia Blossom, Tower of Jewels
Silver Gelatin Photograph
1925, Printed mid-1970s
10 1/4 x 13 1/4 inches

Cunningham's signature and date, in pencil, on mount recto and a photostatic copy of her Green Street label on mount verso.

Margaret Bourke-White - Grumman Aircraft U.S. Navy Amphibious J2F-1
Margaret Bourke-White
Grumman Aircraft U.S. Navy Amphibious J2F-1
Vintage Silver Gelatin Photograph
1937
10 x 13 1/2 inches

Photographer's credit stamp, Time copyright and date stamps, and notations in unidentified hands in pencil on the reverse.

Margaret Bourke-White - East Feliciana Parish, Louisiana
Margaret Bourke-White
East Feliciana Parish, Louisiana
Silver Gelatin Photograph
1936, printed 1950s
13 3/8 x 10 inches

Artist's hand stamp and the title, in pencil, in an unknown hand, on mount verso; with the Wolffe Nadoolman Collection hand stamp on mount recto.

Alison Wright - Tibet Girl, near Manigango, Kham, Tibet
Alison Wright
Tibet Girl, near Manigango, Kham, Tibet
C Print on Fuji Crystal Paper
2005, Printed 2013
40 x 30 Inches

Signed, editioned 1/15, and dated on recto.

Alison Wright - Girl from Hamer Tribe Holding a Gourd
Alison Wright
Girl from Hamer Tribe Holding a Gourd, Omo Valley, Ethiopia
C Print on Fuji Crystal Paper
2006, Printed 2013
40 x 30 Inches

Signed, editioned 1/15, and dated on recto.

Alison Wright - Tongyi Holding a Conch Shell
Alison Wright
Tongyi Holding a Conch Shell, Sepik River, Papua New Guinea
C Print on Fuji Crystal Paper
2010, Printed 2013
30 x 40 Inches

Signed, editioned 1/15, and dated on recto.

Beckwith & Fisher - Dinka Boy with Long Horned Bull
Beckwith & Fisher
Dinka Boy with Long Horned Bull, South Sudan
Archival Lambda Color Photograph
2006, Printed 2013
60 x 40 inches

Signed, titled, dated and # 1/7 on verso.

Carol Beckwith & Angela Fisher - Dinka Child Imitating Horns of a Favorite Bull
Beckwith & Fisher
Dinka Child Imitating Horns of a Favorite Bull, South Sudan
Archival Lambda Color Photograph
2006, Printed 2013
40 x 26 1/4 inches

Signed, titled, dated and # 3/10 on verso.

Beckwith & Fisher - Karo Man with Ocher Face Paint, Ethiopia
Beckwith & Fisher
Karo Man with Ocher Face Paint, Ethiopia
Archival Lambda Color Photograph
c. 1985-1996, Printed 2013
42 3/8 x 60 inches

Signed, titled, dated and # 4/7 on verso.

Beckwith & Fisher - Pokot Initiate with Ochered Collar, Kenya
Beckwith & Fisher
Pokot Initiate with Ochered Collar, Kenya
Archival Lambda Color Photograph
2003, Printed 2013
40 x 27 inches

Signed, titled, dated and # 1/7 on verso.

Carol Beckwith & Angela Fisher -Karo Man Painted For Courtship, Ethiopia
Beckwith & Fisher
Karo Man Painted For Courtship, Ethiopia
Archival Lambda Color Photograph
1996-2005, Printed 2013
40 x 27 5/8 inches

Signed, titled, dated and # 1/7 on verso.

Carol Beckwith & Angela Fisher - Surma Children Painted as Twins, Ethiopia
Beckwith & Fisher
Surma Children Painted as Twins, Ethiopia # 35
Archival Lambda Color Photograph
c. 1985-1996, Printed 2013
60 x 45 5/8 inches
Signed, titled, dated and # 2/7 on verso.
Dianne Blell - Tattooing the Beloved - TB
Dianne Blell - Courting the Beloved - TB
Berenice Abbott - West Street, New York-TB

The Compassionate Eye:
Women Behind the Lens

11/28/2015 - 12/19/2015

INSTALLATION IMAGES

Shortly after the development of photography in the mid 19th century, women became early practitioners of the medium and expanded its range by experimenting with its every aspect and playing a pivotal role in its reception. Their lasting impact on photography is historically documented, but within the early stages of its development as a means of artistic expression, it often was women’s enthusiastic engagement in image making that can be attributed to the medium’s strength as a vehicle for story telling, the re-creation of personal dramas as well as the experimentation with printing out techniques. Photography easily lends itself to introspection, exploring identity and sexuality, and distancing oneself from traditional domestic roles. Although pigeonholing a photographer as a woman photographer can seem reductive, creativity cannot be said to be neutral in terms of gender and cultural experience. The unique abilities and capacities for women to express their distinctive visions and their contributions to photography’s formation should be explored and celebrated. Traditionally, the aspects that women were more apt to externalize in bringing to their images are certain levels of compassion, unique sensitivities for their subjects, and presentation of people with dignity and empathy. Perhaps the female gaze offers a highly intuitive and poetic outlook of the world.

By the end of the 1930s legendary photojournalist Margaret Bourke-White had proven women could go to the same lengths as men and beyond creating unique testimonies to the industrial and historical development of the twentieth century. During the same period in New York City, Berenice Abbott was documenting the transformations of an American city with its rising skyscrapers leaving behind an important record of the past. Dorothea Lange changed the course of documentary photography with her poignant images of the social as well as economic consequences of the American Great Depression. Also as innovators with modernist photography, women such as Imogen Cunningham created iconic works in still life, nature studies, and portraiture under the Group f/64. Another member of the famous modernist group, Ruth Bernhard created distinctly refined images of the female nude that revitalized a classical standard of beauty offering a unique viewpoint on the genre away from the male gaze and that of the art historical portrayal of the feminine.

Today, Flor Garduño brings her own intimate style to the genre influenced by her formative years in Mexico capturing the delicate and primal beauty of her subjects imbuing them with emotional strength and poetic metaphor. Joyce Tenneson’s ethereal portraits go beyond a surface recording of her subject’s likeness and move beyond the façade revealing a more spiritual side of the inner person, while Barbara Luisi’s interest in classical music is expressed through her melodic explorations of the human body. Also expanding the genre of staged contemporary photography, two leading artists Dianne Blell and Sandy Skoglund create detailed mise en scènes using the camera to capture these uncanny worlds they have deftly created. Providing an overview of the critical contributions that women have made to medium of photography, “The Compassionate Eye: Woman Behind the Lens” celebrates each of the unique ways women have utilized the camera from the early twentieth century and beyond.