WANAFOTO: Susan Meiselas

Showing posts with label Susan Meiselas. Show all posts

21/07/25

Women, Football & Photography @ f³ – freiraum für fotografie, Berlin - "SHE CAN KICK IT! Women's Football and Photography" Exhibition

SHE CAN KICK IT!

Women's Football and Photography

f3 – freiraum für fotografie, Berlin

Through September 7, 2025

Dewey Nicks

Marta Vieira da Silva for The New York Times, 2009

Hy Money

1970s, England. Photographed by Hy Money

Harriet Duffy

From the series Football Came Home, 2022

An exhibition with works by: Caterina Barjau, Günther Bauer, Christophe Berlet, Thomas Böcker, Harriet Duffy, Laura Freigang, Johanna-Maria Fritz, Kai Heuser, Elliot James Kennedy, Alice Mann, Susan Meiselas, Hy Money, Dewey Nicks, Anja Niedringhaus, Cait Oppermann, David Ramos, Dana Rösiger, Josefine Seifert, Daniel Silva Yoshisato, Dorothea Tuch, Alexa Vachon, Viridiana, Anna Ziegler.

Hardly any sport is as emotionally charged as football—especially women's football. It has been ridiculed, it has been banned. Even the German Football Association (DFB) wanted to protect women from this “rough sport” and, in 1955, prohibited its affiliated clubs from offering women's football, stating: “In the struggle for the ball, feminine grace is lost.” It wasn't until 1970 that the association lifted the ban. Today, women’s football is celebrated—almost everywhere in the world. Players like Megan Rapinoe from the USA have become icons, fighting for equality and against the sexualization of women's bodies. They are role models for girls and effective ambassadors for advertising. Yet, there are still major disparities compared to the men's game—whether in opportunities to play or in compensation.

In honor of the UEFA Women's EURO 2025 in Switzerland, SHE CAN KICK IT! brings women's football into visual focus: from artistic photo series by renowned photographers such as Susan Meiselas, a member of the prestigious Magnum Photos agency, to personal snapshots from national team player Laura Freigang. The exhibition explores the complex history of women's football and highlights the many challenges surrounding the topic.

Anja Niedringhaus

Germany's Kerstin Garefrekes (18), Annike Krahn (5)

fight for the ball with Brazil's Tania (4) and Renata Costa (5)

during their final match at

the 2007 FIFA Women's World Cup soccer tournament

in Shanghai, China, Sunday, Sept. 30, 2007

Anja Niedringhaus, world-renowned for her images from war and crisis zones, photographed the jubilant women’s national football team led by captain Birgit Prinz at the FIFA Women’s World Cup 2007. Her images capture the tension, focus, and will to win felt by both teams.

Susan Meiselas

Stretch exercise before training session,

National female soccer team, San Diego, California, 1998

In 1998, Susan Meiselas documented the training of the U.S. women’s national team in San Diego, creating a series of touching behind-the-scenes photos. Stars like Brandi Chastain and Briana Scurry, whose names are now spoken with reverence by young players, appear in these intimate settings.

Elliot James Kennedy

Leah Williamson for British GQ, 2022

Dorothea Tuch

Türkiyemspor, Berlin, 2025

Laura Freigang

Selfportrait, Paris, 2024

A glimpse into the life of a current national player is offered by Laura Freigang of Eintracht Frankfurt. She always has her Leica camera with her—on the team bus, at training, or at the after-show party. Young, unconventional, and with a distinctive style, she documents her own life and that of her teammates.

Cait Oppermann

Megan Rapinoe for TIME 100, 2020

The photographs by Cait Oppermann, who shot the U.S. women’s soccer team for the TIME Magazine cover in 2019, mark a turning point in the players’ public image—from ridiculed outsiders to international icons and role models.

For the anniversary issue of 11 Freunde magazine in 2025, Anna Ziegler portrayed the feminist and antifascist fan club Nutria Bande, which supports women’s football in Frankfurt. Personal stories from the Global South are told through the series by award-winning

Daniel Silva Yoshisato

From the series Women Soccer Player from the Sky, 2004

Johanna-Maria Fritz

From the series Testimony for Change, Sudan, 2021

Alexa Vachon

Juhi, from the Series Wundergirl, 2017

German photographer Johanna-Maria Fritz, who accompanied a team in Sudan, and Alexa Vachon, who visited girls in India at home: despite social pressure, they remain devoted to their passion for football and proudly pose in their jerseys.

The world’s first women’s football team, the British Ladies, was founded in 1894 by Nettie Honeyball. Today, over 130 years later, women’s football has entered the public consciousness—yet as an emancipatory act, it remains as vital and relevant as ever.

The exhbition was curated by Nadine Barth and Katharina Mouratidi.

f³ – freiraum für fotografie

Prinzessinnenstrasse 30, 10969 Berlin

fhochdrei.org

SHE CAN KICK IT! Women's Football and Photography

f³ – freiraum für fotografie, Berlin, June 27 — September 7, 2025

27/01/21

Susan Meiselas @ Milwaukee Art Museum - Through a Woman’s Lens - Virtual Exhibition

Susan Meiselas: Through a Woman’s Lens

Milwaukee Art Museum - Virtual Tour

Through March 14, 2021

SUSAN MEISELAS

[1976 DNC], 1976; printed 2020.

Gelatin silver print, 8 x 10 in.

Courtesy the artist.

SUSAN MEISELAS

Roseann on the way to Manhattan Beach, New York, 1978,

from the series Prince Street Girls, 1975–92.

Courtesy the artist.

A virtual exhibition presented by the Milwaukee Art Museum highlights the four decades of work of documentary photographer Susan Meiselas, and is the first to focus on the artist’s long-standing commitment to working with and sharing the stories of women. Susan Meiselas: Through a Woman’s Lens presents never-before-shown photographs alongside iconic series that raise challenging questions about the documentary practice and the relationship between photographer and subject.

“Susan Meiselas’s collaborative practice honors the people she photographs and those that view her pictures,” said Lisa Sutcliffe, Herzfeld Curator of Photography and Media Arts. “By intuitively following her own instincts over the course of her career, Meiselas has built a unique body of work that examines the many lives and stories of women that might have otherwise been overlooked. Her inclusive process brings a diverse array of voices to bear on issues from human rights to civil conflict, and encourages us to become more responsible in how we consume and interpret images.”

Throughout her nearly fifty-year career, Susan Meiselas has consistently focused her lens on what she believes the wider public needs to see, including women living and working at the edges of the mainstream. Her subjects have ranged from carnival strippers at county fairs to women engaged in resistance in Central America. Collaboration is an integral part of the artist’s practice, and she works closely with her subjects to bring their voices to the issues they face, often returning to communities she has photographed to reconnect and examine how their perspectives have changed over time. This collaborative spirit was extended in 2020 through the creation of an expansive virtual tour, which allows visitors near and far to hear from not only the curator and the artist but also the people in her photographs and her many partners.

The exhibition features selections from the artist’s earliest series, including 44 Irving Street, Prince Street Girls, and Carnival Strippers; vivid color photographs that Susan Meiselas made during the Sandinista revolution in Nicaragua; and never-before-shown pictures of women training in the U.S. Army, as well as an examination of the experience of a Filippino mail-order bride.

Through a Woman’s Lens is also showing photographs that Susan Meiselas took at the Democratic National Convention in 1976, which examined the role of women in the party. This exhibition marks the 100th anniversary of the ratification of the women’s right to vote.

“I am excited to have this opportunity to share some of my lesser-known work from the 1970s and reflect on how my practice has evolved,” said Susan Meiselas. “I was part of the generation following the Women’s Movement and benefited from what others had fought hard for. I felt I could explore as broadly as I could imagine and challenge myself to go beyond boundaries and have these experiences shape my thinking and my life. ”

Since 1976, Susan Meiselas has been a member of the international photographic cooperative Magnum Photo. The cooperative is composed of some of the world’s most renowned photographers, who “share a vision to chronicle world events, people, places and culture with a powerful narrative that defies convention, shatters the status quo, redefines history and transforms lives.”

In 2019, Susan Meiselas received the Deutsche Börse Photography Foundation Prize Prize for her survey show Mediations, which was organized with the Jeu de Paume in Paris and later traveled to the San Francisco Museum of Modern Art. She was also the first winner of the Women in Motion photography prize at the Rencontres d’Arles festival. She has received numerous additional awards, including a MacArthur Fellowship in 1992.

Susan Meiselas: Through a Woman’s Lens is curated by Lisa J. Sutcliffe, Herzfeld Curator of Photography and Media Arts, Milwaukee Art Museum.

MILWAUKEE ART MUSEUM

700 N. Art Museum Drive, Milwaukee, WI 53202

mam.org

30/04/17

Susan Meiselas, Prince Street Girls, 1976–1979 @ Higher Pictures, NYC

Susan Meiselas, Prince Street Girls, 1976–1979
Higher Pictures, New York
April 29 - June 17, 2017

Higher Pictures presents Prince Street Girls, 1976–1979 by SUSAN MEISELASs. This is the artist’s first solo exhibition with the gallery and the first solo presentation of this body of work in New York City.

Susan Meiselas has, in the course of her forty-year career, brought together photographs, interviews, and artifacts to tell stories both intimate and epic. She has documented the public and private lives of carnival dancers (Carnival Strippers, 1972–75), photographed Nicaragua throughout its decade-long revolutionary period beginning in the 1970s, assembled a detailed and rigorous visual history of the Kurdish people (Kurdistan: In The Shadow of History, 1991–present), and led community-based photography workshops in the U.S. and abroad.

Prince Street Girls is one of Susan Meiselas’ earliest documentary projects, in which a chance encounter with a group of girls in her New York City neighborhood led to an ongoing relationship and now-iconic photographic series. In the artist’s own words:

“In 1975…I was riding a bicycle through my neighborhood in Little Italy when suddenly a blast of light flashed into my eyes, blinding me for a moment. Its source was a group of girls fooling around with a mirror trying to reflect the sun on my face. That was the day I met the Prince Street Girls, the name I gave the group that hung out on the nearby corner almost every day. The girls were from small Italian-American families and they were almost all related. I was the stranger who didn’t belong. Little Italy was mostly for Italians then.

Prince Street Girls began as a series of incidental encounters. They’d see me coming and call out, ‘Take a picture! Take a picture!’ At the beginning I was making pictures just to share with them. If we met in the market or at the pizza parlor they would reluctantly introduce me to their parents, but I was never invited into any of their homes. I was their secret friend, and my loft became a kind of hideaway when they dared to cross the street, which their parents had forbidden.”

An exhibition catalogue by the same name, published by TBW, is available through the gallery.

SUSAN MEISELAS (b. 1948, Baltimore, MD) received her B.A. from Sarah Lawrence College and her M.A. in visual education from Harvard University. Meiselas joined Magnum Photos in 1976. Her work is included in national and international collections. Honors include: the Robert Capa Gold Medal for “outstanding courage and reporting” by the Overseas Press Club for her work in Nicaragua (1979); the Leica Award for Excellence (1982); the Engelhard Award from the Institute of Contemporary Art (1985); the Maria Moors Cabot Prize from Columbia University for her coverage of Latin America (1994); and the Hasselblad Foundation Photography prize (1994). In 1992, she was named a MacArthur Fellow and most recently was awarded a Guggenheim Fellowship (2015). Susan Meiselas lives and works in New York.

HIGHER PICTURES
980 Madison Avenue, New York, NY 10075
http://higherpictures.com