Jean Gaumy, Portrait of Susan Meiselas © Magnum Photos, New York 1978
The power of Susan Meiselas’ images lies not in singular moments of observation, but in a deeper and all-encompassing level of storytelling that moves beyond the frame and offers a poignant connection between artist, subject and viewer. For instance, when working on her 1979 collection Carnival Strippers, she asked not only the dancers of country fair strip shows she photographed, but also their romantic partners, to explore the boundaries between public performances and private relationships. It’s this kind of concern for creating “fullness” in her subjects, that won the Baltimore-born photographer the Women In Motion award at the Rencontres d’Arles festival.
While the French photography “meeting” may be celebrating its 50th anniversary this year, the presentation of the Women In Motion award is a new addition to the proceedings. Launched in 2015 at Festival de Cannes, the award highlights the creative works of women artists in the fields of cinema and photography and posing a commitment to fighting gender inequality that is still rife within the arts and culture industries.
Here is everything you need to know about the winner of this year’s award.
Her works capture the experiences of marginalised communities
A photograph from Carnival Strippers used as the cover of Abigail Heyman’s book, 'Growing Up Female: A Personal Photo-Journal', New York, Holt, Rinehart & Winston, 1974.
From chronicling the public and private lives of striptease dancers to shedding light on the realities of life in conflict zones, Meiselas is renowned for groundbreaking works that explore and contemporary issues of social inequality, relationships and maintaining hope in times of struggle. After publishing early works focussed on communities in New York such as Prince St. Girls, the photographer embarked upon an international career that began with remarkable projects in Latin America as she documented the aftermath of revolution, civil war and life under the authoritarian dictatorships of Pinochet’s Chile and the Somoza regime in Nicaragua. She continued to explore themes of social equality and human rights, photographing and reporting on socio-political issues worldwide. Most recently, Meiselas was invited to collaborate on a project exploring the experiences of residents at a women’s refuge in England, entitled A Room of One’s Own.
Her work is shaped by immersing herself in different countries
Susan Meiselas, Hanging out on Baxter Street, Littly Italy, 1978 © Susan Meiselas / Magnum Photos
While studying at university, Meiselas took part in an international photography experience with fellow students, visiting countries such as Japan, India and Turkey, where she stayed with local families and developed not only a love for portraiture and the individuals she encountered, but also a deep sensitivity to global issues and different modes of communication, something that remains evident throughout her career.
During her time in Latin America, she spent extended periods of time living in certain locations and meeting local people, which deepened her own understanding from her standpoint as an outsider and resulted in some of the most prolific bodies of work spanning this era of revolution in war-torn Latin America.
She refuses to be pigeon-holed
Susan Meiselas, Shortie on the Bally, Barton, Vermont, United States © Susan Meiselas / Magnum Photos
“There are always people who choose to define you in one way or another,” Meiselas wrote in a 2018 Huck magazine article.“First I was the woman who photographed women, then I was a war photographer because I photographed war. Now I’m considered an art photographer because the pictures are on the walls. I feel like I cross all those boundaries… For me, the more interesting question is how the work changes when it circulates, when it’s expressed in different forms.” Rather than being bound to specific themes or objective expectations, she preferred to view all her projects as a means of communication and exploration of the human experience, perhaps grounded in certain places but always timeless.
She is one of the few women members of Magnum Photos
Susan Meiselas, Returning home, Masaya, Nicaragua, September, 1978 © Susan Meiselas / Magnum Photos
Alongside household names such as Alec Soth and Martin Parr, Meiselas is part of the international photographic co-operative Magnum Photos. While the 90-something strong group is dominated by men, Meiselas joined the collective in 1976 and represents one of currently 14 female members.