British Journal of Photography 132 (March 22, 1985): 321-4
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AMERICAN WOMEN PHOTOGRAPHERS Recent Titles in the Art Reference Collection Native American Basketry: An Annotated Bibliography Frank W. Porter HI, compiler Serials Guide to Ethnoart: A Guide to Serial Publications on Visual Arts of Africa, Oceania, and the Americas Eugene C. Burt, compiler World Architecture Index: A Guide to Illustrations Edward H. Teague, compiler Index to Italian Architecture: A Guide to Key Monuments and Reproduction Sources Edward H. Teague, compiler Ten Precisionist Artists: Annotated Bibliographies R. Scott Harnsberger, compiler David L. Henderson, technical editor American Graphic Design: A Guide to the Literature Ellen Mazur Thomson, compiler Action Art: A Bibliography of Artists' Performance from Futurism to Fluxus and Beyond John Gray, compiler Les Fauves: A Sourcebook Russell T. Clement American House Designs: An Index to Popular and Trade Periodicals, 1850-1915 Margaret Culbertson, compiler Kahlo and Look Who Else: A Selective Bibliography on Twentieth-Century Latin American Women Artists Cecilia Puerto Four French Symbolists: A Sourcebook on Pierre Puvis de Chavannes, Gustave Moreau, Odilon Redon, and Maurice Denis Russell T. Clement Dutch Modernism, Architectural Resources in the English Language Donald Langmead AMERICAN WOMEN PHOTOGRAPHERS A Selected and Annotated Bibliography MARTHA KREISEL Art Reference Collection, number 18 Greenwood Press Westport, Connecticut • London Library of Congress Cataloging-in-Publication Data Kreisel, Martha, 1948- American women photographers : a selected and annotated bibliography / Martha Kreisel. p. cm.—(Art reference collection, ISSN 0193-6867 ; no. 18) Includes bibliographical references and index. ISBN 0-313-30478-5 (alk. paper) 1. Women photographers—United States—Bibliography. 2. Photography—United States—History—Bibliography. I. Title. II. Series. Z7134.K74 1999 [TR139] 016.77'082'0973—dc21 98-48654 British Library Cataloguing in Publication Data is available. Copyright © 1999 by Martha Kreisel All rights reserved. No portion of this book may be reproduced, by any process or technique, without the express written consent of the publisher. Library of Congress Catalog Card Number: 98^8654 ISBN: 0-313-30478-5 ISSN: 0193-6867 First published in 1999 Greenwood Press, 88 Post Road West, Westport, CT 06881 An imprint of Greenwood Publishing Group, Inc. Printed in the United States of America <§r The paper used in this book complies with the Permanent Paper Standard issued by the National Information Standards Organization (Z39.48-1984). 10 98765432 CONTENTS Introduction vii Abbreviations and Notations xi Bibliography of American Women Photographers 1 Bibliography of Collected Works of American Women Photographers 299 Index to Authors 335 Index to Monographic, Doctoral Dissertation and Videorecording Titles 343 This page intentionally left blank INTRODUCTION Women have been involved in the professional, amateur, and artistic progress of photography for a over a century. In the early years they served as photographic assistants in their husbands' studios. Upon a husband's death, the wife often assumed control of the business as a way of supporting herself. Since equipment was heavy and awkward to transport, many of the women stayed in the studio. They would often specialize in portraiture of women and children, allowable subjects for women to pursue. By the 1880s as innovations by George Eastman and Kodak made the camera easier to handle, photography became accessible to everyone. The marketing strategy for the Kodak Brownie reached a new audience of women, giving them a lightweight, inexpensive camera on which to record their children and their surroundings. This respectable and genteel hobby allowed women to photograph scenes around the home, providing us with documentation of domestic life in the late 1890s. At around the same time, women such as Gertrude Kasebier and Adelaide Hanscom Leeson, members of the Photo-secessionist Movement, sought the promotion of photography as a true art form. In both ways, women have made significant contributions to photographic history. The early advances and interest in photography also opened up areas for professionals photographers: Frances Benjamin Johnston photographed numerous historic homes in North Carolina and made her classic studies of the education of African-American children at the Hampton Institute; Gertrude Kasebier was known for her portraiture; Myra Albert Wiggins professionally photographed life in the Northwest, and Jesse Tarbox Beals was considered one of the first women news photographers for taking photographs of the 1904 World's Fair. Women like Alice Austen chronicled 19th-century life on Staten Island, New York, and Evelyn Cameron turned her camera to life in late 19th-century Montana. For an extensive treatment of photographers of the 19th-century consult C. Jane Gover's The Positive Image: Women Photographers in Turn of the Century America (see entry 1022). viii Introduction Immediately following the First World War, much was being written on the value and accessibility of photography as a profession for women. Throughout the 1930s there was tremendous economic and social upheaval in American life. The farm families of the Dust Bowl found themselves without a home, without an income, and on the road West to a new life. The lives of migrant workers and tenant farmers, the working poor, and the city dwellers became the subject of documentary photographers. Margaret Bourke-White, Eudora Welty, Marion Post Wolcott, and Dorothea Lange traveled the country to tell their stories. Publications such as Life magazine gave photographers an important vehicle to show America the new industrial and construction revolution and chronicle the life of people in far-flung corners of the world and the United States. American women covered the war in Europe as photojournalists. Their images are some of the most haunting. They documented the children of the war, the concentration camps, and the lives of soldiers and civilians. Chapelle Dickey, Margaret Bourke-White, Mabel Therese Bonney, Toni Frissell, and Lee Miller were there to record history. Throughout the decades many sought to document the pulse of New York City. Helen Levitt saw the life of the City in the chalk drawings on the street. Berenice Abbott sought to capture the architecture of New York City before the skyscrapers changed the skyline forever, and Ruth Orkin captured the changing tempo of the City from her apartment window. Some of the images teach, some show us beauty, and some make us uncomfortable. The work of Diane Arbus can be unsettling, as can the nude images of Sally Mann's children. We can contemplate the powerful portraits of Native Americans by Laura Gilpin, Marcia Keegan, and Toba Pato Tucker, or we can consider the images by Native American photographers Carm Little Turtle and Hulleah J. Tsinhnahjinnie. We can travel to China with Eve Arnold or Inge Morath, see the brothels of India with Mary Ellen Mark, or view the carved landscapes of Peru in the aerial photography of Marilyn Bridges. Images of the poor and the rich, the famous and the infamous, are all recorded in a woman's camera with a woman's eye. Feminist agendas, government assignments, agendas of compassion or curiosity, documentation of events for history, or search for beauty-American women photographers have covered it all. For a recent overview of women photographers, consult Naomi Rosenblum's A History of Women Photographers (see entry 1058). This bibliography serves two purposes. The first is to have, in one volume, a substantial body of work on and by American women photographers. The second is to provide a listing of these artists. Some are pioneers in the history of photography, but many are not well known. Many were major influences in documentary photography, experimental photography, or feminist photography. For some artists, this work provides only their name and an image for future study, but they all deserve recognition. My hope is that this work will contribute to further research. American Women Photographers is really only a beginning, or perhaps, Introduction ix more correctly, a continuation. I have not attempted to duplicate all of the bibliographic citations that can be found in books and articles, but have indicated those works that contain bibliographies. For exhaustive study of one particular photographer, those bibliographies should be consulted. Monographs, journal articles, doctoral dissertations are included; master's theses, and short notices of exhibitions are not. Brief annotations are provided for monographs and exhibition catalogs that were accessible, but not for journal articles, very short exhibition catalogs, and works not readily available through interlibrary loan. Peter E. Palmquist has done extensive work compiling bibliographies of women photographers, with an emphasis on early writings (see entries 1042-1050). I have not tried to duplicate his work. I am sure that some names and sources were inadvertently missed, but hopefully others have been included that will pique interest in the work of particular photographers. No attempt has been made to judge the quality of images or the body of work of the photographers. That is for the critics and the public. What is important is to recognize the continuing contribution women photographers have made to the medium of photography and the record of humankind. This page intentionally left blank ABBREVIATIONS AND NOTATIONS c. Approximate date fig. Figure number oclc Descriptions taken from OCLC