POND Magazine and the fashion label, Dolores Haze, bonded immediately over the mutual desire to celebrate Women’s History Month by showcasing emerging female artists who excel in male dominated industries, or as we like to call them, “all boys clubs.” To make space for a “grrrls only” club, we photographed and interviewed inspiring female photographers, musicians, and artists. We captured each editorial on film to show our passion and nostalgia for analog photography. We landed on the name, “GRRRLS ONLY,” as a homage to the ‘90s Riot Grrrl movement, when all-girl punk artists started creating zines to inspire a generation of females.
FASHION DOLORES HAZE
TEX T SAMANTHA GIORDANO, RACHEL CABITT, NATALIE LEONARD, + ELISE HOGGARD
DESIGN JORDAN BARNETT
SPONSORED BY
PHOTO BY KELSEY RECKLING
It is important to Liv that she can create music and discuss her work, without having to discuss how it might differ due to her being female. With mentors such as Flying Lotus and Jeff Hamilton, Liv was destined to pursue a sound with originality and raw feeling, apparent in her band Liphemra, where she is the lead. Fearlessly transcending emotions, such as heartache, into evocative songs with lyrics like ‘did u cry’, she presents a bold and honest attitude towards music today.
L IV MAR SI CO LOS ANGELES MUSICIAN
I didn’t realize how lucky I was until I got a little older. Many of my friends who also played music, their families didn’t support them. That was never an issue for me. I heard my parents play music every night. I would fall asleep listening to my dad practice the vibraphone. They are both very dedicated artists, and showed me how important it is to practice, to put time in every day toward your craft. Looking back, I’m so lucky and grateful to them for exposing me to such amazing music and art over the years. THERE AREN’T MANY DRUMMERS WHO SING. WHAT IS IT LIKE JUGGLING THESE TWO ROLES? The transition from drummer, to drummer and singer took some psychological rewiring. It freaked me out at first, but I knew it was necessary. It takes practice to split your brain in two and simultaneously do both. But now it’s pretty second nature. If I create a part that’s hard to sing to, I just practice it 100 times until my brain gets used to it. MANY FEMALE ARTISTS ARE TIRED OF BEING ASKED WHAT IT’S LIKE TO BE A WOMAN IN THE INDUSTRY. WHY IS IT IMPORTANT TO TALK ABOUT THIS? I don’t think it’s important to keep this conversation going. Talk to me as an equal artist, not as a female artist. YOUR DEFINITION OF A RIOT GRRRL: A woman who does exactly what she wants whenever she wants, like making out with my girlfriend in public, or growing out my unibrow cuz it’s so cute. FAVORITE GIRL BAND YOU LISTENED TO IN HIGH SCHOOL? Le Tigre! ANY ADVICE FOR OTHER CREATIVE LADIES OUT THERE? Do whatever you want and don’t worry about what other people think. Also, don’t curb your work to what you think people want to hear. That’s a losing battle and you’ll fall out of love with your art.
P HOTOS BY K E L S E Y R E C K L I N G
YOU GREW UP IN A CREATIVE HOUSEHOLD; HOW DID THIS SHAPE YOUR OWN AESTHETIC AND ARTISTIC PURSUITS?
C HLOEC HA I D E Z LOS ANGELES MUSICIAN
Chloe Chaidez was 19 when Rolling Stone named her band KITTEN’s album one of the ‘Top 20 Pop Albums of 2014.’ Now she’s 21, about to begin a 20-date tour, following their latest EP, “Heaven or Somewhere in Between.” Her advice: ‘Follow through! Finishing is the hardest part!’ She talks determination, DIY lifestyle, and her admiration for Annie Lennox.
MANY FEMALE ARTISTS ARE TIRED OF BEING ASKED WHAT IT’S LIKE TO BE A WOMAN IN THE INDUSTRY. WHY DO YOU THINK IT’S IMPORTANT TO KEEP THIS CONVERSATION GOING? I think it’s important to keep an open dialogue in culture about the different experiences that we all have, especially when it comes to some of the pitfalls and compromising situations that a young female artist can find herself in. Women need to remember their worth as artists and human beings, as opposed to being commodities or tools of the industry. If my experiences can offer some small amount of help or comfort to another struggling female artist, it’s an honor to share them. HAVE YOU HAD ANY MENTORS ALONG THE WAY? YOU GREW UP IN A CREATIVE HOUSEHOLD; HOW DID THIS SHAPE YOUR OWN AESTHETIC AND ARTISTIC PURSUITS?
PH OTOS BY GRACE PICKERING
My dad drilled me with a lot of classics I don’t think I might have heard other wise. A lot of classic rock, early 80’s LA punk. I honestly think that the overflow of guitar driven music inspired to a sort of rebellion. I wanted to make pop music with synthesizers and different sounds that he hadn’t introduced me to. YOUR AESTHETIC EVOKES ‘70s-‘80s NOSTALGIA. DO YOU HAVE ANY INFLUENCES FROM THAT ERA? Of course. Annie Lenox and Sinead O’Connor are huge for me. Michael Hutchence from INXS. I also love Dale Bozzio from Missing Persons.
My manager and songwriting partner Chad Anderson has definitely been a mentor to me throughout my professional musical life. I was very young when I started the project, and naturally needed direction. As I’ve grown into adulthood we’ve become much more like peers, but he has taught me a lot. Hayley Williams from Paramore is also someone that has given me advice and guided me through some difficult situations and also encouraged me. Same with Shirley Manson. I have been very fortunate in finding good people who have chosen to share their experience and guidance with me as a young artist. ANY ADVICE FOR OTHER CREATIVE LADIES OUT THERE? Follow through with whatever it is you’re trying to do. Finishing something is the hardest part! I have to remind myself this every day.
seeing someone who’s turned off by your ambition, drop them.’
F R A NCESROSE N E W YO R K C I T Y S I S T E R P O P - D U O
Sisters Michelle Rose and Sarah Frances Cagianese grew up in New York’s Hudson Valley, so it comes with no surprise that the fresh air upstate and childhood nostalgia are essential elements for inspiration. They call themselves ‘Frances Rose,’ an amalgamation of their middle names. They started out with the violin and cello, which soon turned into a need to create their own unique sound, blending influences including R&B, indie rock, grunge, and contemporary chart-pop. WHAT HAS IT BEEN LIKE PERFORMING AND WRITING MUSIC AS SISTERS? M: It’s fun because there’s a bit of telepathy. Our voices have similar timbres, but they’re unique and compliment each other. There’s a lot of trust and brutal honesty in sisterhood that comes out in songwriting together and performing. S: It’s rewarding. Writing together, collaborating with people who really appreciate and love music is what makes it so amazing. Being able to make art with a best friend, a partner in crime, someone you’ve known a long time. It’s incredible. WHY DO YOU THINK IT’S IMPORTANT TO CONTINUE THE CONVERSATION AROUND WOMEN’S EXPERIENCES IN THE INDUSTRY? M: Honestly, because everyone has their own unique experience. Being a woman in the industry is subjective. Opportunities aren’t equal, aspects of the music industry sometimes feel like a boys club, and we’re working on the attitude adjustments.
There’s a movement of feminism within counter-culture in New York City that involves a heightened sexual aesthetic. Style and image can be ironic and twee, but when it comes to innovation and change, there are a lot of double standards in the industry and more needs to be brought to attention aside from armpit hair and the irony of feminists wearing stripper pumps. S: The importance remains preserving gender equality. Women are not treated equally in the music industry. Female drummers are rare. Men dominate the studio world. There are not many females within the patriarchy of the record industry. There are only two female record executives out of 15 management positions at Warner Music Group, for example. We need to encourage females to be producers and engineers, and work on both sides of the industry. I love producing and engineering, and I’m constantly learning something new in Ableton or ProTools. The realm of technology is male dominated, but there is space for women.
FINISH THE SENTENCE: I’M MOST EMPOWERED WHEN… M: I’m manifesting a vision and bringing people together. S: I perform music for people and when I dance. ANY ADVICE FOR OTHER CREATIVE LADIES OUT THERE? M: Don’t be afraid to have direction and be excited about what you’re doing. If you’re seeing someone who’s turned off by your ambition, drop them. Surround yourself with supportive, open, and nurturing non-judgemental people. Keep making work. Also don’t be afraid to be off the radar and private about your artistic endeavors. It’s easy to get caught up in the scene and lose track of what’s important. Solitude is an important part of the creative process. S: Never give up. Follow your passion and dreams even if you feel no one is listening. Do it for yourself.
P HOTO BY R AC HE L C A B I T T
‘If you’re
VANESSAHOL L A N D E R N E W YO R K C I T Y P H OTO G R A P H E R
The walls of Vanessa Hollander’s East Village studio is neatly collaged with ‘60s and ‘70s memorabilia: pastel vintage telephones, Kodak encyclopedias. She and her boyfriend, Wilson, of seven years are known as the photographic duo ‘wiissa,’ filmmakers and photographers who work in their own aesthetic. Vanessa started with no prior experience, developing her analog style from her community of friends. Now, her and Wilson have a national client list. Think Jane Birkin, Pamela Des Barres and Joan Jett. The vibe is nostalgic and playful, and leaves an audience yearning for more of her sun-drenched retro videos. WHAT FIRST DREW YOU TO PURSUE A CAREER IN FILM AND PHOTOGRAPHY? I never thought I would be a filmmaker or photographer. I’ve taken photos and made funny videos with my friends my whole life, just for fun, but I always thought I would be a lawyer or businesswoman since I was a little nerd in school. When I met my boyfriend Wilson, my love for photography and film evolved into something more. We started getting commissioned for photo campaigns and music videos, and I loved doing it. HAVE YOU HAD ANY MENTORS ALONG THE WAY? It’s been less about mentors and more about support. We have an amazing group of friends and family who constantly cheer us on. We don’t know many people in the photography/film industry, so I’ve had to learn a lot on the way. But I can always turn to my friends and family for advice. Warren Fu, a music video director and overall genius, has also been someone we turn to. He’s a huge inspiration to us. PH OTO BY RACH EL CABITT
YOU RECENTLY STARTED DJING WITH YOUR TWO BEST FRIENDS, WHAT ROLE DOES MUSIC PLAY IN YOUR CREATIVE PROCESS? Music is my favorite thing in the whole world! I wish I could make make music, but I don’t play any instruments. I’ve danced my whole life, so music has always played a big role there, and now it’s the inspiration for almost all of my photos and films. It’s usually a musician, a lyric, or a song that will spark an idea for a photoshoot or video.
WHY DO YOU THINK IT’S IMPORTANT TO CONTINUE THE CONVERSATION AROUND WOMEN’S EXPERIENCES IN THE INDUSTRY? Sometimes, I think we women believe we’ve progressed a lot further than we actually have, and I think it’s important to keep ourselves aware of the struggles many women still face in their industries. I am still always shocked when I hear statistics about how few women are in the film industry. Only 9% of directors and 4% of cinematographers are women working on the top 250 films of 2012, (Celloid Ceiling Report.) There’s the wage gap, especially for women of color. It’s important to keep having these conversations because awareness is the first step towards progress. That being said, I also don’t think it’s helpful to constantly point out and emphasize how a musician, director, or artist is a “female musician” or “female director”. They’re musicians and directors, just like their male counterparts. People say “girl bands” or “girl drummers”, but we wouldn’t call an all male rock band a “boy band” with a “male drummer”. It’s definitely not intentional for a lot of people, but when we always put “girl” or a “female” in front of their jobs titles, it makes it seem like it’s some rare occurrence and separate from the norm of other directors and musicians. ANY ADVICE FOR OTHER CREATIVE LADIES OUT THERE? I think it’s important to always support other creative women. If we work together, we will progress further than trying to do it on our own. Some people will not like a woman trying to be a leader and being outspoken about her opinion or vision. But stick to your guns and believe in yourself! I’ve been pretty fortunate to work with people who treat me, and women in general, as a complete equal, but I’ve also had a few experiences where I have been pushed aside for being outspoken about my opinions. I’ve also had several people assume that Wilson does all of the work, and they compliment only him on his photos and videos. Basically, my advice would be to not let anyone silence you, make you feel small or discredit you, and let’s stick together!
P HOTOS BY GR AC E P IC K E R I N G
EK KA H LONDON ELECTRO-POP DUO
With matching names and the same infatuation with ‘Like A Prayer,’ Rebecca Wilson and Rebekah Pennington were destined for each other. As the pop duo EKKAH, the two girls bring back 80’s feminine nostalgia with dance anthems accompanied best by a disco ball. These two just want to make people dance. WHAT FIRST LED YOU TWO TO PURSUE A CAREER IN MUSIC? Rebekah and I have had a passion for music since we were kids. It’s incredible, but we actually both learned the same song to practice as kids. ‘Like A Prayer’ by Madonna on saxophone for her and a home karaoke machine for me. We just found this out about each other the other day! THERE’S DEFINITELY AN ‘80S DANCE VIBE TO YOUR MUSIC. DO YOU DRAW INSPIRATION FROM ANYONE FROM THAT ERA? Madonna, definitely. Musically and aesthetically she was so determined. Her appearance in Desperately Seeking Susan was pretty epic. We also both take inspiration from groups like Pointer Sisters for their synchronized moves. That adds something to a performance and just makes it so much more fun to watch!
BEFORE IT WAS JUST YOU TWO, YOU WERE IN THE BAND, THE ARCADIAN KICKS. WHAT WAS THE TRANSITION LIKE? It was a natural progression, as soon as we were old enough to start going to clubs and experiencing different types of music we wanted to make music that we could dance to together and that’s what made us start EKKAH. WHO IS A FEMALE FIGURE THAT HAS EITHER COME BEFORE YOU OR IS MAKING WAVES TODAY THAT YOU ADMIRE? Tina Weymouth is a complete badass! HAVE YOU GUYS HAD ANY MENTORS ALONG THE WAY? Yes, definitely. In our first band we were managed by Jon Brookes, of The Charlatans, who was a huge mentor and a very positive influence on us with all his experience. We were so young and new to the touring scene, we learned a lot from him. Also our current manager Margherita; it’s really refreshing having a female point of view in this industry. ANY ADVICE FOR OTHER CREATIVE GIRLS OUT THERE? Things take time, patience and a lot of PMA (positive mental attitude). It can also help to call up your best mate sometimes so they can tell you ‘you’re doing amazing, just carry on!’
‘I’m inspired by any girl for being successful and badass. If they’re creating and connecting with people then all the power to them.’
B LU D ETIGER N E W YO R K C I T Y DJ + B A S S I S T
It’s a rare thing to see a girl on the bass. It’s even more rare to see one simultaneously DJ. But with a name like Blu Detiger, she was bound to shake things up. “This gives me way more freedom when DJing because I can make up my own bass lines, which essentially generates live remixes in the middle of my sets,” she says. Her music is an extension of her self-expression. WHO IS A FEMALE FIGURE WHO HAS EITHER COME BEFORE YOU OR IS MAKING WAVES TODAY THAT YOU ADMIRE? It’s too hard to name one so: Tina Weymouth, Meshell Ndegeocello, Debbie Harry, Kim Gordon, Tal Wilkenfeld, Nona Hendryx, Erykah Badu. Those are some of my favs, but I’m inspired by a lot of female artists even if their music isn’t exactly my thing. I’m inspired by any girl for being successful and badass. If they’re creating and connecting with people then all the power to them. WHY DO YOU THINK IT’S IMPORTANT TO CONTINUE THE CONVERSATION AROUND WOMEN’S EXPERIENCES IN THE INDUSTRY?
WHAT FIRST LED YOU TO THE BASS? When I was 7 years old, my older brother was taking drum lessons. I wanted to do something a little different and bass seemed a bit cooler than guitar. I think I was also subconsciously attracted to the groove-oriented elements of music.
PH OTOS BY TESS MAYER
ASIDE FROM MUSIC, YOU’VE ALSO STARTED LEARNING COMPUTER SCIENCE. YOU’RE FAR FROM WHAT ONE IMAGINES WHEN THINKING OF A CODER. WHAT HAS YOUR EXPERIENCE BEEN LIKE SO FAR? I love the problem solving; it ends up being really satisfying. I truly believe that computer science is the future, the present, even. We’re moving deeper and deeper into this technology-interneteverywhere age, and coding is a way to have some understanding of the system and a way to control and navigate it.
Because the industry is still dominated by men. It’s improving, but it’s important to be informed and aware of what’s really happening. Conversations like this really help. In the performance and songwriting part of the industry, there are a lot of women at the forefront, but in terms of producers and music executives, there really aren’t a lot of women. There’s no female equivalent to a Clive Davis, a Quincy Jones, a Max Martin, or a Pharrell Williams that I can think of. I would have to research to find some women in that area. FINISH THE SENTENCE: I’M MOST EMPOWERED WHEN… I’m on stage, connecting with people, writing a great song, locking in to a great groove. In general, it’s just doing something really well, recognizing it, and making people feel it. Whether it’s an essay, a bass line, a conversation, an outfit, a mix - what’s important is getting the opportunity to perform some sort of task. You set a goal —big or small— for yourself and accomplish it.
awhile though, you have to step back
M IRANDA BA RN ES N E W YO R K C I T Y P H OTO G R A P H E R
Miranda Barnes first picked up a camera, a disposable camera, to record her last year of high school. Now, after a stint as the Youth Representative and Documentary Photographer for the Women’s Caucus for the Arts at the United Nations, Barnes has evolved into a photojournalist in the truest sense. She’s consumed by a desire to create images that make the viewer think.
and open your eyes to what you do.’
Barnes uses the camera to not just document, but empathize with the subject. Barnes was deeply impacted by the police brutality seen in Ferguson. Her travel diary style and Americana landscapes emanate a sense of nostalgia. Deeply impacted by the police brutality seen, social activism is now a driving force behind her work. WHAT IS ONE THING YOU HOPE YOUR VIEWERS TAKE AWAY FROM YOUR PHOTOGRAPHS? My reasoning behind taking the photos. I could care less if certain people don’t actually like my work, but much of my work now plays with the ideas of race in America and I would hope people can see why it’s important. HOW DOES SOCIAL ACTIVISM PLAY A ROLE IN YOUR CREATIVE PROCESS? It’s been a driving force behind my most recent work. While I’ve been in tune to what it’s like to be black in this country, especially on the topic of police brutality, Ferguson really hit me hard. As an artist, but more importantly as a woman of color, I couldn’t not think to focus on the current social climate of America.
WHY DO YOU THINK IT’S IMPORTANT TO CONTINUE THE CONVERSATION AROUND WOMEN’S EXPERIENCES IN THE INDUSTRY? It’s important because there’s still a significant gender gap in the art world. It’s exciting to know that there are so many girl collectives and websites popping up on the internet, but we also need to make sure women of color artists are included as well.
ANY ADVICE FOR OTHER CREATIVE LADIES AT THERE? You’re going to get discouraged, more times than you even think, and it’s normal. Every once in awhile though, you have to step back and open your eyes to what you do. It’s expensive, with long hours, but in the end, you are creating an expression of yourself. I’ve been acknowledging the beauty in that lately. WHO IS A FEMALE FIGURE THAT HAS EITHER COME BEFORE YOU OR IS MAKING WAVES TODAY THAT YOU ADMIRE? Carrie Mae Weems for sure; her series Kitchen Table was one of the first collection of photographs that resonated with me.
P HOTO BY JACQUE L IN E HA R R I E T
‘Every once in
WHO IS A FEMALE FIGURE THAT YOU ADMIRE?
FA BI OL A L A RA N E W YO R K C I T Y I L L U S T R AT O R
When Fabiola Lara’s family got their first computer, the illustrator learned to digest pop culture and turn that into digital art. Kim Kardashian is one of her many subjects, and Fab continues to break down the internet for all the right reasons. Web woman and self-proclaimed hot girl, her work spans from Tumblr commissioned GIFs of Troye Sivan to iPhone wallpapers of her favorite rapper, Drake. Backed by her fellow “internet girls,” Fab lets her consciousness stream into her art without inhibition.
The coolest woman I don’t know but totally admire is Karen O. I don’t make music, but she’s such an inspiration as an all-around boss lady with a vision. She just seems cool and the way she carries herself is rad and inspiring. As for someone I know, Grace Miceli is really making a mark on what it means to be a young internet artist. She’s constantly a source of motivation and encouragement because she is using her Art Baby collective to showcase other young artists across a variety of media, styles, and backgrounds. It’s impressive that not only is she getting herself ahead, but she’s trying to bring as many women along while owning everything about being a “internet girl”. WHAT MAKES YOU FEEL MOST EMPOWERED? When a drawing turns out how I pictured it! FAVORITE DRAKE LYRIC? “U ain’t really fuck with me way back then but how ‘bout now?” ANY ADVICE FOR OTHER CREATIVE LADIES OUT THERE?
PH OTOS BY RACHEL CABITT
YOUR WORK IS HEAVILY INFLUENCED BY POP CULTURE, WHAT IS IT ABOUT THESE SUBJECTS THAT ATTRACT YOU TO THEM? What draws me toward pop culture is how far removed I am from all the fame and fortune. I love obsessing over celebz because it’s so far-fetched and unrelatable. That allows me to enjoy it light-heartedly without over-thinking. It’s both easily consumable and mindlessly consuming all at the same time.
Go out and try it before you decide to preemptively knix it. For the ladies, make sure you’re getting paid, not underpaid, for new and original work. And watch out for unwelcomed dudes who compliment your work only as a means to hit on you!
Picking up the guitar when a friend from pre-school needed one more person in their Suzuki method group, Callahan transformed into a precociously disciplined four-year-old balancing M&M’s on her hands to perfect her form as she played the guitar. Callahan wants to change the conversation about women in music. When asked her opinion on the conversation around the experience of female musicians, we were met with her referencing Carrie Brownstein about being a female musician is another job in itself.
E LIZ ACA L L A HA N N E W YO R K C I T Y M U S I C I A N
HOW DO YOU THINK GROWING UP IN NEW YORK AND ITS IMMERSIVE CULTURE HAS AFFECTED YOUR WORK? I spent a lot of time with eccentric adults growing up, many of whom were involved in the arts, I was constantly going to shows, plays, readings, gigs— all of which continue to inform my work. ARE THERE ANY PLACES OR THINGS YOU TURN TO FOR CREATIVE INSPIRATION? I’m a pretty visual thinker so I find myself returning to visual art for creative inspiration. I also have a rotating stack of books ranging from poetry, to novels, to art, to criticism on my desk that I’ll turn to. I’m currently obsessing over this short little book called The Miraculous by Raphael Rubinstein. FINISH THE SENTENCE: I’M MOST EMPOWERED WHEN… I’m in the process of writing a song, or making a piece of art or writing that I’m very excited about. In the moment when the juices are flowing. WHAT GOT YOU INTERESTED IN PLAYING THE GUITAR INITIALLY? My dad’s a music fanatic. Music from the ‘60s and ‘70s was constantly playing in my house growing up. He doesn’t play music but has an amazing ear. That’s where my interest was sparked. Instead of reading me bedtime stories, he would hum Beatles songs and I would guess which one he was humming. We went as obscure as Beatles songs can get, “Hey Bulldog”, “Mr. Moonlight”, “Dr. Robert”, “Anna”, I loved it. That’s what made me really want to play. I started out playing Suzuki classical guitar at age four because my friend needed another member for a lesson group. When I was 8 or 9, I started learning jazz and playing good old rock ‘n’ roll. ANY ADVICE FOR OTHER CREATIVE LADIES OUT THERE? My advice would be to work hard on whatever it is that you have the urge to create. Don’t be shy about sharing your work with the world. If you love something, devote time to it and work at it.
‘...work hard on whatever it is that you have the urge to create. Don’t be shy about sharing your work with the world.’’
P HOTO BY R AC HE L C A B I T T
Upon meeting Eliza Callahan, of the retro surf-rock band, Jack & Eliza, at her downtown NYC apartment, we stood wide-eyed before a living room floor sprawl of guitars, amps, mics, and a book collection that would leave anyone crushing hard. She often turns to them for creative inspiration for artistic pursuits that extend beyond music, delving into the worlds of print making and text based art.
JACQUEL I N EHA RRI ET N E W YO R K C I T Y / LO S A N G E L E S P H OTO G R A P H E R
‘Don’t let scary gear boys who scoff at your
Inspired by her west coast roots and that special strain of gold in the California sun, She creates a nostalgic world of femininity and fashion through the female gaze, motivating her viewers to seek fun and comfort, words that aptly sum up her subjects. Her work has been featured in many established publications, but it’s her use of color and connection with her subjects that stands out and creates a dialogue for adventure and excitement in everyday moments.
equipment or girlish figure keep you from feeling confident... Wait for them to see the finished product and run back apologizing...’ HOW DID YOU FIRST BECOME INTERESTED IN PHOTOGRAPHY? In the Myspace era taking portraits of myself and my friends was a way of showing a more in-depth side to my personality. I was a bit shy and quiet at school but my photographs were colorful and loud.
WHY DO YOU THINK IT’S IMPORTANT TO CONTINUE THE CONVERSATION AROUND WOMEN’S EXPERIENCES IN THE INDUSTRY?
WHAT DRAWS YOU TO PORTRAIT PHOTOGRAPHY?
Until the gap closes there’s going to be “the question”. More and more though I find myself working on all-female teams.
I’m an only child and I think there’s a sort of loneliness that comes from that. I’ve always sought closeness out in a sense from never having siblings growing up.
WHAT DO YOU HOPE YOUR VIEWERS TAKE AWAY FROM YOUR PHOTOGRAPHS?
FINISH THE SENTENCE: I FEEL MOST EMPOWERED WHEN…
PH OTOS BY MIRANDA BARNES
A sense of calm. And an appreciation for color!
I’m photographing in cold weather, my fingers are about to fall off but my heart is so into this shot I’m about to take. My body just settles and lets me fight off hypothermia for 60 extra seconds.
WHO IS A FEMALE FIGURE THAT HAS EITHER COME BEFORE YOU OR IS MAKING WAVES TODAY THAT YOU ADMIRE?
ANY ADVICE FOR OTHER CREATIVE LADIES OUT THERE?
I love Joan Didion. She’s got such a visual voice in her writing and she spoke so openly and honestly back in times when women were quiet. I love her short stories; I especially love her novels. She writes about these passionate women who run away from stagnant normal lives to pursue a future that is all their own choosing, full of movement and excitement, without mundane routine.
Don’t let scary gear boys who scoff at your equipment or girlish figure keep you from feeling confident about the work you’re doing! Wait for them to see the finished product and run back apologizing for making a snap judgment. This WILL happen often and you WILL secretly smile in revenge.
In 1865, the Photographic Journal commented on British photographer Julia Margaret Cameron’s soft focus styled work: “Mrs. Cameron exhibits her series of out-of-focus portraits of celebrities. We must give this lady credit for daring originality, but at the expense of all other photographic qualities. A true artist would employ all the resources at his disposal, in whatever branch of art he might practice.” When defining a “true artist,” the journal uses male pronouns such as “his” and “he,” neglecting the thought that a woman could ever even be considered a “true artist.” In the 1980s, the Guerrilla Girls, an anonymous group of feminist female artists known for protesting the inequality in the art scene, asked, “Do women have to be naked to get into U.S. museums?” And answered with, “less than 3% of the artists in the Metropolitan Museum are women, but 83% of the nudes are female.” The infamous statistic has barely budged since, proven in artist Micol Hebron’s collective project, Gallery Tally, citing Mary Boone Gallery, out of numerous others, with 84% of their artists being male and 16% female. In 2012, only 9% of directors and 4% of cinematographers working on the top 250 films were women, (Celloid Ceiling Report.) In 2014, The Fader asked, “why aren’t more women becoming music producers?”, pointing out that “women represent less than 5% of music producers and engineers,” in the industry. In 2016, POND magazine, and the fashion label, Dolores Haze, collaborate to create the zine, GRRRLS ONLY, paying tribute to the Riot Grrrl movement of the ‘90s, and celebrating 10 emerging female artists produced 100% by female artists. A “true artist,” as earlier defined by the Photographic Journal is not only male, but female, transgender and is gender fluid. It’s not about their gender identity, it’s about their art, and that’s the gap that needs to be closed.
PH OTO BY RACH EL CABITT