A monthly conversation between a member of Women Photograph and Kerry Manders.
Women Photograph
2018 - 2019
#24 Joan E. Biren / #23 Malin Fezehai / #22 Rozette Rago / #21 Laurence Philomène / #20 Luján Agusti / #19 Jane Hahn / #18 Parisa Azadi / #17 Alan Holmberg / #16 Annie Tritt / #15 Yagazie Emezi / #14 Michelle Su / #13 Citlali Fabián / #12 Chloë Ellingson / #11 Joanne Coates / #10 Karen Miranda Rivadeneira / #9 Kisha Bari / #8 Tali Kimelman / #7 Marta Iwanek / #6 Endia Beal / #5 Annie Flanagan / #4 Hannah Reyes Morales / #3 Sophia Nahli Allison / #2 Naomi Harris / #1 Heba Khamis
"I want Frontcountry to be a story of life in the modern American West ... to be a project about the stories of the American West. The photographs play with the expected imagery. An image of a man on a horse rearing appears in every book about the American West; in my project there is a man on a horse rearing but the man is almost falling off the horse and the horse is tied to rope that is tied to another horse that is pulling it back down and there’s a dog in the foreground just trying to get the fuck away. I’m poking at the convention." —Foglia
"I’m interested in what these individuals are experiencing internally: emotionally or psychologically. I think it’s interesting how that intersects with the whole public/private question in this kind of community. Maybe it’s even a metaphor. How is an individual’s private experience depicted within a context that is itself kept private and protected from the larger world? The image of Russian Dolls comes to mind." —Collett
Vice
2016
"New Orleans-based photographer/filmmaker Annie Flanagan and UK-based photojournalist Daniella Zalcman work on the principle that photography is more powerful when it inverts traditional roles and contexts: that the photographers can be vulnerable to their subject, that artists are stronger working together than alone, that asking questions and pushing boundaries is art as much as activism."