Heroines in the Photography Industry

Heroines in the Photography Industry

During my online visit to the Museum of Latin American Art, I came across several captivating pieces created by Latin American artists. On their website, there are various diverse exhibits displaying different aspects of Latin American existence. One exhibit, titled “HerLand: Women Artists in the MOLAA Collection”, captured my interest because the description stated that these female artists imagined an “...environment with more possibilities for their identities beyond the archetypal limits imposed on women by society” (MOLAA, 2022). This instantly made the exhibit significant to me because I am always searching for art, in whatever medium, that accurately represents women and our experiences. Upon looking through the pieces that were displayed on this page, I found a piece titled Heroines III. Shot in 2007 by contemporary Venezuelan artist, Amalia Caputo, this photograph depicts the oppression that women are faced with, as well as the false and inadequate rewards they receive for conforming to the oppressor’s society. In this image, a woman of color stands inside of a large wire bird cage which is placed in front of a bright pink wall. She reaches out of an opening in the cage, extending a hand on which a wooden stump and two birds rest. The brightness of the wall contrasts with the rusting white birdcage to make a statement about how society places a suffocating cage around women in order to mold them into the “ideal” person. The pink wall represents the potential bright and happy future that we chase after and the white cage is a symbol for oppression. In addition to that, the birds represent a “trophy” that women are awarded with for conforming. The fact that birds are used to symbolize this is proof that even the rewards can be taken away at any given moment. 

Amalia Caputo's photograph: Heroine III

This work reflects this time period because in Venezuela in 2007, the Organic Law of the Right of Women to a Life Free of Violence became recognized as a law which “broadened the definition of domestic violence” (Milano). This law was a step in the right direction towards women’s rights and created new opportunities for some women to escape their oppressors. There wasn’t a huge demand for social justice movements in the photography of this era, however some artists, such as Caputo, allowed their passions for equality and art to mix together thus creating a unique genre of photography. Caputo created an entire series of photographs centered around the same theme as Heroine III. Her legacy as an artist is sustained through the photos that she takes, each image creating its own call to action. 

Amalia Caputo taking photographs

The JSTOR article I was able to find is titled “Women in Photography: Making Connections”. In this article, Shoshana Rothaizer details the success of a conference which focused on women making a place for themselves in the photography industry. She writes about how “... the backbone of the conference was historical” (Rothaizer, 1986). While this article was written long before Caputo began her photography career, it still holds importance in strengthening the argument that female photographers often use their art as a way to break free of the misogynistic shackles that are placed upon them in everyday life. The fact that Rothaizer recalls this conference as an almost support system, further supports that. 

Caputo's work, Heroine III,  and the JSTOR article, “Women in Photography: Making Connections”, work together to create a statement about the importance of women removing themselves from the oppressive hold that a predominantly male industry places on them. The theme I focused on for this class centered around how technology influences the creation of art. I felt that this piece of art was a perfect fit for my theme because it allowed me to make the connection between art, technology and women’s rights. Amalia Caputo utilizes her artistic vision and present-day technology to create photographs that advocate for women’s rights. This, in turn, supports the advancements made by women who came before her, such as Shoshana Rothaizer. Taking Rothaizer’s writing and Caputo’s photography into consideration, I am able to truly understand the importance of women who support each other in order to escape their oppression and create a unique life for themselves.

Video featuring Photographer Amalia Caputo

Works Cited:

“Artist Talk: Amalia Caputo, Every Being Is an Island.” YouTube, 24 Sept. 2021, www.youtube.com/watch?v=OClCn_vSoY4.

Caputo, Amalia. “Heroines - Amalia Caputo.” Amalia Caputo, 2022, www.amaliacaputo.com/Photo-/Heroines.

“Caputo-Heroines.” MOLAA | Museum of Latin American Art, Museum of Latin American Art, 2022, molaa.org/caputoheroines.

Rothaizer, Shoshana. “WOMEN IN PHOTOGRAPHY: MAKING CONNECTIONS.” Off Our Backs Vol. 16, No. 11, vol. 16, no. 11, 1986, pp. 6–7. JSTOR, www-jstor-org.ezproxy.losrios.edu/stable/25795378?searchText=%28%28female%29+AND+%28photographer%29%29&searchUri=%2Faction%2FdoAdvancedSearch%3Fgroup%3Dnone%26q0%3Dfemale%26q1%3Dphotographer%26q2%3D%26q3%3D%26q4%3D%26q5%3D%26q6%3D%26sd%3D%26ed%3D%26pt%3D%26isbn%3D%26f0%3Dall%26c1%3DAND%26f1%3Dall%26c2%3DAND%26f2%3Dall%26c3%3DAND%26f3%3Dall%26c4%3DAND%26f4%3Dall%26c5%3DAND%26f5%3Dall%26c6%3DAND%26f6%3Dall%26acc%3Don%26la%3D%26so%3Drel&ab_segments=0%2FSYC-6398%2Ftest&refreqid=fastly-default%3A49195d319e6f3279a004952011a2dbf3&seq=2.