Ilse Bing (American, b Germany, 1899-1998), “Self-Portrait in Mirrors, Paris,” 1931, printed circa 1941, gelatin silver print, 1987.14. Purchase with funds from Georgia-Pacific Corporation.

Photos courtesy High Museum of Art

ATLANTA, GA. – This spring, the High Museum of Art presents “Underexposed: Women Photographers from the Collection,” an exhibition featuring more than 100 photographs from the museum’s collection, including many that have never before been exhibited. The artworks demonstrate the notable contributions of women throughout the history of photography, spanning from innovators of the medium to contemporary practitioners who investigate the intersections of photography, representation and identity.

The exhibition was conceived in conjunction with the centennial of the passage of the Nineteenth Amendment, which granted suffrage for some women. It will remain on view through August 1.

“Underexposed” pays homage to the work of women who have pioneered and championed the art of photography, from its earliest days through today. The exhibition is arranged roughly chronologically and showcases distinct arenas in which women photographers flourished and often led the way: as professionals working across multiple genres; as avid experimenters pushing photography into new directions; as teachers and patrons who supported the growth of the medium; and as creative, critically engaged artists exploring such issues as gender, identity and politics.

Organized roughly chronologically, each section emphasizes a distinct arena in which women contributed and often led the way. Among the artists featured are pioneers of the medium such as Anna Atkins as well as more recent innovators and avid experimenters, including Betty Hahn, Barbara Kasten and Meghann Riepenhoff. The exhibition also celebrates the achievements of numerous professional photographers, including Berenice Abbott, Margaret Bourke-White and Marion Post Wolcott, who worked in photojournalism, advertising and documentary modes and promoted photography as a discipline.

“With this exhibition’s focus on women photographers, ‘Underexposed’ highlights a trajectory of participation and influence extending from the earliest days of photography to a leading role in defining the medium today,” said Rand Suffolk, the High’s Nancy and Holcombe T. Green Jr, director.

Judy Dater (American, b 1941), Self-Portrait on Deserted Road, 1982, gelatin silver print, 14¼ by 18¼, 1982.274. Gift of Lucinda W. Bunnen for the Bunnen Collection.

Sarah Kennel, the High’s Donald and Marilyn Keough Family curator of photography, added, “Focusing on the last 100 years, this exhibition highlights how women have embraced photography as a powerful form of professional and creative expression. In bringing together pioneers of the medium with artists who reflect critically on photography’s capacity to shape and challenge concepts of gender and identity, we have an extraordinary opportunity to expand the history of photography and bring greater recognition to the many women who have contributed to and led the field.”

The exhibition opens with a selection of work by artists who transformed the practice of photography from the 1920s through the 1950s. Coinciding with the global rise of the feminist ideal of the “New Woman” in the late 1900s, practitioners including Ilse Bing, Margaret Bourke-White, Dorothea Lange and Imogen Cunningham emerged as savvy leaders in the fields of documentary, fashion and fine art photography. The exhibition continues with a section focused on artists who have experimented with photographic technologies and alternative processes to redefine the expressive and material limits of the medium. Works made in the 1970s-80s by artists including Barbara Kasten, Olivia Parker and Sheila Pinkel join pieces by contemporary makers, such as Meghann Riepenhoff and Elizabeth Turk, who continue to expand the language of photography.

The second half of the exhibition explores how women photographers have used photography to reflect on and interrogate the personal, social and cultural dimensions of gender and identity. Works by Diane Arbus, Nan Goldin, Susan Meiselas, Anne Noggle and Clarissa Sligh reveal different ways women have looked at and photographed other women. Similarly, works by Sheila Pree Bright, Sandy Skoglund and Susan Worsham deconstruct ideas around domesticity and feminine ideals. The exhibition closes with a selection of portraits and self-portraits by Judy Dater, Zaneli Muholi, Cindy Sherman, Mickalene Thomas and Carrie Mae Weems, among others, that explore the intersections of photography, representation and identity.

“Underexposed: Women Photographers from the Collection” is curated by Sarah Kennel with Maria Kelly, curatorial assistant for photography.

The High Museum of Art is at 1280 Peachtree Street Northeast. For information, 404-733-4400 or www.high.org.

Jill Frank (American, b 1978), “everyone who woke up at the yellow house,” 2016, double-sided inkjet print, gift of Louis Corrigan 2018.6.