Joanna Mathers on a new exhibition of women, by women.
Advertising imagery is ubiquitous, contagious, and made to move goods. A daily dose of capitalist confection, these pictures have power. They shape our cultural mores, influence our spending choices, and are, overwhelmingly, created by males.
A New York Times articlepublished in 2019 revealed that only 15 per cent of advertising images were taken by female photographers. This is significant. It speaks of a world viewed through a male lens; of highly talented women and non-binary people scrounging for crumbs from the table.
Victoria Baldwin was given a lesson in the realities of this disparity when she took on the role of vice-president of Advertising and Illustrative Photographers Association (AIPA) in 2019. A young and ambitious photographer, the revelation was jarring.
"I was looking around for female role models in the photographic profession and I really couldn't find many. [This meant] I couldn't see the next step in my career."
Instead of inspirational women forging their path in lucrative advertising photography, she found an industry dominated by blokes. An industry where only 16 per cent of photographers at agencies were female. (BTW: 70-80 per cent of all photography students in New Zealand are female.)
The status quo needed a shake-up. She started asking questions.
"What does it look like to be a mother and a photographer? To not be able to come to a meeting [of AIPA] because of childcare commitments. What does it look like to be an older woman and a photographer?"
Bringing together a group of her cohorts, women with the same concerns as hers, they conceptualised an exhibition that would raise visibility for female photographers and encourage industry heads to look at the inherent bias in their rosters.
The result is Women's Work: Underexposed - an exhibition featuring the work of 24 professional female photographers, a live photoshoot, artist talks and an AIPA meet-up.
There are female photographers making money from their mahi in this country, says Baldwin. But she says that they are over-represented in the wedding and family photography market.
"Broadly speaking, this is at the lower end of the pay bracket for photography," she explains.
Melanie Jenkins work also features in the exhibition, Women's Work: Underexposed.
Additionally, the general public aren't privy to these private moments. Advertising is everywhere and it's where photographers can make decent money.
"People remember ads and identities are formed around what they see," says Baldwin.
"Brands need more diversity, to move the conversation away from cliches like the tired, frumpy mum at home. The conversation needs to be broadened, in a legitimate way, not just as some sort of tokenism."
As well as showcasing the remarkable work of the women featured in Women's Work/Underexposed, there is the hope that the agencies will start to move towards a more representative model at the pitching stage.
"It would be great if agencies just started giving women a brief," says Baldwin. "Usually, three people get to pitch on a shoot, it would be great if at least one of them was a woman."
The inaugural Women's Work was held early last year. Baldwin says that there has been some movement in the right direction since then, with a few agencies adding women to their books. But much more is needed.
"The change has to be quantifiable," she says. "There needs to be awareness of implicit bias ... a move towards purposeful inclusion of women and non-binary people, and it needs to be something we engage in together."
Women's Work | Underexposed, Pioneer Women's Hall, Ellen Melville Centre, cnr High St & Freyberg Place. Saturday, May 29 – Tuesday June 1. Sat-Sun 10-5pm, Mon 9 - 5pm, Tue 9am-4pm
