In photography, the traditional place for women is in front of the lens. Whether we like to admit it or not, is by and large a male-dominated arena, where the looking is a masculine act, and the subject is feminine, playing the role of looked-at and admired mainly for their outward appearance. Photography, then, has been a mirror for conventional gender roles in western society. What is it like, then, to be a female photographer, to be a woman who has seized hold of an instrument of which she traditionally remains in front, and to use her eye to view the world, rather than use it to throw back a soft, muted glance into the receiving end of a male gaze? It may sound primitive to talk of the female photographer in such a way, but as the photographers of 30 Under 30 women will undoubtedly profess, resistance – or discrimination, even subtle – can be common even today. We will each have our own stories of how being a woman has hindered, or even unfairly aided, our pursuit of this profession. One might say that looking at the work of 30 female photographers is positive discrimination, and so it is, to the necessary extent where a focus is placed on the work of women, whether or not you view their work as intrinsically female or feminine – or simply human.
– Natalie Dybisz (Miss Aniela / 2010)
Artpil proudly announces the 2022 selection for its annual 30 Under 30 Women Photographers. Founded in 2010, 30 Under 30 Women Photographers has helped emerging, mid-career, as well as some accomplished women photographers to gain further exposure and participate in the collective among peers. With styles ranging from art photography to documentary, portraiture to street and fashion, the works have been overwhelmingly well received.
Previous groups have exhibited in Rome in collaboration with CultRise and Dude Magazine, and in Paris and Lille in partnership with Maison Photo at Maison de la Photographie and Galerie Claude Samuel. The 2020 group gave occasion to launch Artpil’s online viewing room and we continued with 2021 participating in Rome Art Week with an artist reception and projection alongside a full exhibition online. This year promises further exposure and an expanded audience for the 2022 group.
Margherita Loba Amadio
Ariadna Silva Fernandez
Vera Saldivar De Lira
Maria Joao Salgado
Among the growing list of photographers in the collective, many have come from or have gone on to join agencies such as Magnum or Hans Lucas, and organizations like ICP / International Center of Photography. Many are winners of LensCulture and World Press Photo awards with representation in festivals such as Les Rencontres d’Arles, Circulation(s), and Voies Off. Publications include Aperture, The New York Times, and Photo Vogue, and several of the photographers have continued to contribute their series to Artpil, including Benedetta Ristori (2017) Being Human; Julie Hascoët (2017) Mexican Journal; Sarah Blesener (2018) Toy Soldiers; Ekaterina Anchevskaya (2018) Forgiving and I Remember Nothing; and Laure d’Utruy (2017) with Tempohome and The Royal Road: In Transformation.
Victorine Alisse | Margherita Loba Amadio | Irene Artuso | Veronica Benedetti | Manon Boyer | Maria Budanova | Caitlin Chescoe | Paulina Czyzewska | Pauline Dupin | Ariadna Silva Fernandez | Chloe Heller | Tammie Joske | Melike Kocak | Ekaterine Kolesnikova | Paloma Laudet | Doriane Letexier | Annice Lyn | Quetzal Maucci | Carla Meyer-Kleynhans | Yara Piras | Kassandra Reynolds | Vera Saldivar De Lira | Simona Salerno | Maria Joao Salgado | Francesca Salvati | Kristina Shakht | Diana Takacsova | Martina Tomaiuolo | Marie Wengler | Jialin Yan