Through leading seminars, curating panels, and consulting services, Women Picturing Revolution (WPR) co-creators Lesly Deschler Canossi and Zoraida Lopez-Diago are reclaiming and retelling history in a manner that is both radical and necessary. By highlighting the work of female photographers who have documented conflicts, crises, and revolution in private realms and public spaces, WPR sheds light on personal and political experiences that are often overlooked or underrepresented. From fine art photography made as a response to forced silence, oppression, and the inability to act, to well-known visual journalists documenting upheaval, Lesly and Zoraida, along with WPR participants, examine not only the photographs but also the conditions under which women make images.  Through a better understanding of how women document resilience, resistance, and creative survival, WPR hopes to propel all of us towards progress.Zoraida Lopez-Diago is a photographer, curator, activist and co-founder of Women Picturing Revolution (WPR). Her photographs center around themes of migration, incarceration, and the undocumented and have been shown at institutions including the Photographic Center Northwest, Paul Baldwell Gallery in Medellin, Colombia. She has lectured on her work at Harvard University, Mt. Holyoke College, and La Universidad de Antioquia (Colombia), among others. Zoraida was the assistant curator of the Picturing Black Girlhood exhibition at Columbia University and co-curated Women as Witness, a photography exhibition about how women document survival. She recently co-presented with WPR co-founder Lesly Deschler Canossi at the Tate Modern on their forthcoming book. She lives in Beacon, NY. Lesly Deschler Canossi is a cultural producer, educator and photographer working to widen the lens of photo history.  She is faculty at the International Center of Photography and co-founder of Women Picturing Revolution. She holds an MFA in Photography from the Maryland Institute College of Art. Since 2007, as owner of Fiber Ink Studio, she worked with photographers and institutions on project development and exhibition realization. Her photography explores the intimacy and demands of motherhood and she is currently co editing an edition of essays and photographs on the topic of Representations of Black Motherhood & Photography (Women Picturing Revolution, Spring 2021, Leuven University Press).For subtitled version see below

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[md_text md_text_title1=”pixflow_base64IA==” md_text_title_separator=”no”]In Episode 6  we have invited artist Melissa Mostyn to join our monthly chat.Melissa has enjoyed a portfolio career as an artist, writer and film-maker for over twenty years, adopting a variety of roles for Shape, Maverick Television, Disability Arts Online, Deafnitely Theatre, Architecture Week South- East, Tate and V&A. Before having children, for five years Melissa led a groundbreaking Deaf visual art project, Salon, funded by Arts Council England and the Esme Fairbairn Foundation, and had journalism published in The Independent, Esquire and Vogue. Since becoming a parent Melissa has committed herself to empowering others through her work, particularly Deaf women. She has presented in BSL for DeafHope, Women’s Aid, NHS Safeguarding and the British Society for Mental Health and Deafness, and published an e-book, My Daughter and I. Melissa’s last film ‘Listen, even when your heart is crying’ (2014), was Official Selection for Aesthetica Short Film Festival 2015 and Best Documentary nominee in the CINEDEAF Awards 2015.Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Android | RSS

 For subtitled version please see belowImage Credits:1. Great & Tiny War, Bobby Baker, 2018. Image © Daily Life Ltd.  2. Ordinary Heaven, Bobby Baker, 2018, part of Great & Tiny War (Room 2, 1915 / 2015). Photo by Andrew Whittuck, 2018  3. Britannia, Bobby Baker, 2018, part of Great & Tiny War (Room 1, 1914 / 2014). Photo by Andrew Whittuck, 20184. An Edible Family in a Mobile Home, Bobby Baker, Stepney, London, 1976. Photo by Andrew Whittuck, 19765. Displaying the Sunday Dinner, Bobby Baker, 1998. Photo by Andrew Whittuck.6. Photographic documentation of Pull Yourself Together, Bobby Baker, London, 2000 © Hugo Glendinning7. Drawing on a Mother’s Experience, Bobby Baker, 1988. Photo by Andrew Whittuck8. EPIC DOMESTIC Propaganda Poster, Bobby Baker, 2019 9. Kitchen Show, Bobby Baker, LIFT, London, 1991. Photo by Andrew Whittuck, 199110. Cook Dems, Bobby Baker, 1990. Photo by Andrew Whittuck

  On this month Woman Up! Podcast we talk to Nydia Blas/Nydia Boyd. Nydia is a visual artist who grew up in Ithaca, New York and currently resides in Atlanta, Georgia. She lives with her husband and two children.  Nydia uses photography, collage, video, and books to address matters of sexuality, intimacy, and her lived experience as a girl, woman, and mother. She delicately weaves stories concerning circumstance, value, and power and uses her work to create a physical and allegorical space presented through a Black feminine lens. Nydia’s use of what she describes as the “Black feminine lens” sets her apart. It’s something that coaxes one’s gaze as much as it troubles it. She is challenging the onlooker by validating the experiences of those that she shoots through her loving immortalization of their lives with her camera. Blas is who she shoots, and she guides the process of creation instead of asserting absolute control. In spaces where many seek to center to experiences of the overlooked, Blas begins by challenging why we’re all looking in the first place.  Work from the series work ‘The Girls Who Spun Gold‘Subtitles version below

Amanda Bintu Holiday considers herself an accidental poet having been an artist and then filmmaker for much of her life. Born in Sierra Leone, shge moved to the UK at the age of five. After studying Fine Arts at Wimbledon she exhibited in landmark black art shows across the UK in the 1980s before moving into film – directing experimental shorts for the Arts Council, BFI and Channel 4. Between 2001 and 2010 she lived in Cape Town where she worked in educational TV.For subtitles see below.Virginia Chihota – Testimony with Empty Hands 2015The Art PoemsFlight Into Egypt, Paula RegoKalk Bay 2003The Dame With The Goat’s Foot, Paula Rego Podcast: Play in new window | DownloadSubscribe: Apple Podcasts | Android | RSS

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It is with immense pleasure that  we present you with this year 13th and last Woman Up! podcast  introducing Professor Jaqueline Rose. Jaqueline Rose is a Co-Director of the Birkbeck Institute for the Humanities and Director of the London Critical Theory Summer School.She is internationally known for her writing on feminism, psychoanalysis, literature and the politics and ideology of Israel-Palestine.  Her books include Sexuality in the Field of Vision (1986, Verso Radical Thinkers, 2006), The Haunting of Sylvia Plath (1991), States of Fantasy (1996), The Question of Zion (2005), The Last Resistance (2007), Proust Among the Nations – from Dreyfus to the Middle East (2012) and the novel Albertine (2001). Women in Dark Times has just been published by Bloomsbury. Conversations with Jacqueline Rose came out in 2010, and The Jacqueline Rose Reader in 2011. States of Fantasy and The Last Resistance have formed the basis of musical compositions by the acclaimed young American composer, Mohammed Fairouz. A regular writer for The London Review of Books, she wrote and presented the 2002 Channel 4 TV Documentary, Dangerous Liaison – Israel and the United States. She is a Professorial Fellow at the Institute for Social Justice, ACU, Sydney, a co-founder of Independent Jewish Voices in the UK, and a Fellow of the British Academy. Before arriving at Birkbeck, she taught at Queen Mary University of London as Professor of English, and in Autumn 2014, as Diane Middlebrook/Carl Djerassi Professor of Gender Studies in Cambridge.https://www.amazon.co.uk/Mothers-Essay-Cruelty-Jacqueline-Rose/dp/0571331432

 Helen Sargeant is an artist and mother of two sons, she lives and works from home and her studio in West Yorkshire. Helen’s practice includes autobiographical writing, drawings, painting, performance and time based media. Her work has been published in books and journals and she has presented her work at international conferences. She makes work about the maternal body and her experiences of mothering. Her work aims to challenge idealised representations of the mother and make visible their caring work. Through her arts practice she also aims to communicate with honesty the complexities of emotions felt by women who mother.Helen has a special interest in maternal mental health which has led her to collaborating with midwives, health workers, and academics to deliver talks and participatory workshops with the aim of  improving health and wellbeing in mothers through creative practice. Helen has produced collaborative work with her youngest son such as M(other) and Son (2016) an international residency to Tampere Finland and has initiated cross-disciplinary projects such as The Egg The Womb The Head & The Moon (2014). Her most recent work has seen her contributing to Laura Godfrey Isaacs Maternal Journal project (2019) and she is currently working with Paula Chambers to produce a series of exhibitions and a symposium called Mothers Ruin. http://helensargeant.co.uk/motherandson/https://www.eggwombheadmoon.com/https://www.maternaljournal.org/www.helensargeant.co.uk [/md_text][/vc_column][/vc_row]