Women of Vision: Photographic Statements by Twenty Women Photographers edited by Dianora Niccolini.

Introduction by Arlene Alda. Unicorn, 1982. First printing April 1982. Fine in stiff illustrated wrappers. Photographers include Barbara Morgan, Lilo Raymond, Kathryn Abbe, Eva Rubinstein, Jill Freedman, Suzanne Opton, Erika Stone, Sonja Bullaty, Helen Buttfield, Via Wynroth, Marcia Keegan, Suzanne Szasz, Nancy Brown, Maggie Sherwood, Arlene Alda, Dianora Niccolini, Lida Moser, Ruth Orkin, Tana Hoban, and Frances McLaughlin-Gill. 127 pp. Near fine. Summary:

Published in 1982 by Unicorn Publishing House, Women of Vision, edited by Dianora Niccolini, is a definitive anthology that captures the diverse creative landscape of female photographers during a transformative era. Niccolini, herself a pioneer in medical photography and the first woman to serve as president of the Professional Photographers of New York, curated this collection to highlight both the aesthetic range and the professional hurdles of women in the field.

Core Structure and Content

The book is organized as a series of "photographic statements," pairing a curated portfolio of images with personal manifestos from each of the twenty artists. This dual approach allows the reader to understand not just the how of the imagery, but the why behind the creator's vision.

• Diverse Aesthetics: The collection spans various genres, from the high-fashion and celebrity portraiture of the 1940s and 50s to the gritty street photography and experimental fine art of the late 70s.

• The "Statement": Each photographer provides a brief autobiographical or philosophical text, often detailing their struggles for recognition in a male-dominated industry and their personal definitions of the "female gaze."

Featured Photographers

The book includes a mix of world-renowned masters and significant contemporary voices of the early 1980s:

• The Icons: Features work by Barbara Morgan (noted for her rhythmic dance studies) and Ruth Orkin (famous for her cinematic street narratives).

• The Pioneers: Includes contributions from Frances McLaughlin-Gill (the first female photographer under contract at Vogue) and Erika Stone, whose work bridged the gap between social documentary and humanistic art.

• The New Wave: Highlights the creative evolution of photographers like Tana Hoban, Lotte Jacobi, and the editor herself, Dianora Niccolini.

Key Themes

1. Professional Empowerment: A recurring theme is the transition of women from behind-the-scenes assistants to autonomous artists and commercial leaders.

2. The Human Condition: Much of the work focuses on the "unobserved moment"—intimate portraits, domestic life, and the nuances of the human form that were often overlooked by mainstream male contemporaries.

3. Formal Experimentation: The book showcases a wide range of techniques, including solarization, high-contrast monochrome, and early experimental color, proving that women were at the forefront of technical innovation.

Significance: At its release, Women of Vision served as a vital corrective to the photographic history of the time. It remains a crucial reference for understanding the lineage of women’s photography and the specific cultural climate that birthed the feminist art movement of the 1970s and 80s.