A Quote by Petra Collins
I think a way that feminist photographers work is turning what was the object into the subject and really making it our own.
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The work is what it is and hopefully it's seen as feminist work, or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff.
For a lot of women who don't go to college, or for a lot of women who aren't in New York or D.C. or someplace where there's like a large feminist organization they can get involved in, they may be doing feminist work, right, like locally or with a grassroots organization or in their own lives, but if they don't have that support system and if they don't have that availability to feminist language, I think we're missing out on something.
People ask me a lot, 'Well, can you be pro-life and be feminist? Can you be conservative and be feminist?' And I think that, yeah, maybe personally you can be those things. But I think if you're advocating for legislation, or if you're fighting to limit other women's rights, then you can't really call yourself a feminist.
You know, people ask me a lot, well, can you be pro-life and be feminist? Can you be conservative and be feminist? And I think that yeah, maybe personally you can be those things. But I think if you're advocating for legislation, or if you're fighting to limit other women's rights, then you can't really call yourself a feminist.
I don't mind a dirty girl. But what I find tragic is when we, as women, become not the subject of our own story but someone else's object.
We don’t go further than what Marx called the exchange value of the actual object - we don’t think about the relations that that object embodies - and were important to the production of that object whether it’s our food or our clothes or our I-pads or all the materials we use to acquire an education at an institution like this. That would really be revolutionary to develop a habit of imagining the human relations and non human relations behind all of the objects that constitute our environment.
Ambiguity is really important to me. Part of the difficulty facing photographers is that almost any subject matter has accumulated a representational history, so to find a new discursive space, a space to wander around those subject matters, is a real challenge.
I think a lot of people in my circle are thinking that way or see the movie [Into the Forest] and then really think that way. I think it's hopefully tapping into sort of a consciousness right now in regards to our society's relationship with the environment and our own and our disconnect from it, myself included.
Thus inevitably does the universe wear our color, and every object fall successively into the subject itself. The subject exists, the subject enlarges; all things sooner or later fall into place. As I am, so I see; use what language we will, we can never say anything but what we are.
Whether people identify as feminists or not, if they're doing work that furthers a feminist cause, I think that's wonderful, like if it works for me, right, it works for the movement. But I do think that personally they're missing out. If you don't identify as a feminist, you're missing out on this whole community that's out there that could really help you with your work, help you with your personal life, and just give you support.
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