Susan Meiselas revisits her work from a road trip 50 years ago, documenting small-town US stripping scenes for new shows in New York and Paris.
on her mind . In Maine, Susan encountered two large tents advertising “men only” girl shows and spent the next few summers travelling to small-town carnivals in New England, Pennsylvania, and South Carolina to record what happened on and off the makeshift stage. Interviewing the strippers themselves, their managers, and their families, the resulting body of work integrates numerous ideas of being a young woman in a period of early feminist thinking.
Susan Meiselas 'Shortie's Day Off', USA, 1973. From the"Carnival Strippers" series. © Susan Meiselas / Magnum Photos. Susan is best known for her coverage of the insurrection in Nicaragua in the 1970s and her documentation of human rights struggles inis really a body of work about belonging. The monochromatic palette of the original book reveals the softness of the women’s bodies in a way that blurs their tough conditions. Cramped backstage areas lit by a single lamp seem immediately more cinematic.
Feminists at the time perceived the girl shows as exploitative places and framed the women as victims. Susan was more interested in recording how they were seen within their own world. In order to gain access into the tents, she performed a “mock man flasher act” so she could migrate through the various physical spaces amongst the male patrons. It was her way of rendering what she saw as a kind of ethnographic process. “I was drawn to know what motivated them.
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