Susan Meiselas. Tentful of Marks, Tunbridge, Vermont. 1974. Gelatin silver print, printed c. 2000, 7 11/16 × 11 3/4" (19.5 × 29.9 cm). Acquired through the generosity of Helen Kornblum in honor of Roxana Marcoci

“The me both a point of connection and a point of separation.”

Susan Meiselas

“The camera is an excuse to be someplace you otherwise don’t belong,” said the photographer Susan Meiselas. “It gives me both a point of connection and a point of separation.” Meiselas studied anthropology before turning to teaching and photography, and her photographic work has remained firmly rooted in those early interests.

Beginning in 1972, Meiselas spent three consecutive summers documenting women who performed stripteases as part of itinerant, small-town carnivals throughout New England. She not only photographed them at work and during their down time, but she made audio recordings of interviews she conducted with the dancers (and the men who surrounded them), to add context and give her subjects a voice. Meiselas later reflected, “The feminists of that period were perceiving the girls’ shows as exploitative institutions that should be closed down, and so I actually was positioned in the place of feeling these voices should be heard, they should self-define as to who they are and what their economic realities are.”1 Meiselas travelled with the dancers from town to town, eventually becoming accepted by the community of women. This personal connection comes across in the intimacy of the scenes. Her photo book Carnival Strippers2 was published in 1976, the same year that Meiselas was invited to join the international photographic cooperative Magnum Photos.

Over the last 50 years, Meiselas has remained dedicated to getting to know her subjects, and she maintains relationships with them, sometimes returning to photograph them decades after the initial project. One place she has photographed again and again is Nicaragua, starting with the burgeoning Sandinista revolution. From June 1978 to July 1979, she documented the violent end of the regime of dictator Anastasio Somoza Debayle. In 1990 she returned to the country with her book of photographs made at that time, Nicaragua3, and used it as a tool to track down as many subjects of those photographs as she could: “Now I want to retrace my steps, to go back to the photos I took at the time of the insurrection, and search for the people in them. What brought them to cross my path at the moment they did? What’s happened to them since? What do they think now? What do they remember?” 4 She gathered their testimonies and codirected a film, Pictures from a Revolution 5, that explored the Nicaraguan people’s hardships after the revolution. She went back to Nicaragua yet again in 2004, on the 25th anniversary of Somoza’s overthrow, and worked with local communities to install murals of her photographs on the sites where they were taken. 6 It is the job of a photojournalist to bear witness, but Meiselas also considers ways in which she can challenge and confront future communities with the scenes she has witnessed.

In 1997, Meiselas completed a six-year-long project about the photographic history of the Kurds, working to piece together a collective memory of people who faced extreme displacement and destruction. She gathered these memories in a book—Kurdistan: In the Shadow of History7—an exhibition and an online archive that can still be added to today. Throughout this project Meiselas worked with both forensic and historical anthropologists who added their own specialized context; the innumerable oral accounts from the Kurdish people themselves provide a perspective often left out of history books.

Referring to her early studies in anthropology, Meiselas said, “Those very primary experiences of diversity led me to be more curious about the world, putting me into a certain mode of exploration and openness to difference at a young age.” She has long understood the importance of giving a voice to her often little-known and marginalized subjects, and through her work she draws attention to a wide variety of human rights and social justice issues. Meiselas constantly considers the challenging relationship between photographer and subject, and the relationship of images to memory and history, always looking for new cross-disciplinary and collaborative ways to evolve the medium of documentary storytelling.

Jane Pierce, Carl Jacobs Foundation Research Assistant, Department of Photography

The research for this text was supported by a generous grant from The Modern Women’s Fund.

  1. The Museum of Modern Art, New York, “Seeing Through Photographs,” YouTube video, 5:03. February 13, 2019

  2. Susan Meiselas, Carnival Strippers (New York: Noonday Press, 1976) and a revised second edition with bonus CD (New York: Steidl, 2003).

  3. Susan Meiselas, Nicaragua (New York: Pantheon Books, 1981).

  4. Susan Meiselas, Alfred Guzzetti and Richard P. Rogers, Pictures from a Revolution, DVD (New York: Kino International Corp., 1991).

  5. Susan Meiselas, Alfred Guzzetti, and Richard P. Rogers, Pictures from a Revolution, DVD (New York: Kino International Corp., 1991).

  6. Susan Meiselas, Alfred Guzzetti, and Pedro Linger Gasiglia, Reframing History, DVD (2004).

  7. Susan Meiselas, Kurdistan: In the Shadow of History (New York: Random House, 1997).


16 works online



  • Our Selves: Photographs by Women Artists Exhibition catalogue, Hardcover, 152 pages
  • Photography at MoMA: 1960 to Now Hardcover, 368 pages

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