To promote its new camera, Nikon enlisted 32 professional photographers from Australia, South Africa, Southeast Asia, and West Asia to test out the D850’s capabilities. All 32 of them are men. Photographers of all genders were quick to call out the camera manufacturer’s astounding omission.
“Where are the WOMEN?! Silly question I guess,” Canadian photographer Jennifer Yamagata tweeted. “Without a penis whatever would we use to press the shutter release? #fail” Daniella Zalcman, the photojouranlist who created the online database Women Photograph, told the New York Times: “We’re here. We’re working. We exist.”
In its official response, Nikon’s Asian division — which had recruited the all-male cabal of camera-testers — once again struck a tone-deaf note.
Thank you for sharing your thoughts with us. We really appreciate the support from our photography community. pic.twitter.com/e78qp4Q08a
— Nikon Asia (@NikonAsia) September 13, 2017
In a somewhat more apologetic statement to the New York Times, the Tokyo-based company owned up to its oversight.
“This unfortunate circumstance is not reflective of the value we place on female photographers and their enormous contributions to the field of photography,” Nikon stated. The Times notes that in its 2016 annual report, the company acknowledged that it needed to prioritize the “promotion of women’s empowerment.”
One year later, that doesn’t seem to be much of a priority.
How does a selective competition fit with the contemporary art world’s aspirations toward greater inclusivity?
Critical race theory, which has been attacked by conservative lawmakers, is conspicuously absent, as are many contemporary and living Black artists.
“Dignity of Earth and Sky,” unveiled in 2016, raises questions about who should depict Native people and how they should be portrayed.
In this online exhibition, Indigenous artists reclaim realities long denied them by US and Canadian federal governments — including moments of collective reverie.
At this year’s Sundance International Film Festival, more than half the feature-length movies were made by directors who identify as women.
In her novel Tell Me I’m an Artist, Chelsea Martin questions whether art offers a refuge from the world.
Ten artists will receive studio space and access to faculty, staff, students, workshops, and programming at an arts institution in the heart of Philadelphia.
The US government has lifted a Trump-era ban that kept formerly imprisoned people from accessing their works.
A work of art will be on the line when the Philadelphia Eagles play the Kansas City Chiefs this Sunday.
With two exhibitions at SoFi Stadium, the Kinsey African American Art & History Collection seeks to engage a different art audience.
The works that best exemplify a uniquely German grotesque in Reexamining the Grotesque are those that reflect the war and Weimar years.