![]() A shot of Lena undercuts – or at least complicates – her words about revolution by depicting her after the show, naked and plainly exhausted, pressing a towel to her face in what looks like desperation. One says that performing is her path to financial independence another that the carnival has given her a home when she had nowhere else to go.Ĭomplexity is everywhere you look. Yet Meiselas finds nuance in the biographies of the women who danced, along with remarkable amounts of self-awareness and courage. ![]() We might expect a sob story – a tale of exploited, objectified women in an exploitative, objectifying industry. Yet perhaps the most remarkable thing about the work is that Meiselas gives the story a complicating twist. Unsparing but sympathetic, both humane and abjectly sad, it showed a world many at the time preferred to ignore: one in which women danced nude for handfuls of dollars, in tawdry, spit-and-sawdust tents erected in one-horse towns. The book Meiselas eventually produced, Carnival Strippers (1976), has become a classic. La Movida: Spain’s wild party after Fascism April Dawn Alison: Photos that reveal a secret identity Why Cindy Sherman’s photos are so mysterious In order to blend into the crowd and get the shots she needed, she sometimes dressed like a man. ![]() She also recorded hundreds of hours of interviews. Over the course of three summers, she haunted the fairgrounds, befriending dancers and sneaking backstage to capture what their lives were really like. Travelling around New England, she’d encountered the country fairs that toured rural parts of the northeastern US many had a ‘girl show’ tent, where women danced in striptease acts. The US photographer Susan Meiselas first began shooting women who took their clothes off for a living in 1972, when she was in her mid-20s.
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