Ruth Mountaingrove Back To The Land Movement Analysis

Although the feminist movement has had a revolutionary impact in the 20th and 21st centuries, the visibility of queer women has at times remained obscured. Artists such as Ruth and Jean Mountaingrove and Zanele Muholi effectively depict how representations of the relationships and identities of queer women have contributed to the imperative growth of intersectional feminism. This development is essential in ensuring further marginalised groups, whether based on sexuality, race, gender or socioeconomic status are included in feminisms goal of achieving a state of equality . Whilst the contexts in which each artist operates vary, the intention of authentically representing the voice of queer women continues to be present. Mountaingrove, in

During the Women’s movement, in combination with the “Back to the land movement” (1960s-70s) which saw many U.S citizens retreat back to open land to escape urban lifestyles; several women created a separatist land in Oregon where they could live amongst one another, free of violence, male domination and patriarchal society. Amongst this community of women, feminist writer, publisher and photographer Ruth Mountaingrove frequently documented the daily lives and struggles of Queer and feminist women in Oregon. Together with her partner Jean, they held annual week-long workshops for women who were feminist photographers. It was these workshops and their combined skillsets, in which the photography magazine publication ‘The blatant image’ evolved. The goals of the women strongly shaped their approach and selection of medium. ‘We asked "How has the women's movement changed the way we see? What kinds of photos are being produced and published now that haven't been seen before? What are the realities of our shapes and our lives? What are the differences between the ways men have pictured women and the ways we see ourselves?"’ The medium of the magazine ultimately allowed a publication that was accessible to all women, and those who participated in providing content were Queer Women themselves, allowing for an honest reflection and representation of Queer

The photographic medium of each work holding the greatest prominence. Each series consists of black and white photographs. However, the Blatant image consists of images that aren’t strictly portraits, but rather a collective of images that vary in nature, many display the smaller intimate moments between queer women, acting as a form of documenting the everyday lives of the Women’s community in Oregon, U.S. This documentation appears to embody a certain lightness and honesty in reflecting what is simply the lives of the women who have effectively created their own community. For example, images of a queer couple embracing one another, another chopping wood together and photographs of the community gathering. Contrastingly, Muholi presents several portraits in which the LGBT individuals each hold a particular gaze that is empowering, confronting and even demanding. The character of each participant, including a sense of personality and individual style is effectively captured; Muholi ultimately brings together a diverse collection of portraits of Queer women, non-binary and trans people of colour. Each work is presented in printed form, ‘the blatant image’ publishing photographs submitted by women in the community and ‘Faces and Phases’ being published in a 96-page printed photography book also containing deeply personal testimonies. Muholi’s work was additionally presented in the form of an