
Susan Sontag showed up in Mumbai this week. Mumbai is hosting its first ever photography festival, the FOCUS Photography Festival. The Festival has two key exhibitions: `A Fantastic Legacy: Early Bombay Photography, from 1840 to 1900’; and `A Photograph is Not an Opinion – Contemporary Photography by Women’. The title of the latter exhibition “borrows its title from Susan Sontag’s essay `A Photograph Is Not an Opinion. Or Is It?’ from the book Women.” As one of the curators explained, “The book implies that while men are under pressure to produce one strong opinion, the strength of the women’s point of view it accommodates many viewpoints. What I am trying to say in the title is that there are variations of the truth being presented in this exhibition.’”
What was the truth of women that Sontag was trying to understand in her 1999 essay, which introduced Annie Leibovitz’s book, entitled simply, and impossibly, Women, and how does that truth ring today?
Sontag’s essay opens wondering about “a book of photographs of people with nothing more in common than that they are women (and living in America at the end of the twentieth century)… A large number of pictures of what is, nominally, a single subject will inevitably be felt to be representative in some sense. How much more so with this subject, with this book, an anthology of destinies and disabilities and new possibilities; a book that invites the sympathetic responses we bring to the depiction of a minority (for that is what women are, by every criterion except the numerical), featuring many portraits of those who are a credit to their sex. Such a book has to feel instructive, even if it tells us what we think we already know about the overcoming of perennial impediments and prejudices and cultural handicaps, the conquest of new zones of achievement. Of course, such a book would be misleading if it did not touch on the bad news as well: the continuing authority of demeaning stereotypes, the continuing violence (domestic assault is the leading cause of injuries to American women) belongs to the ongoing story of how women are presented, and how they are invited to think of themselves. A book of photographs of women must, whether it intends to or not, raise the question of women— there is no equivalent `question of men.’ Men, unlike women, are not a work in progress.”
The rest of the essay attempts to think historically, aesthetically and politically about a book that photographs only women, about a book of photographs of women. Sontag concludes: “A book of photographs; a book about women; a very American project … It’s for us to decide what to make of these pictures. A photograph is not an opinion. Or is it?”
A very American project in 1999 becomes … a very metropolitan, Indian, transnational, global project in 2013? What does that mean? What happens when the subject of women moves from women as the object and objects of `our’ gaze(s), a crisis of representation, to women as the makers, and specifically as the makers of vision? What happens when a book of photographs `about women’ becomes a space of women?
In her last book, Regarding the Pain of Others, Sontag noted, “Narratives can make us understand. Photographs do something else: they haunt us.” Women photographers do not haunt the galleries of Mumbai this week, but their photographs might. As we have seen recently in debates about domestic violence in India, South Africa, the United States, and beyond, there is perhaps the beginning of a question of men. Meanwhile, Susan Sontag haunts the FOCUS galleries as she asks, “Is there still only a question of women?”
(Photo Credit: Mohini Chandra)









