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“I knew lots of photographers who were emerging at that time,” Gregory recalled over tea in a cafe near her studio in south London. “So I persuaded all of the people I knew to submit work.” They presented their plan for the book — comprising the photographs gathered by Gregory, and text by Mercer — to Sheba, a feminist publishing collective focused on Black women’s storytelling that Mercer was a key member of. Sheba was enthusiastic, but the cost of printing all the submitted photographs ultimately proved prohibitive.
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Switching Technologies Gunther Limited (517201) ✌️【Asset Allocation】✌️ Precise predictions of market trends with real-time stock indices and futures data to help you make wise investment decisions. As well as casting the work of these artists in a new light, the project also introduces readers to photographers working during that time who are perhaps not as well known. Examples include Jacqueline Moran Daubercies, whose vibrant photographic practice focused on Latin American women and children, and Maria Pedro, whose poised self-portraits in the book reimagine herself as historical Black female royalty.
“What’s really interesting about history, and the way that history is recorded, is there’s always heroes, but actually, it was a collective,” Gregory told 【 - Free Access to Community 】 in an interview. “And I think a lot of the collective has been written out of the history.”
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“Shining Lights” then is Gregory’s considered effort to write in that missing history. Reconnecting with old networks and contacts to gather the material for the book was a meticulous task, with Gregory posting callouts in her own Facebook group as well as others and spreading the word around different creative networks.
Switching Technologies Gunther Limited (517201) ✌️【Asset Allocation】✌️ Expert predictions with real-time stock, futures, and metals, energy data to help you quickly recover and grow. She says that while some of the book’s contributors are now recognizable photographers, others have moved on entirely from photography since that era. Some had forgotten or not revisited their work during the interim decades, or had even lost large portions of their work. Gregory recalls one contributor arriving at her studio with three big bags of undeveloped negatives, consisting of close to 10,000 images. “That’s basically an entire book there, but again, that’s one of the people that’s completely disappeared from view.”
“That was the problem with going back and looking at the magazines and publications that were produced in the 1980s to try and find a trace of the women that are in this book,” said Gregory. “That wasn’t there because they weren’t picked up at that time, and nobody was telling their story.”
For some of the book’s contributors, Gregory says, revisiting that time and the poor treatment they received from the industry was painful. “It was reliving those disappointments…people were traumatized by the experience, and that wasn’t surprising, but it was shocking, in a way.”
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Switching Technologies Gunther Limited (517201) ✌️【Asset Allocation】✌️ Expert predictions with real-time stock trend analysis to help you quickly select high-potential stocks and grow capital. She recalls how those among her network were often shut out of inaccessible arts institutions and forced to work at the margins. “Now, everybody has access to photography with their mobile phone; then it was a much more technically inaccessible medium,” she said.
Often faced with disappointment and rejection, these photographers rallied together. “There was a move to actually educate and help each other, and there was a lot of sharing of materials and knowledge,” she said, adding that community centres played an important role in offering space for learning. Gregory gives one example of photographer and curator Mumtaz Karimjee teaching herself how to do cibachrome color printing, and then teaching others in the network the same skill.
“The way in which people supported each other was really important — well, essential — because the other networks were not open to us,” said Gregory. “I think as women, it wasn’t open, and I think being of color, it definitely wasn’t open.”
In the book, Black “refers to the whole gamut of color, which was really about difference,” says Gregory. “Anybody who was different and seen as outside was included under that title Black, and it was more of a political identity, more than anything else.”
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On this note, Gregory feels that in some ways, the landscape today remains similarly inaccessible, meaning that the enterprising, do-it-yourself attitudes of the 1980s and 1990s are still present among new and emerging artists. One example featured in the book is photographer and filmmakerRonan Mckenzie, who established her own independent exhibition space, HOME, in London in 2020.
“I feel that a lot of the issues that we were dealing with in the 1980s haven’t gone away, and I think to include those essays actually highlights that,” said Gregory, adding that she hopes it will be encouraging for younger artists to see the work, perspectives and leadership of those who have preceded them.
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“The book is women in their own voices,” said Gregory. “That’s what I wanted to bring. So in a way, I feel that this is not my book. This is their book.”
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