Editing Susan Meiselas (section)

==Career==
After earning her masters degree from [[Harvard University]], Meiselas was an assistant film editor on the [[Frederick Wiseman]] documentary ''Basic Training''. From 1972 to 1974, she worked for [[New York City Department of Education|New York City public schools]], running workshops for teachers and children in the [[The Bronx|Bronx]] and designing photography curricula for 4th–6th graders.<ref>{{Cite news|url=https://www.nytimes.com/2018/07/03/lens/susan-meiselas-mediations.html|title=Susan Meiselas: Breaching Boundaries in Photography|last=Estrin|first=James|date=July 3, 2018|work=The New York Times|access-date=March 3, 2019|issn=0362-4331}}</ref> In the mid-1970s, Meiselas began working on a project she later titled the ''Prince Street Girls'', a series that features young and adolescent girls from Little Italy in New York City.<ref>{{Cite web|title=Prince Street Girls {{!}} New York (1976–2011) {{!}} Susan Meiselas|url=http://www.susanmeiselas.com/new-york/prince-street-girls/#id=photos|access-date=2020-07-12|website=www.susanmeiselas.com}}</ref> She also worked for the State Arts Commissions of [[South Carolina]] and [[Mississippi]] setting up photography programs in rural schools and served as a consultant to [[Polaroid Corporation|Polaroid]] and the Center for Understanding Media in New York City.<ref name="Maryland">{{Cite web |url=http://www.marylandartsource.org/artists/detail_000000123.html |title=Maryland art source |access-date=December 14, 2010 |archive-date=December 4, 2010 |archive-url=https://web.archive.org/web/20101204160017/http://www.marylandartsource.org/artists/detail_000000123.html |url-status=dead }}</ref>

Her first major photography project documented strippers at [[New England]] fairs and carnivals, which she worked on during summers while teaching in the New York City public schools. The project resulted in an exhibition at the [[Whitney Museum]] and a book, ''Carnival Strippers,'' that incorporated audio interviews with the subjects on a CD packaged with the book.<ref name=moma>{{cite web|title=Susan Meiselas|url=http://www.moma.org/collection/artists/45094|website=The Museum of Modern Art}}</ref>

In the late 1970s, Meiselas documented the [[History of Nicaragua|insurrection]] in Nicaragua and human rights issues in Latin America. Her most notable photograph from this project was ''[[Molotov Man]],'' which depicts a man (later identified as Pablo 'Bareta' Aruaz) poised to throw a molotov cocktail made from a Pepsi bottle in his right hand, while holding a rifle in his left hand. It became a symbol of the [[Sandinista National Liberation Front|Sandinista]] revolution and was widely reproduced and remixed in Nicaragua. Latterly, outside this context, it was reproduced via an Internet meme based on [[Joy Garnett]]'s 2003 painting ''Molotov,'' thus becoming a prominent case-study of the appropriation, transformation, and quotation in art.<ref>Stephen Marvin, 'Copyright Innovation in Art', ''International Journal of Conservation Science'', 4 (2013), 729–734 (pp. 731—72).</ref><ref>Joy Garnett and Susan Meiselas, 'On the Rights of Molotov Man: Appropriation and the Art of Context', ''Harper's Magazine'' (February 2007), 53–58 (pp. 56–57), http://www.firstpulseprojects.com/On-the-Rights-of-Molotov-Man.pdf {{Webarchive|url=https://web.archive.org/web/20160705044427/http://www.firstpulseprojects.com/On-the-Rights-of-Molotov-Man.pdf |date=July 5, 2016 }}.</ref> Her photographs of the Nicaraguan Revolution have been incorporated into local textbooks in Nicaragua. Her 1991 documentary film, ''Pictures from a Revolution,'' depicts her return to sites she photographed and conversations with subjects of the photographs as they reflect on the images ten years after the war.<ref name="IMDB">{{cite web|url=https://www.imdb.com/title/tt0102665/|title=Pictures from a Revolution (1991)|date=October 5, 1991|publisher=IMDb}}</ref> In 2004, Meiselas returned to Nicaragua to install nineteen mural-size images of her photographs at the locations where they were taken. The project was called "Reframing History."<ref name="Reframing History">{{cite web |url=http://www.susanmeiselas.com/nicaragua/ |title=Reframing History web gallery |publisher=Susanmeiselas.com |access-date=August 26, 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140827034001/http://www.susanmeiselas.com/nicaragua/ |archive-date=August 27, 2014 }}</ref>

In 1981, she visited a village destroyed by government forces in [[El Salvador]] and took pictures of the [[El Mozote massacre]], working with journalists [[Raymond Bonner]] and [[Alma Guillermoprieto]].

Beginning in 1992, Meiselas used [[MacArthur Foundation]] funding to curate a photographic history of [[Kurdistan]], resulting in the book ''Kurdistan: In the Shadow of History'' and a corresponding website, akaKurdistan.<ref>{{Cite web|url=http://www.akakurdistan.com/|title=aka KURDISTAN {{!}} INTRODUCTION|website=www.akakurdistan.com|access-date=March 3, 2019}}</ref>

In a 2008 interview with [[Phong Bui]] in ''[[The Brooklyn Rail]]'', Meiselas says:

<blockquote>I don't want to relinquish the role and the necessity of witnessing and the photographic act as a response, a responsible response. But I also don't want to assume in a kind of naïve way … that the act of the making of the image is enough. What's enough? And what can we know in this process of making, publishing, reproducing, exposing, and recontextualizing work in book or exhibition form? … I can only hope that it registers a number of questions.<ref>{{cite journal|last=Bui|first=Phong|title=In Conversation: Susan Meiselas with Phong Bui|journal=The Brooklyn Rail|date=November 2008|url=http://brooklynrail.org/2008/11/art/susan-meiselas-with-phong-bui}}</ref></blockquote>

Over several months in 2015 and 2016, Meiselas worked on a project about women in [[Women's shelter|refuges]] in the [[Black Country]] area of the West Midlands, England.<ref name="cooke-observer" /><ref>"[http://multistory.org.uk/project/susan-meiselas/ Stories: A Room of Their Own: Susan Meiselas]". Multistory. Retrieved May 24, 2017</ref> The project was made in collaboration with Multistory, a local community arts charity, which published a book of the work, ''A Room of Their Own'' (2017).