This output comprises a curated exhibition of the work of socialist documentary photographer Franki Raffles (1955-1994) along with related exhibition catalogue and associated events. This output uses curatorial methods as a means to contribute to the field of feminist art history, with the central aim of positioning Raffles as a key photographer in the tradition of UK feminist documentary photography.

The overarching research question is: What new knowledge can curatorial methodologies and exhibition-making contribute to understanding the overlooked practices of 20th century women photographers in Scotland, in this case, Franki Raffles? It also asks: How can a curatorial ‘context sensitive’ appraisal of Raffles’ photography illuminate her process, methods and aims?

This was the first exhibition of Raffles’ work in 25 years, and sought to make visible her particular contribution to understanding the conditions of women’s work, particularly in relation to forms of manual labour. Through a series of comparative statements, the exhibition reveals the ways that Raffles aligned the working conditions of women across diverse political regimes (Soviet Russia and Scotland). The exhibition contextualises her practice by showing her photographs alongside those of both her contemporaries and other relevant historical examples; all work included focused on the theme of depicting women at work.

My research asserts Raffles’ national and international significance to 20th century studies of women photographers and studies of feminist art, particularly in relation to the politics of women’s labour. In the immediate field of research on Raffles, I am the only researcher testing out her relevance and assessing her work through a curatorial methodology.

In turn, by highlighting issues of gender inequality explored in Raffles’ work, the exhibition provided a space for consideration of its continued relevance today.