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Janette Beckman, Salt-N-Pepa Lower East Side NYC, 1986.Photo: Courtesy of Fotografiska New York and copyright of the Ryan Hall Y’All I love wx shirt it is in the first place but artist In an effort to showcase the pioneers and catalysts of hip-hop culture that have often been overlooked or discredited, Jenkins and Berman also focused on the longstanding contributions of women. “We made a thoughtful effort to have the presence of women accurately represented, not overtly singling them out in any way,” said Berman. “There are far fewer women than men in hip-hop, but the ones that made their mark have an electrifying presence—just like the effect of their portraits interspersed throughout the show.” While DJ Kool Herc was later dubbed the forefather of the genre, inventing the “break”-focused DJ style that became hip-hop’s musical foundation, Cindy Campbell’s name tends to be omitted in retellings of hip-hop’s origin story. Others like her include Sylvia Robinson, who produced two of the most pivotal singles in the history of hip-hop—“Rapper’s Delight” by the Sugarhill Gang and “The Message” by Grandmaster Flash and the Furious Five—and MC Sha-Rock, the front woman of Funky 4 + 1, which became the first hip-hop group ever to perform on national television when they played Saturday Night Live with Blondie in 1981. The careful curation of “Hip-Hop: Conscious, Unconscious” seeks to combat this pattern erasure, and emphasize the influence of femininity on hip-hop culture at large.

Jesse Frohman, Queen Latifah, Sky Magazine, 1990.Photo: Courtesy of Fotografiska New York and copyright of the Ryan Hall Y’All I love wx shirt it is in the first place but artist Works on display include a regal portrait of Queen Latifah, whose feminist anthems “Ladies First” and “U.N.I.T.Y” denounced the increasing presence of aggression and misogyny in hip-hop lyrics of the early 1990s. Viewers will note the still hugely influential style and sass of Salt-N-Pepa, and the raw candor of Grammy winners Mary J. Blige and Lauryn Hill, in intimate and rarely seen images. The show also celebrates the audacity of Lil’ Kim—who was among the first women to rap explicitly about female sexuality and pleasure (anticipating talents like Nicki Minaj, Cardi B, and Megan Thee Stallion, whose portraits are also in the show)—and the off-the-wall style of Missy Elliot, who proved that female rappers could wear an inflated black trash bag and still dominate the charts (thus paving the way for alternative rappers like Tierra Whack and Rico Nasty). “Hip-hop has given people who didn’t have control over their perception the opportunity to own and manipulate that for their own success,” notes Jenkins. Together, the images on view—including contributions by female photographers like Martha Cooper, Sophie Bramly, Catherine McGann, and Lisa Leona—foreground the camera’s capacity as a narrative tool, and specifically its power to create monuments to the beauty and nuance of Black womanhood.

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