Recently, after giving a lecture about my work to a beginning digital photography course, a student asked me, “Where does your work fit into the canon of art history?” The question-and-answer portion of lectures are always my favorite part because I love hearing the thoughts and ideas photography can generate firsthand, and this was one of the more unique questions that I have been asked.

Considering this question, I thought about my own photography in relationship to a lot of the photography that I was taught at their level: the history of photography composed of a very long line of white men. I also thought about those delivering the content: another very long line of white men. Both are situations in which those I am learning from do not reflect who I am.

We are amidst a shift in visual representation. The art that we make is a reflection of culture, and as makers we are at the forefront of this tipping point. Now more than ever, people of color, women, and LGBTQ individuals have the opportunity to shape our own representations in visual media. For me, joining Strange Fire Artist Collective was putting these thoughts and feelings into practice. We are and have been making work that reflects us, that challenges the negative representations of us, that speaks to all of the beautiful nuances of human identity rather than broad false images; Strange Fire provides a venue in which our voices are heard loud and clear.

I told the student that I’m unsure of how my work fits into the canon of art history, but I hope that fifty years from now an art history book will speak of today, and that those words will be accompanied not only by my own images, but also the work of the artists who have shared their work with Strange Fire.

See Strange Fire Collective, a platform which highlights work made by women, people of color, and queer and trans artists, here. Zora J Murff’s work can be found here.