Camille Ross, born in San Francisco in 1964, has navigated a life shaped by contrasting environments and cultural influences. Growing up between the radical landscape of 1970s Berkeley and the quiet rural surroundings of Mississippi, Ross developed a unique perspective that is also deeply informed by her biracial identity and Cherokee ancestry. These influences are central to her photographic work, which explores themes of marginalization, identity, and the societal structures that define how people, particularly women of color, are seen.
Her latest series, “The Women,” aims to shift the narrative around Native American and African American women. Traditionally portrayed through lenses of disadvantage or victimhood, Ross seeks to reclaim their stories, offering images that reflect empowerment, joy, and self-determination. This body of work directly challenges the stereotypes that have long confined these women to narratives of hardship, focusing instead on their strength and autonomy.
In an essay accompanying her project, Ross reflects on the pervasive misrepresentation of women of color throughout American history, pointing out how they have often been viewed through the lens of poverty and lack of agency. She argues that this is not merely a result of misunderstanding but a deliberate form of systemic oppression, upheld by both media and political rhetoric.
Ross’s photography seeks to challenge these ingrained portrayals by depicting women in positions of power and affluence. Her images break away from conventional depictions, placing Native American and African American women in scenarios of luxury, recreation, and adventure—spaces traditionally reserved for wealthier, predominantly White individuals. These women are shown participating in activities like skiing, sailing, and surfing, enjoying leisure and freedom in ways that are typically not associated with them in the public imagination.
One of the standout elements of “The Women” series is its use of irony. In one set of photographs, African American women are depicted on safari in Africa, reclaiming their ancestral land as empowered adventurers. This imagery plays with colonialist history, flipping the traditional narrative and presenting these women not as oppressed subjects but as conquerors of their own destinies. The series is layered with subtext, drawing on Roland Barthes’ ideas of the denoted and connoted meaning, as Ross uses these scenarios to subtly comment on societal norms and expectations.
A recurring theme in Ross’s work is the intersection of race and power, particularly how these forces play out in the lives of women of color. Her photography weaves together historical references with contemporary issues, such as the Black Lives Matter movement and the ongoing epidemic of missing and murdered Indigenous women, whose stories are often erased from the mainstream narrative. Through her art, Ross brings attention to these ongoing injustices, while also highlighting the resilience and strength of those who have endured them.
In addition to exploring these broader themes, Ross pays special attention to the experiences of older women of color, a group that is often overlooked or marginalized in discussions about beauty and vitality. By focusing on women in their 70s and beyond, she challenges the pervasive ageism in society, offering images that celebrate life and wisdom rather than focusing on decline. These women are shown in moments of joy, control, and self-possession, offering a powerful counterpoint to a culture that often diminishes the visibility of aging women.
Through her portrayal of these women, Camille Ross invites her audience to reconsider their perceptions and confront the deeply embedded stereotypes that continue to shape societal views. Her work offers not only a critique of the past but a vision for the future—one in which women of color are seen as full, autonomous individuals with the power to define their own narratives. “The Women” is a call to recognize the strength, complexity, and joy that exist in these women’s lives, celebrating their resilience while challenging outdated cultural tropes.
