Bauhaus Women: Radical Photography & Influence – In Pictures

A new exhibition in Berlin is set to bring long-overdue recognition to the women who shaped the visual legacy of the Bauhaus school through the lens of a camera. While the images produced during this era are often considered iconic, the female artists behind them have frequently been overlooked in historical accounts. The upcoming show, titled New Woman, New Vision: Women Photographers of the Bauhaus, aims to examine their wide-ranging influence for the first time.

Organized by the Bauhaus-Archiv / Museum für Gestaltung, the exhibition will be held at the Museum für Fotografie in Berlin. According to announcement details, the show is scheduled to run from 17 April to 4 October 2026. The presentation features approximately 300 photographs drawn from the collection of the Bauhaus-Archiv in Berlin. In addition to works from the German school, the exhibition will include photographs produced by women artists from the Institute of Design in Chicago, also known as the New Bauhaus, which served as the successor institution to the Bauhaus in the United States.

Historical Context and Social Upheaval

The artistic output of these photographers emerged during a period of significant transformation in Germany. The Weimar Republic, which lasted from 1918 to 1933, was characterized by social and cultural upheaval. The young democracy faced the consequences of the First World War alongside a rapid succession of technical advances. During this era, women’s role in society was undergoing substantial change. For the first time, voting rights were granted to women, leading many to aspire toward financial independence and professional self-realisation.

Photography offered a distinct opportunity during this period. The medium promised both artistic freedom and a viable income. As noted in reporting by The Guardian, the camera became a tool of female self-empowerment. By the late 19th century, photography had already become a significant occupational field for women. Because the medium was relatively new and regarded as a handcraft rather than an academically anchored discipline, it offered women career opportunities at an early stage. Women were often believed to possess skills well-suited to certain photographic activities, such as portrait photography or retouching.

The Bauhaus School and Female Enrollment

The Bauhaus itself was founded by the architect Walter Gropius in 1919 and operated until 1933. The school was viewed as a progressive academic institution because it declared equality between the sexes and accepted both male and female students into its programs. This provided an unprecedented level of opportunity for education and artistic development at a time when women were frequently denied admittance to formal art academies. However, historical records indicate that women were generally accepted only in fields considered appropriate for them at the time, such as weaving.

In the school’s inaugural year in 1919, more female students applied than male students. Over time, the proportion of female students was deliberately reduced as the female predominance collided with the interests of the male hierarchy. While the curriculum began with a technical introduction to the arts through the study of materials, colour theory, and formal relationships, most female students initially specialized in weaving or ceramics. As the institution progressed, female students were encouraged to specialize in other programs as well.

Radical Perspectives and Key Works

The female photographers of the Bauhaus probed the boundaries of the new medium. They observed the world around them through the lens of a camera and often captured subjects from unconventional perspectives. Their artistic output includes abstract experiments, architectural photography, and figurative portraits. The exhibition highlights specific works that demonstrate this range. Among the featured pieces is Gertrud Arndt’s Mask Photo No 16 from 1930. Another highlighted work is Marianne Brandt’s Self-Portrait With Lilies, created circa 1923.

Additional works include Lotte Gerson-Collein’s Sea Urchin and Shadow of a Crab Claw from 1928. The exhibition also features Grit Kallin-Fischer’s Self-portrait with cigarette, dated circa 1928. These images reflect how outstanding women photographers experimented with photographic and artistic techniques since the invention of photography in the early 19th century. The spectrum of their production ranges from figurative portraits and architectural photography to abstract photographic experimentation.

Legacy and Visual Identity

The contribution of these artists extends beyond their individual portfolios. Reporting from Aperture.org in January 2026 highlighted the role of Lucia Moholy, whose photographs helped define the visual identity of the Bauhaus. Despite this influence, questions remain regarding why she was left out of its history. The current exhibition seeks to address such omissions by celebrating the significant contribution of these women artists and their photographic oeuvre.

Many people today are familiar with the iconic images associated with the school, but only few are aware of the women who recorded them. The show at the Museum für Fotografie represents the first time the Bauhaus-Archiv has celebrated this specific contribution in such depth. Even in the 21st century, women artists continue to explore the multifaceted potential of photography. The exhibition serves as a reminder of the foundational work established by these pioneers during the early 20th century.

Tickets for the exhibition period are available from the ticket shop of the Staatliche Museen zu Berlin. The Museum für Fotografie is located at Jebensstraße 2, 10623 Berlin. Opening hours vary throughout the week, with the museum closed on Mondays and open until 7:00 pm on most weekdays, extending to 8:00 pm on Thursdays. The exhibition complements the ongoing discourse regarding the recognition of women in modern art history and design.