Imagine a room buzzing with energy, where icons of art, literature, and activism gather to celebrate a masterpiece that redefines how we see women. But here’s where it gets controversial: Can a single photographer truly capture the essence of womanhood in all its complexity? Annie Leibovitz and Gloria Steinem believe they’ve come close with the second volume of Women, a project that’s as much about perception as it is about reality. And this is the part most people miss—it’s not just about the famous faces; it’s about the everyday women too, each portrait a testament to the diversity of the female experience.
On a Wednesday evening at Gallery 525, Annie Leibovitz, the mastermind behind the lens, became the reluctant center of attention at a cocktail party celebrating the launch of her pop-up exhibition and accompanying Phaidon book. Despite her preference for staying behind the camera, Leibovitz’s presence was magnetic, drawing a star-studded crowd that included Gloria Steinem, Anna Wintour, Salman Rushdie, Martha Stewart, and many more. The event was a testament to Leibovitz’s ability to bring people together, not just through her photography, but through her genuine connection to her subjects.
Leibovitz described the creation of the second volume of Women as akin to crafting a magazine, a process that took just a year to complete. Many of the images, she noted, were originally shot for Vogue assignments. Yet, despite her work being the focal point of the evening, Leibovitz shifted the spotlight to Steinem, her longtime friend and collaborator. Quoting Steinem’s essay in the book, Leibovitz reflected, ‘How you are seen is different than how you see yourself.’ This tension between perception and reality is a recurring theme in Leibovitz’s work, one that Steinem addressed head-on during her remarks.
‘I just want to make sure that this night changes your life in a good way,’ Steinem told the audience, her words both inspiring and challenging. ‘Say hello to someone you don’t know, share what you care about, organize, make trouble, and ensure this night is as transformative as the person standing right here.’ Leibovitz, in turn, praised Steinem as one of the few true icons, a sentiment met with enthusiastic applause.
The evening was also a trip down memory lane, with Steinem recalling how she first met Leibovitz in the 1970s while searching for a female photographer to shoot covers for Ms. Magazine. ‘It was just luck,’ Steinem said, reflecting on Leibovitz’s authenticity and dedication. ‘She went all the way to Oklahoma to photograph the chief of the Cherokee Nation. That’s who she is—someone who wants to capture the real person in their own environment.’
Salman Rushdie shared his own story of Leibovitz’s impact, recalling how she photographed him for his book jacket when he first arrived in New York City in 2000. ‘The thing that makes a portrait photographer special is paying attention,’ Rushdie observed. ‘Annie pays attention to her subjects in a way that makes them feel seen, and that shows in her work.’
A slideshow of Leibovitz’s iconic portraits adorned the gallery walls, each image a snapshot of time and culture. From a pregnant Rihanna reclining in a fur coat to a young Kim Kardashian taking a selfie with her daughter North, these photographs captured moments of vulnerability, strength, and humanity. Martha Stewart reminisced about her own shoot with Leibovitz for a ‘Got Milk?’ ad, laughing about how the photographer tried to convince her to buy the cow afterward. ‘I said no, but it was very funny,’ Stewart recalled.
Fran Lebowitz, never one to hold back, shared a humorous anecdote about a Vogue shoot with Leibovitz decades ago. After noticing her landline number was visible in the contact sheets, Lebowitz asked Leibovitz to remove it—a request that was ignored. ‘My phone started ringing nonstop,’ Lebowitz quipped. ‘I don’t have that number anymore.’
Anna Wintour, when asked to define Leibovitz’s talent, described it as ‘bottomless.’ ‘Her point of view is so clear, her vision so strong,’ Wintour said. ‘When she takes a picture, there’s no hesitation. She knows exactly what she wants, and her references are always her own images. It’s a rare gift.’
Grace Coddington, who has collaborated with Leibovitz numerous times, praised her as ‘extraordinary,’ noting her meticulous approach. ‘She’s not just click-click,’ Coddington said. ‘She thinks everything through, does her research, and really gets into the person and the location. She’s tough, but that’s what makes her work so powerful.’
As the evening drew to a close, the conversation turned to the future. Steinem expressed her desire to write more essays, while Coddington revealed she’s working on a new book with Phaidon. But the question remains: Can a single artist, no matter how talented, truly encapsulate the entirety of the female experience? What do you think? Does Leibovitz’s work come close, or is there always something just out of reach? Let’s continue the conversation in the comments—your thoughts could spark the next great debate.
