Purpose The purpose of this paper is to understand the role of women in the field of photography after the second wave of feminism in Europe. Design/methodology/approach The grounded theory on the position of women in contemporary photography has been contrasted with the information collected by the authors in previous research studies on the presence of women photographers in the main museum collections in Europe. Findings Gender inequality in the various artistic disciplines is a current sociopolitical problem Western countries have been fighting against for several decades. After the resurgence of social movements in the USA and Europe in the 1960s, an artistic movement called feminist art emerged whose significance should be assessed. Research limitations/implications The paper proposed a general approximation, a foundation on the state of art, which may be implemented in the future with more data coming from other collections. It should be taken into account that this aim is a work in progress in a large scale of the research. Practical implications This paper includes implications for the development of a more efficient strategy to create a balance situation in the number of men and women photographers at the museum collections. Originality/value The paper identified a lack of practical analysis on the current averages of female photographers in art institutions.

中文翻译：

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欧洲的女摄影师：一种新颖，女性化的方法

目的本文的目的是了解在欧洲第二次女权主义浪潮之后，女性在摄影领域的作用。设计/方法论/方法将女性在当代摄影中的地位的扎根理论与作者先前在欧洲主要博物馆藏品中关于女摄影师的存在的研究中所收集的信息进行了对比。调查结果各种艺术学科中的性别不平等是西方国家数十年来一直在努力解决的当前社会政治问题。1960年代在美国和欧洲的社会运动重新兴起之后，一种叫做女权主义艺术的艺术运动应运而生。研究局限性/启示本论文提出了一种一般近似方法，它是对现有技术的基础，将来可能会使用来自其他馆藏的更多数据来实施。应该考虑到，这一目标是大规模研究中的一项正在进行的工作。实际意义本文包括对制定更有效的策略以在博物馆藏品中的男女摄影师人数之间取得平衡的意义。原创性/价值这篇论文指出，缺乏对艺术机构中女摄影师当前平均水平的实用分析。实际意义本文包括对制定更有效策略以在博物馆收藏中的男女摄影师人数之间建立平衡的建议。原创性/价值这篇论文指出，缺乏对艺术机构中女摄影师当前平均水平的实用分析。实际意义本文包括对制定更有效的策略以在博物馆藏品中的男女摄影师人数之间取得平衡的意义。原创性/价值这篇论文指出，缺乏对艺术机构中女摄影师当前平均水平的实用分析。