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A beautiful and moving anthology exploring the complex dynamics of contemporary family life. Forty international photographers present pictures, albums and archives, many never previously published in book form. They explore relationships between brothers and sisters, parents and children, step-families and in-laws, outcasts and adoptees. Featured projects include Birte Kaufman's award-winning images of Irish travellers, Magnum member Trent Parke's darkly amusing shots of his family in suburban Australia, Nadia Sablin's elegy to her elderly aunts living in rural Russia, and Elina Brotherus' devastating records of failed IVF. Two critically engaging essays address how photographs have become an essential tool for families to lay down memories, reinforce identities and understand emotional attachments. A bold and brave book that will captivate everyone curious about other people's lives, and all those who turn to photography to celebrate or make sense of their own family.
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An examination of the family album through essays and photo essays from contributors such as Jo Spence, Annette Kuhn, Val Williams, Stuart Hall and Simon Watney. The book looks at the shifting meanings of domestic photography and the transformation of the family album into narratives of commmunity.
(source: Nielsen Book Data)

A Shared Elegy presents two pairs of photographers connected by family ties. Osamu James Nakagawa and his uncle, Takayuki Ogawa, and Elijah Gowin and his father, Emmet Gowin, present unique but overlapping visions recording family histories. Nakagawa, like his uncle, Ogawa, grew up in Japan and draws upon his country's traditions and the practice of honoring elders; family heritage and home in Virginia have inspired the Gowins to make photographs that depict the intimate and hallowed nature of the world. These photographs compel us to reflect and consider our place in the cycle of life.A collaboration between the Grunwald Gallery and the Eskenazi Museum of Art at Indiana University, this exhibition catalogue juxtaposes rich imagery with discussions about the artists and their aesthetic approaches to photography.
(source: Nielsen Book Data)

Jessica Todd Harper's latest collection of images is aptly called The HomeStage, a double entendre that alludes to both the home bound lifestyleof families with small children as well as the idea that home is thestage on which children first learn how to live. Her nuanced treatmentof her subjects and environs, coupled with her elegant compositions, unique color palette and handling of light theatrically transforms eachroom and yard into stage sets. No detail is left untouched by her eye.Private but universal she is genuine, tender, uninhibited and at timeshumorous, bearing the emotional range of the finest actress and pullingthe strongest performances from a supporting cast that includes herhusband, her children, her sister, other family members and friends.
(source: Nielsen Book Data)

• Background - literature review, methods, comparing family photography in different cultures, family profiles
• cross-cultural comparisons - photographing the family, overview of photo album content - weddings, religious ceremonies, birthdays, vacations, relatives, babies, children, married life, adapting to life in America, expectations vs. findings, notable inclusions and omissions, how photographs are used
• making meaning - how albums communicate - text analysis, meaning of family photography, inside vs. outside meaning, summary and conclusions.
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This study determined that there are significant differences in subject content, visual style and expression of cultural values in the photo collections, and that these are most strongly linked to differences in the parent culture, class and gender. The effect of immigration is a dominant factor.
(source: Nielsen Book Data)

Diane Arbus (1923-1971) is renowned for her provocative and unsettling portraits of modern Americans. This book presents a significant body of previously unpublished pictures by Arbus and proposes a radically new way to understand her goals, strategies, and overall work. "Diane Arbus: Family Albums" examines unknown contact sheets from several of Arbus's portrait sessions, including more than 300 photographs she took of a New York family one weekend in 1969. Anthony Lee and John Pultz put to the test Arbus's claim that she was developing a "family album". They present other images Arbus shot for "Esquire" magazine (including pictures of the families of Ricky Nelson, Jayne Mansfield, and Ogden Reid) and discuss her interest in photographic groupings of both traditional and alternative families. Challenging common interpretations of Arbus, the authors reveal a photographer far more savvy with the camera, more aware of photography as an artistic and commercial practice, and more sensitive to the social and cultural tensions of the 1960s than has been acknowledged before.
(source: Nielsen Book Data)

For the past thirteen years, young American artist Chris Verene has carefully documented the strange and yet oddly familiar world of his family and friends. Verene's lush color images reveal freakishly beautiful stories of simple daily joys and troubling family secrets. Curators, critics, and museums from Atlanta to New York and Europe are exhibiting and discussing his moving portrayal of family, love, youth, and aging. The geography of Chris Verene's color photography is primarily social, though the landscape is always a presence. Whether he is following his relatives around the dilapidated environs of Galesburg, Illinois, or locked in a suburban bedroom with five members of his "Camera Club" photographing a half-dressed woman draped over a bed, Chris Verene innerves us with a vision of daily life at once bizarre and banal. His high-key colors and composition occupy a terrain somewhere between William Eggleston and Nan Goldin. This is the artist's first book.
(source: Nielsen Book Data)

• Introduction Silke Arnold- de Simine and Joanne Leal
• 1. That Other Woman: the woman who accompanied the Cold War Tourist to Paris Martha Langford
• 2. Memory, subjectivity and maternal histories in Un'Ora Sola Ti Vorrei (2005), Histoire d'un Secret (2003) and On the Border (2012) Lizzie Thynne
• 3. Soviet heroes and Jewish victims: One family's memories of World War II Oksana Sarkisova and Olga Shevchenko
• 4. Visual meditations: An island in time - (re)interpreting family albums and oral histories Suze Adams
• 5. Performing familial memory in Against Sally Waterman
• 6. In and out of focus: Visualising loss through the family album Jacqueline Butler
• 7. The (re)constructed self in the safe space of the family photograph: Chino Otsuka's Imagine finding me (2005) Deborah Schultz
• 8. A place for memory: Family photo collections, social media and the imaginative reconstruction of the working class neighbourhood Richard Lowell MacDonald
• 9. Wanted - new custodians for family photographs: Vernacular photographs on eBay and the album as artwork Nicky Bird
• 10. Dislocating memory: Family photographs in story-centred museums Silke Arnold-de Simine Bibliography Index.
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Whether pasted into an album, framed or shared on social media, the family photograph simultaneously offers a private and public insight into the identity and past of its subject. Long considered a model for understanding individual identity, the idea of the family has increasingly formed the basis for exploring collective pasts and cultural memory. Picturing the Family investigates how visual representations of the family reveal both personal and shared histories, evaluating the testimonial and social value of photography and film. Combining academic and creative, practice-based approaches, this collection of essays introduces a dialogue between scholars and artists working at the intersection between family, memory and visual media. Many of the authors are both researchers and practitioners, whose chapters engage with their own work and that of others, informed by critical frameworks. From the act of revisiting old, personal photographs to the sale of family albums through internet auction, the twelve chapters each present a different collection of photographs or artwork as case studies for understanding how these visual representations of the family perform memory and identity. Building on extensive research into family photographs and memory, the book considers the implications of new cultural forms for how the family is perceived and how we relate to the past. While focusing on the forms of visual representation, above all photographs, the authors also reflect on the contextualization and `remediation' of photography in albums, films, museums and online.
(source: Nielsen Book Data)