Our cover designer worked with Moris and his publisher to incorporate
several family photographs, creating a dynamic cover design that commemorates Maman while attracting passing readers to her story.
Not exact matches
But as part of her dissertation project on biographical memory, Indre Viskontas, the UCLA graduate student, has for
several years been showing patients
photographs of
family members.
«LATOYA RUBY FRAZIER: Performing Social Landscapes» @ Carré d'Art - Musée d'Art Contemporain Nimes, France Photographer LaToya Ruby Frazier «s first solo institutional exhibition in France presents selections from
several of her documentary projects, including the video «Frazier Take on Levi's» and
photographs from «Pier 54,» and the foundation of her work, images that examine the decline of the population and steel industry of her hometown of Braddock, Pa. («Campaign for Braddock Hospital» and «The Notion of
Family»).
She has contributed to
several Canadian art magazines and international journals, and recent curatorial projects include Barbara Kruger: Untitled (It)(2010) on the AGO's façade; «Where I was born...»: A
Photograph, a Clue and the Discovery of Abel Boulineau (2011); Songs of the Future: Canadian Industrial
Photographs, 1858 to Today (2011 - 2012); and Max Dean: Album (2012), a public project with
family photo albums, for the 2012 Scotiabank CONTACT Photography Festival.
The culmination of
several years work, The Unforgetting is a series made up of remnants, exploring the loss of his mother as a child and their shared German ancestry, as well as the associated notions of time, recollection and impermanence, all bound up in the objects, places,
photographs, and narrative structures circulated within the
family.
Other works on display include Seher Shah's graphite on paper drawings, Brutalist Traces (2015 - 16), of the modernist architecture of New Delhi; artist Gauri Gill's notebooks entitled «1984» (2005, 2009, 2014), from which are also displayed
several photographs of the people and interior spaces of the «Widows Colony» in Tilak Vihar, where
families affected by the anti-Sikh riots of 1984 were provided housing by the state; and a series of streetscape
photographs by Pablo Bartholomew, including Man Asleep in Front of Political Graffiti, Calcutta (1978) which embodies how, in South Asia, history inflects the everyday.
My favorite part of our home is the many original pieces of artwork — paintings, black and white
photographs, and pottery by my husband, my mother, my son, and
several other members of my
family.