Flesh & Blood dramatically reveals family life - intimate, joyful, and poignant - through the personal family pictures of many of the world's finest photographers.
Selecting from wallet snapshots, private albums, and museum walls, the editors viewed a wealth of emotional and insightful images taken by more than 500 photographers. Because of the intimacy that is evoked by family events and family members, these are the images that photographers (like everyone else) usually consider their most dear.
This extraordinary collection represents a broad range of contemporary photography. Included are images by both the very famous, and the younger, less known photographers who will emerge in the next generation. Among the sixty-six photographers whose work is included are Tina Barney, Bill Burke, Raymond Depardon, Elliott Erwitt, Ralph Gibson, Emmet Gowin, David Hockney, Annie Leibovitz, Sally Mann, Mary Ellen Mark, Sheila Metzner, Joel Meyerowitz, Eugene Richards, Stephen Shore, Clarissa T. Sligh, Larry Sultan, Carrie M. Weems, and William Wegman.
The deeper definition of family that emerges from this unique and beautiful work is one of involvement and complexity. Flesh & Blood expands the way we see our own families.
"synopsis" may belong to another edition of this title.
With self-conscious invasiveness, 66 expert photographers, including Annie Liebowitz, Tony Mendoza, Mary Ellen Mark and Joel Meyerowitz, focus on their parents, siblings, spouses and children in this unsettling, often arch and excessively postured composite family album. Nudity and specialty arrangements abound, as in Patrick Zachmann's shot of a pregnant woman lying in a bathtub, a cartoon embryo drawn on her belly. David Hockney's assemblage The Scrabble Game and Carrie M. Weems's unstudied views of her sisters possess an authority and verve less convincingly demonstrated in many other, artfully posed and cropped, contributions. While Grundberg, chief curator of the Friends of Photography/Ansel Adams Center in San Francisco, suggests the photographers are "honest with their feelings and free with their medium," there remains an exploitative quality to many of these shots--in color or black-and-white--that undermines their authenticity and emotionality. Accompanying commentary by some photographers often provides valuable context.
Copyright 1992 Reed Business Information, Inc.
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