Family get-togethers can be tedious, tiresome ordeals. During one visit with his in-laws in the ’70s, photographer Nicholas Nixon decided to do something different and looked at his wife and her sisters for inspiration. None of them would have imagined the result four decades later.
1975
Nixon was bored at his wife’s family dinner, so he decided to do something about it. Fortune favours the bold, so he asked Bebe, his wife, and her three sisters if taking pictures of them posing in the garden was okay. Little did they know, that simple garden photo in 1975 would become the start of a remarkable photographic series. Over four decades, Nicholas Nixon captured the sisters in a yearly tradition, providing a unique and enduring glimpse into the passage of time and the bonds of family.
1976
The sisters saw that Nixon was bored and posed for the camera. Standing shoulder to shoulder, the four looked natural as their photographer set up everything. The spontaneous decision to pose together reflects the close bond and playful dynamic among the sisters. With their photographer capturing the moment, they effortlessly exude a sense of ease and familiarity, creating a timeless snapshot of their sisterly connection.
As you can see, the picture turned out fantastic and professional. Nixon, his wife, and her sisters loved the concept and decided to pose together every year they got together. In addition, they decided to keep the same filter and order for consistency over the years. Although the first was taken in 1974, this photo didn’t survive, so we saw the first one from 1975. The sisters’ willingness to pose that day sparked an incredible tradition, capturing the essence of time and family. With consistency in filter and order, this photographic journey has become a remarkable testament to their enduring bond, spanning over four decades.
1977
One central theme in this work of art is time. Earlier, we can see that the sisters remained unchanged from year to year; later, the pictures were more revealing. The progression of time is evident in the evolving nature of the photographs, with earlier images depicting the sisters in a timeless state, seemingly unaffected by the passage of years. However, as the series of photographs continues, the effects of time become more pronounced, revealing the inevitable changes that occur over the years. This exploration of time adds depth to the artwork, inviting viewers to reflect on the passage of time and the ways in which it shapes our lives.
In addition, the ebb and flow of trends and fashions over time can be seen here, as the sisters kept on top of it all, at least with what they wore during the family get-togethers. In the 40 years since the mid-’70s to 2014, people dressed and displayed themselves in public changed dramatically, as you can see through the sisters’ annual photo. The evolving fashion choices in the sisters’ annual photos serve as a fascinating reflection of changing times and trends. These images not only capture the passage of time but also the adaptability of the sisters in embracing new styles while preserving their enduring connection, making this photographic series a captivating study of both time and family.
1978
Nicholas Nixon’s creation was not intended to generate the excitement around the world that it did, but it attracted the attention of several preeminent art institutes. Despite its humble beginnings, the series of photographs garnered significant acclaim and recognition from esteemed art institutions, highlighting the power and impact of Nixon’s work. The unexpected attention speaks to the universal themes and profound resonance of the artwork, which transcends its original intent to become a celebrated and influential contribution to the art world.
Nixon was rewarded for his work by headlining an exhibition in New York’s Museum of Modern Art (MOMA) called “Nicholas Nixon: Forty Years of the Brown Sisters.” Although he began shooting pictures of the sisters in 1974, Nixon didn’t think it was up to par and chose not to include them. In 2014, he began revealing some fascinating things about the up-and-coming piece. Nicholas Nixon’s unexpected success with the Brown Sisters’ series led to an exhibition at New York’s Museum of Modern Art (MoMA), showcasing “Nicholas Nixon: Forty Years of the Brown Sisters.” His initial hesitation to include the early photos demonstrates how the project evolved into a remarkable and celebrated art piece over time, offering a unique perspective on the passage of time and family bonds.
1979
“The series grew out of boredom,” Nixon disclosed to The Guardian in an interview. “We’d go down to visit Bebe’s parents on weekends,” he continued, referring to his wife. This candid revelation sheds light on the organic origins of the photographic series, illustrating how mundane circumstances can spark creative endeavors. The casual nature of Nixon’s statement adds to the authenticity of the project, emphasizing its humble beginnings and the personal significance it holds for him and his wife.
“It was boring, a lot of socializing, we were expected to show up for dinner every day… Out of a friendly desperation, I said: ‘Let’s take a picture.’” When they began taking pictures, Heather was 23, Mimi was 15, Bebe was 25, and Laurie was 21. Over time, they realized it was a perfect depiction of the inevitable ageing process. Nicholas Nixon’s candid admission reveals the organic origin of the series, born out of the desire to alleviate boredom during family visits. Little did they know that this simple act of taking a picture would evolve into a profound reflection on the passage of time and the beauty of familial bonds, becoming an enduring work of art.
1980
Within the captivating MOMA exhibit, many facets illuminate these remarkable photographs. Yet, the most captivating revelation lies in their annual ritual. This ritual, documented through Nixon’s lens, serves as a poignant reminder of the passage of time and the enduring bonds of family and sisterhood. The annual gathering to take the sisters’ photograph becomes a ritualized moment of connection and reflection, providing a tangible marker of the years gone by and the changes experienced by the sisters. Through this ritual, viewers are invited to contemplate their own relationships and the significance of shared experiences in the fabric of their lives.
As one caption poignantly states, « It was after this second successful picture that the group agreed to gather annually for a portrait and settled on the series’ two constants: the sisters would always appear in the same order—from left to right, Heather, Mimi, BeBe, and Laurie — and they would jointly agree on a single image to represent a given year. » This deliberate commitment to consistency and collaboration lends a profound depth to their visual narrative, showcasing the passage of time and the enduring bonds of sisterhood that remain unchanged amid the ever-evolving years.
1981
The photos show the sisters as free spirits, enjoying the great outdoors and mother nature. No one expected the project to become an exhibition at one of the world’s most famous and prestigious art galleries. The unexpected journey from simple family snapshots to a celebrated exhibition underscores the universal appeal and artistic merit of Nixon’s work. The images capture moments of joy, connection, and the beauty of nature, resonating with audiences on a deeply human level. Their transformation into a prestigious art exhibition reflects the power of photography to transcend the ordinary and elevate everyday moments into timeless works of art.
Out of all of Nixon’s projects, this became his most popular and memorable. He was able to make a niche for himself with his photography. The sisters “seemed okay with it” when he suggested the idea, although he had no idea what would happen. There was one thing he was silent about, however… While the sisters embraced the idea, there was one unspoken element – the mystery of how this simple concept would transform into an iconic and celebrated photographic journey, resonating with countless viewers around the world, ultimately securing its place in the annals of art history.
1982
As the photos started coming together in a collection, Nicholas Nixon ensured the sisters’ identities would not be revealed. He wanted to be completely professional, allowing people to separate the work from his personal life. This deliberate choice to maintain the anonymity of the sisters underscores Nixon’s commitment to the integrity of his artistic vision. By withholding their identities, he shifts the focus onto the universal themes and emotions captured in the photographs, rather than on the individuals themselves. This decision reflects Nixon’s desire for the work to stand on its own merits, independent of any personal associations or distractions.
The decision to keep the sisters’ faces anonymous was made in the interest of allowing the audience to focus only on the work’s artistic value, not the background story of why these four women kept being photographed. The intense looks on the Brown sisters mesmerized viewers. By maintaining the sisters’ anonymity, Nicholas Nixon allowed the audience to immerse themselves in the visual narrative, emphasizing the power of their expressions and the artistry of the series, transcending personal details to create a universally relatable and mesmerizing body of work.
1983
Nicholas Nixon had two children with his wife, Bebe, who appears second from right below. This fact was well known, but information about the other sisters was less widely available. As they looked into the eyes of the sisters, people found themselves interested in learning more about them.
This is understandable, as it is human nature to be curious. Although viewers of the exhibit knew nothing of them except for what their faces looked like, a growing sense of empathy brought those in the audience to feel as if they grew up with the Browns themselves. Nicholas Nixon’s portrayal of the sisters, while keeping their identities discreet, invited viewers to connect with the universal aspects of family, aging, and time. It sparked a natural curiosity, making spectators feel as though they were part of the sisters’ journey, sharing in their experiences, and fostering a deep sense of empathy and connection.
1984
People pondered why they agreed to be photographed, what they were doing with their lives, and what they thought. Information should have been given, however, and all viewers could do was guess. The lack of concrete information about the sisters added an element of mystery to the project, sparking speculation and interpretation among viewers. Without context or background details, viewers were left to fill in the blanks and construct their own narratives about the sisters’ lives and experiences. This ambiguity invited engagement and reflection, allowing each viewer to bring their own perspectives and interpretations to the photographs.
The sisters’ lives remained a mystery, possibly adding to the exhibition’s popularity. Based on a lack of knowledge, those appreciating the project would use their imaginations to paint a picture to fill the gap. According to Nixon, this evoked a false sense of familiarity, which is one of the most poignant elements of the project. The absence of detailed information about the sisters allowed viewers to project their own interpretations and emotions onto the photographs, fostering a sense of intimacy and connection with the subjects. It’s this enigmatic quality that made the project deeply resonant, as viewers forged their own narratives, ultimately reflecting the universal experience of family and the passage of time.
1985
“We are all aware of time passing and us not being aware of it while it’s passing,” Nixon observed. “Seeing the sisters, for many people, gives them a reliable marker that a year has passed.” Nixon’s observation highlights the universal experience of time’s passage and the role that the sisters’ annual photographs play in marking its progression. By capturing the sisters at regular intervals over the years, the photographs serve as tangible reminders of the passage of time, offering viewers a sense of continuity and reflection on the passage of time in their own lives. The annual ritual of viewing the photographs becomes a poignant reminder of the fleeting nature of time and the importance of cherishing moments and relationships as they evolve over the years.
In some images in the series, the siblings appear closer to each other than in other years, like in 1985. This year, the sisters are seen touching each other physically, a fact that admirers of the photo project are prone to interpret as a sign the interpersonal relationships between them strengthened as the years went by. Nicholas Nixon’s observation about the sisters serving as a marker for the passage of time highlights the project’s unique ability to resonate with viewers on a personal level. The evolving physical closeness among the siblings, especially in the 1985 photo, reinforces the idea of growing bonds and enduring connections, further deepening the emotional impact of the series.
1986
The ever-so-slight changes from year to year contributed to the fans poring over the images with eagerness. The image below, from 1986, sticks out because the Brown sisters usually look serious, looking straight into the camera. This subtle deviation from their usual demeanor adds intrigue and complexity to the series, prompting viewers to scrutinize the photographs with heightened attention. The slight departure from their typical expression invites interpretation and speculation, inviting viewers to ponder the significance of this deviation and its potential implications for the sisters’ lives.
Here the slight smile on their faces was possibly due to their happening to be in a happy mood or in response to something funny Nixon, the photographer, had done to keep the mood light. Viewers welcomed this image, an exception to the sisters’ distinct sombre expression. The 1986 photograph offers a refreshing departure from the usual serious expressions, capturing a rare moment of genuine smiles, possibly prompted by a light-hearted atmosphere created by Nixon. This exception delighted viewers, adding a unique and endearing dimension to the project’s narrative.
1987
Nixon’s insights offer a fascinating glimpse into the genesis of this enduring project. In an interview, he unveiled the pivotal moment when the endeavour took a more profound turn. He recalled, « It didn’t get serious until the next year [1975], the year of Laurie—the woman on the right’s—college graduation. »
During this poignant milestone, he harkened back to the previous snapshot of the sisters and spontaneously decided to recreate it in the same order. Little did he foresee that this impromptu decision would set the stage for a remarkable journey that would span an astonishing 40 years, immortalizing the passage of time and the sisters’ unwavering connection.
1988
Once Nixon had a crystallized concept, he was excited to set it in motion. While the sisters embraced the idea, none could have fathomed that what began as a simple photograph would evolve into something of such monumental significance.
Reflecting on the pivotal moment, Nixon shared, « So it had two pictures in my hand, and the year space between them gave me the idea that it would be exciting to do it forever. » He approached them with the audacious proposal, met with laughter and a unanimous « Sure, » sealing the pact that would chronicle a timeless journey through the lens of an enduring sisterhood.
1989
Undoubtedly, the most mesmerizing and poignant transformation witnessed within these sisters is their journey through maturation. Beyond the evident shifts in their faces and skin, as the years gracefully unfurled, their fashion choices were a striking reflection of the ever-evolving times. Remarkably, while the sisters convened regularly, these subtle changes went largely unnoticed in their day-to-day interactions.
It’s only when these photographs are meticulously aligned year by year that the gradual evolution becomes vividly apparent. None among them could have foreseen that this captivating project would persist for countless decades, preserving a remarkable testament to the ceaseless march of time and the enduring bond of sisterhood.
1990
The enduring nature of this project has left fans and even Nixon in awe of its remarkable longevity. Nixon humorously acknowledges, « We joke about it, but everybody knows that certainly, I would intend that we would go on forever no matter what. » Yet, he has pondered potential alterations to the formula, contemplating reducing the photos from three to two and then to just one.
Playfully, he raises the intriguing question of what might happen if he ventures into the middle ground. With a touch of mystery, Nixon hints that the future of this captivating endeavour will unfold as a delightful enigma, promising continued surprises for both the sisters and their dedicated audience.
1991
In this photo, taken 16 years after Nixon first set his lens on the sisters, they begin showing outward signs of aging. Their personal lives remained a mystery for viewers, but it was known that Bebe had given birth to children. The passage of time becomes palpable in the subtle signs of aging visible in the sisters’ faces, underscoring the temporal dimension of Nixon’s photographic project. While viewers remained curious about the sisters’ lives and experiences, the revelation of Bebe’s motherhood adds a layer of depth to the narrative, offering a glimpse into their personal journeys amidst the passage of time.
It is only natural that this took a toll on her physical appearance. That being said, fans often remark that the Brown sisters have aged very well, maybe due to the classic look imparted by the black-and-white photography or good family genes. Here it seems Nixon captured something sad. Nicholas Nixon’s black-and-white photography emphasized the sisters’ timeless beauty while subtly revealing the passage of time. The hints of aging in this photo evoke a sense of nostalgia and reflection, making viewers ponder the complexities of life and the enduring bond captured by the series.
1992
In stark contrast to the earlier sad tone in their photographs, the Brown sisters of 1992 radiate genuine happiness and ease. Life, as it naturally does, ebbs and flows; in this particular moment, their spirits are undeniably buoyant. A heartwarming detail unfolds as Heather and Mimi tenderly clasp hands, an emblem of their close bond.
However, Laurie appears somewhat more reserved than usual, one hand nestled in her pocket and the other slightly distant from her sister, Bebe. It raises the intriguing possibility that Laurie might have grappled with a touch of jealousy, observing the deep connection shared by her other sisters, which left her feeling somewhat apart. This subtle dynamic adds a layer of complexity to the evolving narrative of these remarkable portraits.
1993
Despite the photo’s supposed summer setting in 1993, it doesn’t exude the warmth typically associated with that season. It leaves room for speculation whether the sisters intentionally opted for a more relaxed locale that year or if they were caught in an unexpectedly chilly evening.
The contrast between the sombre, darkened sky and the photo’s black-and-white colour scheme creates an intriguing juxtaposition. Yet, what truly captivates is the sisters’ undeniably high spirits. While their lips may not curve upward in traditional smiles, their eyes tell a different story, radiating a genuine, unspoken joy that transcends the gloomy backdrop. It’s a testament to the profound connection between these sisters, their emotions captured beautifully within the frame.
1994
One of the defining features of this project is its absence of professional makeup and styling. The result is an enduring sense of authenticity and honesty that permeates each photograph. The sisters appear refreshingly natural, donning the everyday clothing they happened to be wearing at the moment. An unmistakable lack of premeditated makeup application further accentuates the project’s genuine essence.
The photos offer a captivating glimpse into the objective reality of life, celebrating the authenticity of every wrinkle, crow’s feet, and bag under their eyes. As Bebe aptly puts it, « We just wear what we feel like wearing that day, » reinforcing the project’s commitment to candid and unfiltered storytelling.
1995
The closeness of the sisters is clear in this picture. Holding hands and smiling, the four gaze into the camera here with eyes clearly full of love for one another. This tender moment captures the deep bond and affection shared among the sisters, transcending the passage of time and life’s inevitable changes. Their intertwined hands and genuine smiles reflect a sense of unity and connection that is palpable to viewers, evoking feelings of warmth and nostalgia. In a world marked by constant flux, the enduring love and solidarity depicted in this photograph serve as a powerful reminder of the timeless bonds of family and sisterhood.
The age difference between them is apparent, as the older siblings show loose, wrinkled skin that is more worn than their youngest sister, second from left. Although life is full of hardships, the bonds of sisterhood give them strength and drive to overcome their problems. Nicholas Nixon’s photo project was just something extra to prove their bond. In this photo, the sisters’ unity and affection shine brightly, transcending the visible signs of aging. Their enduring bond is a testament to the strength of sisterhood, providing them with the resilience to face life’s challenges together. Nicholas Nixon’s project beautifully captures and reinforces the depth of their connection.
1996
The photography project features his sisters-in-law only, so one interviewer asked Nixon about his own family – was he interested in pursuing such an experiment with them? Nicholas didn’t know how to respond exactly, because his own parents never had any more siblings so it couldn’t be the same.
He said he missed out on the sibling dynamic in the family, being an only child, which possibly gave him the motivation to feature his wife and her sisters in the project. He also said he considers his sisters-in-law to be his own siblings. Nicholas Nixon’s unique perspective as an only child, yearning for the sibling dynamic, likely played a role in his motivation to feature his wife and her sisters in the project. His deep connection with his sisters-in-law, whom he considers his own siblings, added a personal and emotional dimension to the photographic series, further strengthening its impact and resonance.
1997
« Being an only child, it was gratifying and lovely to be embraced by this family, » Nixon reflects with heartfelt appreciation. He acknowledges that beneath the surface of these photographs, a deep wellspring of affection and support flows, reinforcing the unbreakable bond that has developed over the years.
In a remarkable twist, the act of capturing these annual moments served to fortify the connection between Nixon and the sisters. Looking back at the thirty-some pictures, he shares, « It’s like they’re of my sisters. I can feel myself getting old with them. And I’m part of them; they’re part of my love. » These portraits have chronicled the sisters’ journey and become a testament to the profound kinship and love that transcends bloodlines, bringing them all closer together.
1998
Nicholas Nixon is best known for the project with his sisters-in-law, but he has been recognized also for his other black-and-white photography. His work often explores themes of intimacy, family, and the passage of time, capturing moments of everyday life with a poignant sense of authenticity and emotion. Through his distinctive black-and-white aesthetic, Nixon creates evocative images that resonate with viewers on a deep and personal level. His contributions to the field of photography extend beyond his renowned project with his sisters-in-law, earning him acclaim and recognition as a skilled and insightful photographer in his own right.
The choice to use monochrome to express landscapes and people gives Nixon the ability to portray facial expressions and textures with more vividness and distinction than colour can offer. This may be one of the longest art projects that has ever been undertaken, at 40 years. This may be what he is known best for, but it was completely unplanned at the start. Nicholas Nixon’s mastery of black-and-white photography extends beyond the Brown Sisters project, allowing him to capture the depth of emotion and detail in both landscapes and portraits. The unexpected and enduring nature of the 40-year project adds to its significance, making it a remarkable and iconic achievement in the world of art.
1999
By 2006, the Museum of Modern Art had gotten wind of Nixon’s unique project and contacted him to exhibit it in the prestigious gallery. This recognition by one of the most esteemed art institutions in the world solidified Nixon’s status as a celebrated photographer and underscored the significance of his project with his sisters-in-law. The exhibition at the Museum of Modern Art provided a platform for Nixon’s work to reach a wider audience and cemented its place in the annals of contemporary photography. It also affirmed the enduring relevance and universal appeal of Nixon’s exploration of time, family, and human connection through his evocative black-and-white imagery.
The exhibit was also brought to the Modern Art Museum of Fort Worth, Texas for a special feature. After this, it was extended to another exhibit titled “Family Album” that featured at the MOMA in 2010. Nixon was praised for his artwork by prestigious art establishments. Two Guggenheim Fellowships and three National Endowment for the Arts Fellowships were awarded to him. Nicholas Nixon’s project gained recognition from prestigious art institutions, with exhibitions at MoMA and the Modern Art Museum of Fort Worth. His exceptional work earned him two Guggenheim Fellowships and three National Endowment for the Arts Fellowships, solidifying his status as a renowned and accomplished artist.
2000
Certain guidelines had to be agreed upon for the Brown sisters’ annual photo shoot. These features came to be over the years, such as the simplicity and organic nature of the shots, not to mention the set order. These guidelines ensured consistency and continuity throughout the project, allowing viewers to witness the sisters’ progression through time in a cohesive and systematic manner. The simplicity and organic nature of the shots allowed the sisters’ natural beauty and personalities to shine through, while the set order provided a framework for comparison and reflection as the years passed. Overall, these guidelines contributed to the enduring success and impact of the project, creating a timeless and compelling portrait of sisterhood and the passage of time.
The audience doesn’t have to match faces 40 years apart but merely look at where a given sister is standing in relation to the others. “Also significant and unchanging, is the fact that each portrait is made with an 8″ × 10″ view camera on a tripod and is captured on a black-and-white film negative,” the MOMA added. These established guidelines, including the use of an 8″ x 10″ view camera on a tripod and black-and-white film, provide a consistent framework that allows viewers to focus on the sisters’ timeless connection and the subtle shifts in their positions over the years, enhancing the impact and continuity of the project.
2001
The 40 captivating images comprising the Brown sisters’ project underwent a necessary modification when displayed at the MOMA, resized to suit the gallery’s confines. Each museum-printed photo measured 20″ by 24″, meticulously showcasing the enduring journey of these remarkable siblings.
When questioned about the legacy his artistry would leave behind, Nixon responded with characteristic modesty, remarking, « The world is infinitely more interesting than any of my opinions about it. » In this humble sentiment lies the essence of his work—a testament to the captivating world he observed and documented, leaving us with a tangible record of the moments he witnessed through his lens.
2002
Nixon started off his project by utilizing his sisters-in-law as a sort of canvas. Throughout the years, their portraits have been unexpectedly revealing. This ongoing photographic journey has offered glimpses into the complexities of human relationships, the passage of time, and the nuances of individual identity. Despite the initial simplicity of the concept, the project has evolved to become a profound exploration of the human experience, inviting viewers to reflect on their own lives and relationships as they witness the subtle changes and enduring bonds captured in each photograph.
The lens recorded the dynamic and ever-changing relationships between the sisters for viewers to see, a testament to the close bonds between the sisters. Regarding the personalities of the sisters, the only things they gave away were how they dressed, their haircuts, and how they held themselves. This left very little that could be said for certain about any of them. Nicholas Nixon’s project beautifully captured the evolving relationships among the sisters, offering viewers a unique glimpse into their bonds while leaving their personalities largely a mystery, emphasizing the power of visual storytelling and the enduring appeal of the series.
2003
A fascinating trend that unfolds over the years is the sisters’ growing ease in sharing the frame, a testament to the deepening bonds that comfort them. In the poignant 2003 photograph, Heather’s gentle hand on Mimi’s head speaks volumes—a silent promise of eternal care and support.
Yet, the nuanced dynamics within the frame reveal a more complex narrative. The other sisters appear less at ease, their expressions hinting at underlying concerns. The sombre choice of dark clothing seems to mirror the individual sentiments of each sister on this moody and windswept day, adding layers of emotion to the captivating visual tale captured by the lens.
2004
The 2004 photograph stands out among the others for several compelling reasons. While typically, the only discernible marker of the year is their fashion style, here, something unique catches the eye. You’ll see a cell phone casually resting on Heather’s waistband.
At this moment, the winds of change were blowing, and with them, the evolving gadgets of the 21st century. Until now, none of the sisters had hinted at the scientific and technological advancements that characterized contemporary times. This subtle addition of a cell phone is a delicate yet powerful marker of the shifting landscape of their lives and the world around them.
2005
In this photo, three sisters gaze into the camera while Laurie on the far right looks off to the distance on her right. Her face seems to give a feeling of angst, and we can only wonder what was on her mind the day that photo was taken.
The other three look very comfortable, however. Bebe has her arm around sister Laurie, but it doesn’t seem to have improved her mood very much. Maybe there was a sibling disagreement that remained unresolved at the time, despite the good intentions of the sisters. This intriguing photo captures a moment of complex emotions within the sisters, with Laurie’s distant gaze hinting at inner turmoil while the others appear comfortable but unable to alleviate her mood. It leaves viewers pondering the untold stories and dynamics that unfolded on that particular day, adding depth to the project’s narrative.
2006
In this particular photograph, the evolution in their fashion choices is strikingly apparent. The sisters have transitioned from relatively gender-neutral clothing to outfits that subtly embrace their femininity. Notably, Mimi stands out as she confidently reveals more skin and wears a radiant smile, signifying a growing sense of self-assuredness.
Intriguingly, Laurie dons a similar disconcerted expression. It suggests that during these particular years, Laurie may have faced unique challenges or personal growth experiences that set her apart from the others. The photograph leaves the viewer with a poignant impression of the individual journeys each sister undertook during this transformative period. This photograph vividly captures the sisters’ evolving fashion choices, with Mimi embracing her self-confidence, while Laurie’s disconcerted expression suggests unique personal experiences. It invites viewers to contemplate the individual journeys and challenges each sister faced during this transformative period, deepening the project’s narrative.
2007
If 2006 was the year the sisters showed off their feminine side, 2007 was the year that they seemed to go back to their usual, earthy style. By not altering their appearances with makeup, the viewer is given a glimpse into what changed in their faces over the years and decades.
Instead of photography solely done in the name of aesthetics, this work shows the relationship between the sisters and how the four aged over time. All the other elements to be found in the images are secondary. This photograph vividly captures the sisters’ evolving fashion choices, with Mimi embracing her self-confidence, while Laurie’s disconcerted expression suggests unique personal experiences. It invites viewers to contemplate the individual journeys and challenges each sister faced during this transformative period, deepening the project’s narrative.
2008
In this particular photo, Mimi’s demeanour appears different from her usual self. She deliberately positions herself behind BeBe, seeking the shadows rather than the forefront of the photograph. Notably, Mimi’s physical appearance had undergone a significant transformation four years earlier, with her decision to cut her hair short, lending her a more mature and severe aura.
In contrast, her sisters exude a sense of calm and collectedness, gracefully embracing their later years and forging deep bonds of fondness and care for one another. The photograph captures a moment of individual growth and evolving dynamics within the sisterhood, offering a glimpse into their unique journeys through time.
2009
In certain years, the changes in the Brown sisters are strikingly evident. In this particular photograph, some of the sisters appear to have experienced weight loss and seem to have aged more than just a year compared to the previous photo. It’s a poignant reminder that the passage of time affects us all, bit by bit, every year.
What makes these images truly authentic and powerful is their unapologetic portrayal of wrinkles, loose skin, and discoloured skin—the natural consequences of ageing. Yet, beneath these physical changes, the enduring strength of sisterhood and family shines through, growing stronger with each passing year. This series is a beautiful testament to the resilience and deepening bonds that time fosters among loved ones.
2010
A notable pattern emerges in the series, where Heather, Mimi, and Bebe often wear consistent expressions throughout most of the photographs. However, Laurie tends to stand out with her varied expressions of angst, sadness, and tension. This recurrent theme in Laurie’s expressions takes an intriguing turn in this particular year, as she appears placid and at peace.
It raises the hope that during this specific period, Laurie may have found a sense of calm and tranquillity in her personal relationship with the outside world. The photograph serves as a poignant reminder of the multifaceted emotional journeys each sister undertook over the years, with the possibility of growth and inner peace amid life’s challenges.
2011
There are no pictures where the sisters appear estranged from one another, but there are some in which they indeed seem closer than others. This picture, for example, shows Heather and Mimi looking off into the distance as well as lacking physical contact with one of their fellow sisters.
Bebe and Laurie, on the other hand, appear to have gotten closer. Their heads are touching, their arms are around one another, and both are staring straight into the camera. Here the image and the sisters seem divided in two. This photograph subtly highlights the varying degrees of closeness among the sisters, with Heather and Mimi appearing more distant while Bebe and Laurie exhibit a stronger connection, creating a visual divide that reflects the complexities of their relationships and individual dynamics.
2012
The 2012 photograph shows a heartwarming transformation as the sisters come together, physically touching and embracing one another. With outstretched arms, they draw closer into a loving and affectionate embrace, reflecting a deep appreciation for each other and their unbreakable bond.
It’s as if they are conveying the message that every moment spent together is a precious gift to be cherished. Laurie appears notably happier in this picture compared to previous years, signifying a heartening improvement in her disposition. Witnessing this positive change in Laurie’s demeanour is a testament to the enduring power of sisterhood and the capacity for growth and happiness that life can offer, even after facing challenges.
2013
Indeed, the picture quality offers a compelling narrative of the 40-year journey. While the photos adhere to the same filter and size, the evolution of camera technology is an unspoken presence in the series. Through the lens, we witness the sisters’ undeniable ageing over the years.
Deciphering who aged the most is subjective, as each woman led her unique life, with distinct experiences that shaped her ageing and maturation differently from her sisters. This variation in their life paths adds depth to the story these photographs tell, reminding us that the passage of time is a profoundly personal and individual journey, even within the bonds of sisterhood.
2014
As forty long and eventful years have unfolded since the inception of their remarkable journey, the Brown sisters decided that the time had come to draw their project to a close. Their decision to conclude it on a high note was met with heartfelt appreciation from their devoted fans.
This final photograph is a fitting conclusion to an incredible exhibition and an enduring work of art. Now, the sisters can collectively reflect on these pictures and cherish their pivotal roles in this critical artistic endeavour. Their timeless journey captured through the lens is a testament to their enduring sisterhood and a poignant reminder of the indelible mark they’ve left on the world of art and photography.
