1975
In 1975, during a somewhat uneventful family dinner with his wife’s relatives, Nicholas Nixon refused to succumb to boredom. Adhering to the age-old axiom, “fortune favors the bold,” he resolved to inject some excitement into the evening. With a relaxed yet professionally poised demeanor, he approached Bebe, his wife, and her three sisters, presenting them with an unconventional proposition. Nixon inquired whether they would be amenable to participating in an impromptu garden photoshoot, capturing their candid poses.
Little did they foresee that this spontaneous decision would mark the beginning of an exceptional artistic journey. It serves as a reminder that occasionally, the most extraordinary experiences emerge from audacious and unforeseen choices, with Nixon’s inventive initiative that evening shaping an artistic legacy spanning four remarkable decades.
1976
Recognizing Nixon’s boredom, the sisters graciously agreed to become his subjects. They arranged themselves in a natural, shoulder-to-shoulder formation while Nixon prepared his camera. The resulting photograph bore a striking blend of professionalism and artistic finesse, eliciting admiration from Nixon, his wife, and her sisters.
This marked the inception of an annual tradition, where they would gather for a group photo. To maintain a sense of continuity and consistency over the years, they committed to using the same filter and maintaining the original order. While the actual inaugural photo dates back to 1974, regrettably, it did not survive, making the 1975 capture the earliest surviving record of this cherished tradition.
1977
A prominent thematic thread running through this artistic journey is the concept of time. Initially, we observe the sisters’ remarkable consistency, as they appear largely unchanged from one year to the next. However, as we progress through the years, the photos gradually reveal more about their individual growth and the evolution of their relationship. Moreover, the ebb and flow of fashion trends over time is evident, with the sisters keenly adapting their attire for each family gathering.
Over the span of four decades, from the mid-’70s to 2014, we witness a significant transformation in how people present themselves in public, clearly illustrated through the sisters’ annual photographs. This project serves as a captivating visual chronicle of not only their lives but also the changing times around them.
1978
Nicholas Nixon’s artistic endeavor was initially not conceived to garner the global acclaim it ultimately did. Yet, its profound impact captured the attention of esteemed art institutions. As a testament to the recognition his work garnered, Nixon was honored with a headline exhibition at New York’s Museum of Modern Art (MoMA) titled “Nicholas Nixon: Forty Years of the Brown Sisters.”
Interestingly, although he commenced photographing the sisters in 1974, Nixon himself felt it didn’t meet his standards and chose to exclude it from the series. However, in 2014, he began unveiling captivating insights and revelations about this previously omitted piece, shedding new light on the evolving narrative of the Brown Sisters’ remarkable journey.
1979
“The series grew out of boredom,” Nixon candidly shared in an interview with The Guardian. Expanding on the genesis of this project, he elaborated, “We’d go down to visit Bebe’s parents on weekends,” referring to his wife. “It was kind of 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.'”
At the outset of their photographic journey, Heather was 23, Mimi was 15, Bebe was 25, and Laurie was 21. As the years unfolded, they gradually came to realize that this series perfectly encapsulated the inexorable passage of time and the profound transformations that come with it.
1980
The MOMA exhibit provides valuable insights into various facets of these photographs, with a particular focus on the captivating decision to transform it into an annual tradition.
As one caption aptly puts it, “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 choice not only adds depth to the narrative but also underscores the project’s meticulous consistency and commitment. It’s a fascinating revelation, shedding light on the collaborative spirit that has driven this remarkable visual journey for decades.
1981
In these photographs, the sisters are portrayed as free spirits, reveling in the beauty of the great outdoors and Mother Nature’s embrace. Their journey began without any inkling that it would evolve into an exhibition showcased at one of the world’s most renowned and prestigious art galleries. Of all of Nixon’s projects, this one stands out as his most popular and enduring, carving a unique niche for him in the world of photography.
Interestingly, when Nixon first broached the idea with the sisters, they appeared amenable, as he noted they “seemed okay with it.” Yet, none of them could have foreseen the remarkable journey it would set in motion. Amidst the excitement and anticipation, there remained one unspoken aspect, a hidden layer yet to be revealed…
1982
As the collection of photos took shape, Nicholas Nixon maintained a deliberate effort to protect the sisters’ identities, prioritizing professionalism and the separation of personal life from his work. The choice to keep the sisters’ faces veiled stemmed from a commitment to enable the audience to concentrate solely on the artistic merit of the work, divorcing it from the backstory of why these four women were repeatedly captured.
This anonymity allowed viewers to engage deeply with the enigmatic allure of the Brown sisters, their intense gazes captivating all who beheld the images. The deliberate anonymity shrouding their identities added a layer of intrigue to the series, inviting viewers to explore and interpret the photographs solely through their artistic lens, unburdened by the distractions of personal details.
1983
Nicholas Nixon and his wife, Bebe, raised two children together, with Bebe standing second from the right in the photos below. While this aspect of their lives was relatively well-documented, information about the remaining sisters remained less widely known. As viewers gazed into the expressive eyes of these enigmatic sisters, a natural curiosity stirred within them. This innate human inclination to seek understanding and connection propelled their interest in learning more about the Brown sisters.
Despite having no knowledge of their individual histories beyond their visages, a growing sense of empathy welled up among exhibit attendees. This profound connection drew the audience into a unique bond, making them feel as though they had shared in the Browns’ journey, fostering a deep and meaningful connection through the power of these photographs.
1984
Viewers of the photographs found themselves contemplating the sisters’ motivations for participating in this extensive project, curious about their life journeys, and intrigued by the thoughts behind those enigmatic gazes. Regrettably, no information was provided, leaving viewers to rely on their imagination and conjecture. The deliberate shroud of mystery surrounding the sisters’ lives perhaps contributed to the exhibition’s allure, inspiring audiences to engage more deeply.
In the absence of concrete facts, those who appreciated the project were compelled to harness their creative faculties, filling the informational void with their own imagined narratives. According to Nixon, this process fostered a unique sense of false familiarity, a poignant element that resonated deeply with the project, inviting viewers to forge their own emotional connections to the Brown sisters through their interpretations.
1985
“We are all aware of time passing and us not being aware of it while it’s passing,” noted Nixon. “Seeing the sisters, for a lot of people, gives them a reliable marker that a year has passed.” In certain images within the series, we observe the siblings appearing physically closer to one another than in other years, as exemplified in the photos from 1985.
This particular year, the sisters are depicted touching each other, a detail that admirers of the photo project often interpret as indicative of the deepening of their interpersonal relationships as the years unfolded. This tangible evolution within the images serves as a poignant visual representation of the sisters’ enduring bond and the profound impact of the passage of time on their lives.
1986
The subtle yet discernible changes from one year to the next added to the fascination of devoted fans who eagerly examined each image. One standout in particular is the photograph from 1986, a departure from the Brown sisters’ typically serious demeanor as they gaze directly into the camera.
In this instance, the slight smiles on their faces may have emerged from a fortuitous moment of happiness or perhaps in response to something lighthearted that Nixon, the photographer, did to create a jovial atmosphere. Viewers embraced this image as an exception to the sisters’ characteristic solemn expressions, welcoming the refreshing glimpse into a more candid and joyful facet of their lives. It served as a delightful departure from the usual, offering a unique perspective on the Brown sisters’ emotional range.
1987
Nixon shed further light on his vision behind capturing these enduring moments. In an interview, he candidly shared, “It didn’t really get serious until the next year [1975], the year of Laurie—the woman on the right’s—college graduation.” He recalled taking the previous year’s photo of the sisters and mentioned, “That’s when I took the second one, and kind of on a whim, said let’s do it in the same order.”
Little did he realize that this spontaneous decision would mark the beginning of a remarkable 40-year journey. Nixon’s reflection on the series’ origins underscores the serendipitous nature of creative ventures, revealing how a casual decision could evolve into a profound and enduring artistic undertaking.
1988
Once Nixon had a crystallized concept in mind, he was eager to set the plan in motion. The sisters, being on board with the idea, never anticipated that what started as a single photo with siblings would snowball into something of such immense significance. Nixon reminisced, “So it was having two pictures in my hand, and the year space between them that gave me the idea that it would be really interesting to do it forever.”
He decided to broach the idea with them, asking if they would be willing to embark on this indefinite journey. Their response was filled with laughter and a resounding “sure.” This casual yet pivotal moment marked the inception of a remarkable project that would span four decades, a testament to the power of spontaneity and shared enthusiasm.
1989
One of the most intriguing transformations the sisters have experienced is their maturation over the years. Aside from the evident shifts in their facial features and skin as they’ve aged, their fashion choices have also evolved in sync with the changing times. Surprisingly, these alterations often went unnoticed during their regular get-togethers.
It’s only when you carefully examine their photographs year by year that you begin to grasp the extent of these changes. None of them could have predicted that this project, spanning several decades, would unfold in such a remarkable way. The gradual evolution of their appearances, both in terms of style and physicality, provides a captivating glimpse into the passage of time and the enduring bond between these remarkable sisters.
1990
Some fans couldn’t help but comment on the unexpectedly enduring nature of the project, and even Nixon himself chimed in on the subject. “We joke about it,” Nixon humorously shared. “But everybody knows that certainly, my intention would be that we would go on forever no matter what.”
In addition to the jesting, Nixon disclosed that he had contemplated making a few adjustments to the project’s format, saying, “To just take three, and then two, and then one. The joke question is what happens if I go in the middle. I think we’ll figure that out when the time comes.” This candid glimpse into Nixon’s perspective highlights both the lighthearted spirit surrounding the project’s longevity and the potential for future creative evolution in its execution.
1991
In this photograph, captured 16 years after Nixon initially trained his lens on the sisters, we start to see noticeable outward signs of aging. While the details of their personal lives remained a well-guarded mystery for viewers, it was known that Bebe had become a mother, and it’s only natural that this life experience would leave its mark on her physical appearance.
Nevertheless, fans frequently comment on how gracefully the Brown sisters have aged. This enduring allure could be attributed to the timeless quality conveyed by the black and white photography, or perhaps the result of favorable genetics within their family lineage. In this particular image, it appears that Nixon has skillfully captured a poignant and reflective moment, adding a layer of depth to the sisters’ visual chronicle.
1992
In contrast to the previous photograph where the Brown sisters appeared somewhat melancholic, the snapshot from 1992 paints a different picture of their emotions. In this moment, they radiate happiness and a sense of ease. Life naturally has its share of ups and downs, and in this particular instance, the siblings exude a genuine sense of joy.
Notably, Heather and Mimi are seen holding hands, a testament to their close bond, while Laurie appears slightly more reserved than usual. She keeps one hand in her pocket and the other tucked away from her sister, Bebe. It’s possible that Laurie may have experienced a tinge of jealousy, feeling somewhat left out of the tight-knit relationship the other sisters shared. This photograph captures a complex blend of emotions within this enduring sibling dynamic.
1993
The photograph is reportedly from the summer of 1993, but it doesn’t convey a particularly warm atmosphere, suggesting that wherever the family gathered that year, the weather might not have been as expected. It’s plausible that they decided to break from tradition and opted for a colder destination, or perhaps they simply encountered an unexpectedly chilly evening.
Despite the somber backdrop characterized by the dark, gloomy sky and the photo’s black and white palette, the sisters appear to be in good spirits. While their mouths may not display overt smiles, the twinkle in their eyes unmistakably reflects their inner joy and connection, providing a poignant contrast to the atmospheric conditions. This juxtaposition adds depth to the photograph, capturing a moment of shared warmth amid external coolness.
1994
A distinctive characteristic of the project is the absence of professional makeup and styling in the photographs, which consistently lends an air of authenticity and candor to the images. The sisters appear refreshingly natural, donning everyday attire that happened to be their choice at the moment. It’s evident that they didn’t preen themselves with makeup before the shots, further enhancing the genuineness of the project.
These photos offer a captivating glimpse into the nuances of life, showcasing elements such as the laughter lines and the subtle signs of aging like eye bags. As Bebe succinctly puts it, “We just wear what we feel like wearing that day,” emphasizing the project’s commitment to capturing the unfiltered essence of the sisters’ lives as they unfold over time.
1995
This picture vividly illustrates the deep bond shared among the sisters. They stand hand in hand, smiling warmly, their eyes reflecting a profound love for each other. The passage of time is unmistakable, with the older siblings displaying loose, wrinkled skin that bears the marks of experience, in contrast to their youngest sister, positioned second from the left.
While life presents its fair share of challenges, it’s evident that the enduring sisterhood among them serves as a wellspring of strength and resilience, propelling them to conquer life’s adversities together. Nicholas Nixon’s enduring photo project, in many ways, stands as a poignant testament to the unbreakable ties that bind them, capturing the essence of their unwavering connection amid the ever-changing landscape of their lives.
1996
This picture vividly illustrates the deep bond shared among the sisters. They stand hand in hand, smiling warmly, their eyes reflecting a profound love for each other. The passage of time is unmistakable, with the older siblings displaying loose, wrinkled skin that bears the marks of experience, in contrast to their youngest sister, positioned second from the left.
While life presents its fair share of challenges, it’s evident that the enduring sisterhood among them serves as a wellspring of strength and resilience, propelling them to conquer life’s adversities together. Nicholas Nixon’s enduring photo project, in many ways, stands as a poignant testament to the unbreakable ties that bind them, capturing the essence of their unwavering connection amid the ever-changing landscape of their lives.
1997
“Being an only child, it was really gratifying and lovely to be embraced by this family,” Nixon explained with heartfelt sincerity. “There’s still a groundwater of affection and support.” Remarkably, the act of capturing these photographs served to strengthen the bond between him and the sisters even further.
“I look back at these thirty-some pictures,” he reflects, “and 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.” Nixon’s words underscore the profound connection he forged with the sisters over the course of this enduring project, highlighting the genuine affection and kinship that developed through their shared experiences, both in front of and behind the lens.
1998
While Nicholas Nixon is most renowned for his iconic project featuring his sisters-in-law, his artistic talents extend to a broader portfolio of black and white photography. His deliberate use of monochrome not only allows him to capture landscapes and individuals but also empowers him to convey facial expressions and textures with heightened vividness and distinctive clarity that color photography often struggles to replicate.
Remarkably, his work with the Brown sisters stands as one of the lengthiest art projects ever undertaken, spanning an impressive 40 years. What’s particularly fascinating is that this monumental project was entirely unplanned from the outset, underscoring the organic and enduring nature of his creative exploration with his sisters-in-law.
1999
In 2006, the Museum of Modern Art recognized the distinctiveness of Nixon’s project and reached out to him, offering the prestigious opportunity to showcase it within their hallowed gallery. Subsequently, the exhibit also graced the halls of the Modern Art Museum of Fort Worth, Texas, as a special feature. This acclaim continued to grow as the project found a place in another exhibition titled “Family Album,” which was prominently featured at the MOMA in 2010.
Nixon’s artistic prowess earned accolades from esteemed art institutions, further solidified by his receipt of two Guggenheim Fellowships and three National Endowment for the Arts Fellowships. This recognition underscored the profound impact of his work and cemented his status as a respected figure in the world of contemporary photography.
2000
Certain guidelines had to be established for the Brown sisters’ annual photo session, and these defining elements evolved gradually over the years, emphasizing simplicity, an organic aesthetic, and a consistent arrangement of the sisters. Remarkably, viewers need not compare faces separated by four decades; instead, they can discern the passage of time by examining the sisters’ relative positions within the frame.
As aptly emphasized by the MOMA, “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.” These unwavering parameters underscore the project’s distinctiveness and provide viewers with a profound insight into the sisters’ evolving journey through the lens of this enduring photographic endeavor.
2001
When the 40 images from the Brown sisters’ project were exhibited at the MOMA, they underwent adjustments to accommodate the gallery space and were resized to a uniform 20″ by 24″ format for museum printing. When asked about the legacy his art was creating, Nixon responded humbly, stating, “The world is infinitely more interesting than any of my opinions about it.”
While we may not have access to Nicholas Nixon’s personal viewpoints on the world, his body of work serves as a valuable record of his unique perspective and what he chose to capture within it. Through his photography, we gain insight into the facets of life and relationships that intrigued and resonated with him, enriching our understanding of the world he observed and documented.
2002
Nixon embarked on his project with his sisters-in-law as his creative subjects, using them as a canvas to capture their evolving journey through the years. As the project unfolded, their portraits became unexpectedly revealing, offering viewers a glimpse into the intricate and ever-evolving relationships between the sisters, a powerful testament to the profound bonds they shared.
When it came to revealing their personalities, the sisters disclosed very little, with subtle cues found in their clothing choices, hairstyles, and posture. This enigmatic aspect of their portraits left much to the imagination, leaving viewers with few certainties about the intricacies of their individual personalities and fostering a sense of intrigue and mystery that added depth to the project.
2003
A noticeable trend that unfolds over the years is the sisters’ growing ability to share the frame in a more natural and comforting manner as time progresses. A poignant example can be found in this 2003 photograph, where Heather tenderly places her hand on Mimi’s head, conveying a reassuring sense of enduring care and support. In contrast, the other sisters appear less at ease, their expressions hinting at underlying concerns or unease.
The choice of dark clothing in this particular image appears to mirror the individual emotional nuances of each sister, casting a moody and introspective atmosphere over the scene. This photograph serves as a striking testament to the evolving dynamics and unspoken connections that the Brown sisters share as they navigate the passage of time.
2004
The 2004 photograph stands out from the others in several notable ways. Typically, the primary indicator of the year is the evolving fashion style of the sisters. However, in this particular image, there is an additional and intriguing detail. If you observe closely, you’ll notice a cell phone resting on Heather’s waistband. This subtle addition signifies a changing era, where technological advancements were becoming increasingly integrated into daily life.
Up until this point, the sisters’ portraits had offered little insight into the scientific and technological progress that characterized the 21st century. This unexpected glimpse of modernity within the frame serves as a compelling marker of the times and underscores how societal changes can be subtly reflected in the most personal of moments.
2005
In this particular photograph, three of the sisters direct their gaze towards the camera, while Laurie, positioned on the far right, appears to be lost in thought, her gaze directed off to the distance on her right. Her facial expression carries a sense of unease, leaving us to ponder the thoughts that occupied her mind on the day the photo was taken.
In contrast, the other three sisters exhibit an air of comfort and ease. Bebe, in a gesture of support, has her arm around Laurie, though it appears to have had limited impact on improving her mood. It’s possible that a lingering sibling disagreement remained unresolved at the time, despite the well-intentioned efforts of the sisters to foster a sense of unity and closeness in the portrait. This image hints at the complexities and nuances of their sisterly bond.
2006
In this photograph, it’s quite evident that a significant evolution has taken place in the sisters’ fashion choices. They have transitioned from relatively gender-neutral attire to clothing that exhibits a greater degree of femininity. Notably, Mimi appears to be embracing her individuality with a more revealing outfit and a confident smile, reflecting a growing sense of self-assuredness.
Interestingly, Laurie continues to wear a somewhat disconcerted expression, raising intriguing questions about her experiences during this period. The photograph leaves us with the impression that Laurie may have faced greater challenges or personal struggles compared to the other sisters during these particular years, emphasizing the unique and dynamic nature of their individual journeys within the broader context of their enduring sisterhood.
2007
If 2006 was the year when the sisters appeared to embrace a more feminine style, 2007 marked a return to their customary, earthy fashion. The absence of makeup serves as a poignant choice, providing viewers with an unfiltered look into the genuine changes that unfolded in their faces over the years and decades.
This body of work transcends mere aesthetic considerations; it delves into the profound dynamics of the sisters’ relationship and offers a unique perspective on how they have collectively aged through the relentless march of time. In these images, all other elements take a secondary role, emphasizing the project’s core focus on capturing the enduring essence of the Brown sisters’ bond and the authentic portrayal of their shared journey through the years.
2008
In this particular photograph, Mimi appears to deviate from her usual self. She seems to be deliberately positioning herself behind BeBe, choosing to stay in the background rather than the forefront of the image. Notably, Mimi’s appearance had undergone more significant changes compared to her sisters.
Four years earlier, she had opted for a short haircut, which lent her a more mature and serious countenance. In contrast, her sisters emanate an air of composure and self-assuredness, gracefully growing into their later years and nurturing a deep fondness and care for one another. This image hints at the unique journeys and evolving dynamics within the sisterhood, with Mimi’s distinct demeanor prompting curiosity about the experiences that shaped her during this period.
2009
Certain years in the series reveal strikingly noticeable changes. In this instance, it’s evident that some of the sisters have experienced weight loss and appear noticeably older than they did just a year prior. Aging is an incremental process, affecting us all year by year, and the Brown sisters are no exception to this universal truth.
In this photograph, the presence of wrinkles, loose skin, and changes in skin tone lends an authentic and unvarnished quality to the portrayal of the sisters. While physical attributes naturally undergo transformation with time, the enduring strength of sisterhood and family emerges as a prevailing theme in this series. It serves as a testament to the enduring bonds that can not only withstand the passage of time but also grow stronger and more resilient as the years go by.
2010
It’s worth noting that Heather, Mimi, and Bebe consistently wear a similar expression on their faces in most of the pictures throughout the series. In contrast, Laurie often stands out with expressions of angst, sadness, and tension that evolve over the years. However, in this particular year, Laurie appears unusually serene and at peace.
It’s heartening to see this change in her demeanor, and one can only hope that it reflects a genuine sense of calm and contentment in her personal relationship with the outside world during this period. This shift in Laurie’s expression adds a layer of complexity to the ongoing narrative of the sisters’ lives, underscoring the nuanced and evolving nature of their individual journeys within the context of their enduring sisterhood.
2011
Throughout the series, there are no pictures that portray the sisters as estranged from one another; however, there are moments where their closeness appears more pronounced than in others. Take, for instance, this particular photograph, where Heather and Mimi avert their gazes into the distance and lack physical contact with one of their sisters.
In contrast, Bebe and Laurie seem to have grown closer, with their heads touching, arms wrapped around each other, and both gazing directly into the camera. This image presents a visual division, effectively splitting the group into two pairs, each displaying a unique and distinctive dynamic within the sisterhood. While there is no estrangement, the photograph highlights the varying degrees of intimacy and connection that have evolved over the course of the project.
2012
In contrast to the previous photograph, the 2012 image depicts the sisters in close physical contact, their bodies touching and outstretched arms drawing them into a warm and loving embrace. This particular moment captures their deep appreciation for one another and the profound bond they share, as if they are savoring every precious second spent together.
The message conveyed is one of gratitude for their shared moments, underscoring the value they place on their time together. Notably, Laurie appears noticeably happier in this picture compared to previous years, signifying a positive transformation in her demeanor that is heartening to witness. This image embodies a celebration of their enduring sisterhood and the joy they find in each other’s company, adding a touching and uplifting dimension to their collective journey.
2013
The evolution in picture quality across the 40-year span is a noteworthy aspect to consider. Although all the photos were captured with the same filter and maintained the same size, the quality of the camera itself was not fixed and remained subject to technological advancements over the years. As we examine these images, it becomes apparent just how significantly the sisters have aged during this period.
While it’s open to interpretation as to which sister may have aged the most, it’s crucial to acknowledge that each of these women led her own unique life, undergoing the processes of aging and maturation in distinct ways from her siblings. This divergence in life experiences and personal journeys undoubtedly contributed to the nuanced variations in their physical appearances captured throughout the project.
2014
A remarkable span of four decades has passed since the inception of the Brown sisters’ enduring collaboration with Nicholas Nixon’s camera. As the project reached its monumental 40-year milestone, it became evident that the sisters were determined to conclude it on a high note, a decision that garnered appreciation from their devoted fans.
This final photograph serves as a fitting conclusion to an extraordinary exhibition and an iconic work of art. Now, with the project’s completion, the sisters can collectively reflect on these images, appreciating their integral roles in shaping a profound and enduring work of art that has left an indelible mark on the world of photography. Their journey stands as a testament to the enduring power of sisterhood and the impact of their shared artistry.
