Alienated by her family's support of Trump, the photographer began shooting 'Family Matters' as a way of bridging their political divide.
’s Upper East Side to enjoy a cigarette in between classes at the International Center of Photography. As she stood there, a Norwegian classmate spotted a gaggle of older women adorned in lavish furs and brightly coloured lipstick walking down the block. He found them vulgar and called them as much. Gillian nodded along -- until recognition struck.
“Gillian, oh my gawd, what are you doing up here?” her grandmother Bea screamed, the thick Bronx Yiddish accent filling the air like the full-bodied parfum of a potato knish served up piping hot from a sidewalk cart. Bea, accompanied by Gillian’s mother and her Aunt Phyllis, enveloped her with an effusive display of hugs and kisses, before rejoining a larger group of ladies making their weekly Upper East Side art crawl.
Like many Ashkenazi Jews, the family simultaneously assimilated into whiteness where possible, and maintained their traditions to forge a distinctly American identity. Like Larry David’s irrepressible character on, they were intense, showy, and expressive folk, revelling in the material pleasures of life and unafraid to like a rooster at dawn. Yet this very behaviour has been derided as “shameless” for their abject refusal to abide by the standards of decorum defined by WASPs.
It was an instantly recognisable image to a large portion of the paper’s readership, many who were undoubtedly nodding in approval over Sunday brunch: a bagel and and a few slices of Nova lox, perhaps a little pickled herring or chopped liver for the more daring palettes. Recognising her family as ideal subjects, Gillian continued photographing them on holidays and gatherings, as well as occasionally casting them as models for editorials.
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