Historian Elspeth H. Brown and photographer Sara Davidmann explore the relationship between the family photograph album, trans history, and queer archives. Describing their queer archival work, they address topics including ethics; intertwined histories of racism, colonialism, and normativity in photography; and the violent erasures of sexual and gender minorities within the conventional family photography album. “Family” photographs, so central to the affective production of trans family, however defined, have not been the site of sustained discussion within queer history. Brown and Davidmann argue that family photography can also be a site of trans family belonging and queer kinship, despite histories of violent erasure. They discuss these issues with reference to two image sets from Davidmann's work: one from her own family of origin (Ken. To be destroyed) and one from her (queer and trans) family of choice (the Stephen Whittle family album).

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