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Masks and Mirrors Concealment and Disclosure in Ralph Eugene Meatyard’s The Family Album of Lucybelle Crater (1974, 2002)

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ABSTRACT This article examines the use of masks in the American photographer Ralph Eugene Meatyard’s (1925–1972) posthumously published photo-book The Family Album of LucyBelle Crater, (1974) and in the revised 2002 edition. For Meatyard, the spectral feature of photography – to make the invisible visible and vice versa – materializes itself in the use of masks as essential props designed to foreground not only a sense of secrecy and concealment but also photography’s profoundly unstable ontological status. The use of masks enables an investigation into a form of spectral disorientation, a disruption of conventional time and space within photography, further emphasized by the accompanying captions in the second edition. Although critics have examined the uncanny in the LucyBelle Crater series and Meatyard’s use of the family album, the interplay between masks and captions is equally significant. The use of repetition in both provides further understanding of how Meatyard defamiliarizes space, rendering photography a transformative rather than purely representational act. While it is tempting to interpret the masks as a deliberate process of estrangement, an uncanny critique of established photographic tropes, their presence transcends both the subject matter of the family album and extends the territory it occupies.

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