Miyako Ishiuchi (b. 1947) has long used photography as a medium for expressing Japan’s memory and mourning. This was particularly evident in her “Mother’s” series (2000-05), exhibited in the Japanese Pavilion of the 2005 Venice Biennale: a group of photographs of personal articles, from lipstick to lingerie, once belonging to the artist’s late mother, whose life of wartime hardship and postwar motherhood resembled a 1940s melodrama. The point was driven home more recently in “Hiroshima/Yokosuka,” a partial retrospective of Ishiuchi’s work held at the Meguro Museum of Art in Tokyo.