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This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.
“When you first view Rose-Lynn Fisher’s photographs, you might think you’re looking down at the world from an airplane, at dunes, skyscrapers or shorelines. In fact, you’re looking at her tears. . . . [There’s] poetry in the idea that our emotional terrain bears visual resemblance to the physical world; that our tears can look like the vistas we see out an airplane window. Fisher’s images are the only remaining trace of these places, which exist during a moment of intense feeling—and then vanish.” —NPR “[A] delicate, intimate book. . . . In The Topography of Tears photographer Rose-Lynn Fisher shows us a place where language strains to express grief, longing, pride, frustration, joy, the confrontation with something beautiful, the confrontation with an onion.” —Boston Globe Does a tear shed while chopping onions look different from a tear of happiness? In this powerful collection of images, an award-winning photographer trains her optical microscope and camera on her own tears and those of men, women, and children, released in moments of grief, pain, gratitude, and joy, and captured upon glass slides. These duotone photographs reveal the beauty of recurring patterns in nature and present evocative, crystalline imagery for contemplation. Underscored by poetic captions, they translate the mysterious act of crying into an atlas mapping the structure and magnificence of our interior lives. Rose-Lynn Fisher is an artist and author of the International Photography Award-winning studies Bee and The Topography of Tears. Her photographs are exhibited in galleries, festivals, and museums across the world and have been featured by the Dr. Oz Show, NPR, Smithsonian, Harper’s, New Yorker, Time, Wired, Reader’s Digest, Discover, Brain Pickings, and elsewhere. She received her BFA from Otis Art Institute and lives in Los Angeles.
Photographer Bruce Weber intended to create a book of fashion photographs, however, as he became more involved in the process, his intention evolved into the desire to chronicle how fashion can be seen in nature, architecture, and the human spirit.
In What Photography Is, James Elkins examines the strange and alluring power of photography in the same provocative and evocative manner as he explored oil painting in his best-selling What Painting Is. In the course of an extended imaginary dialogue with Roland Barthes's Camera Lucida, Elkins argues that photography is also about meaninglessness--its apparently endless capacity to show us things that we do not want or need to see--and also about pain, because extremely powerful images can sear permanently into our consciousness. Extensively illustrated with a surprising range of images, the book demonstrates that what makes photography uniquely powerful is its ability to express the difficulty--physical, psychological, emotional, and aesthetic--of the act of seeing.
In this intimate history, James Elkins demonstrates that there is - and can never be - only one story of art. He opens up the questions that traditional art history usually avoids.
"Brings together historians, philosophers, critics, postcolonial theorists, and curators to ask how images, pictures, and paintings are conceptualized. Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.
This thoughtful, poetic book uses metaphors and beautiful imagery to explore the reasons for our tears. In a soft voice, Mario asks, “Mother, why do we cry?” And his mother begins to tell him about the many reasons for our tears. We cry because our sadness is so huge it must escape from our bodies. We cry because we don’t understand the world, and our tears go in search of an answer. Most important, she tells him, we cry because we feel like crying. And, as she shows him then, sometimes we feel like crying for joy. This warm, reassuring hug of a book makes clear that everyone is allowed to cry, and that everyone does.
Here, Elkins argues that alchemists and painters have similar relationships to the substances they work with. Both try to transform the substance, while seeking to transform their own experience.
"As Rembrandt is creating his famous painting of Aristotle contemplating the bust of Homer, Aristotle is soon able to see and hear. As the masterpiece makes its way through history, Aristotle's complicated mind finds unanswerable dilemmas."--
This deeply personal account of emotion and vulnerability draws upon anecdotes related to individual works of art to present a chronicle of how people have shown emotion before works of art in the past.