The PhotoBook Journal

April 13, 2018

Rose-Lynn Fisher – The Topography of Tears

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Photographer:  Rose-Lynn Fisher (born in Minneapolis, Minnesota, lives in Los Angeles)

Publisher:  Bellevue Literary Press, New York, NY; © 2017

Essays:  William H. Frey II, Ph.D., Ann Lauterbach, Rose-Lynn Fisher

Text:  English

Paperback, stiff cover with French flaps; 128 pages with duotone images; 8×8 inches; printed and bound in China

Photobook Designer:  Mulberry Tree Press, Inc.

 

Notes:

I love landscape-like images of all sorts, but most especially those given out-of-the-ordinary approaches that reach into the realm of abstraction, whose representation can be considered other kinds of “scapes.”  In my own work, I have featured the body as landscape, resulting in unusual macro images, labeled “bodyscapes,” published in Blur magazine.  Of course, I also believe in the role of art as therapy, especially as a tool of self-observation, both for the photographer and the viewer. Rose-Lynn Fisher has gone in a similar direction in her visualizations, into the “micro” realm, examining the visual nature of tears (a product of emotional or onion-chopping moments) under the microscope for a number of years – a fascinating world in miniature, the world of what I would consider “tearscapes,” is the outcome, as published in this volume, entitled The Topography of Tears.

Of course it is expected that there are connections between art and the emotions, especially in a project like this. And sure enough, the titles given the images bear this out, since the author hints at moments that gave rise to the tears. The foreword and afterword by the author, as well as the essays, written by a neuroscientist and a poet, provide further contexts. Such titles as “Grief and gratitude,” “I remember you,” and “Nervous exhaustion” show a range of moments that gave rise to the examined outpourings.

The tears visualized are mostly the author’s own, and emotional conditions are necessary and concomitant contexts for these visualizations. The author essentially interrupted her emotions to capture the tears for visual examination. There two major ways in which this artistic inquiry examined tear samples: air-dried or compressed under a cover glass. Whereas the former often resulted in branchy, estuary-like structures, the latter often produced more free-form irregular patterns. Still others produced unexpected surprises that defy description. The viewer has a feeling of sitting in an elevated, drone-like position, looking in on someone’s inner turmoil that has been released for all to see. It is a bit like divining meaning from tea leaves or coffee grounds or lead castings on New Year’s Eve. You are welcome to derive your own meanings from the images; some sample pages are shown here without the titles to keep you guessing.

This volume is an excellent study in self-examination through art. I feel inspired to dig out my microscope and start exploring!

For those readers interested in an overview regarding the therapeutic possibilities of art, I refer you to the volume edited by Judith Aron Rubin:  Approaches to Art Therapy: Theory and Technique. 3rd Edition. New York: Routledge, 2016.

Gerhard Clausing

 

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March 30, 2018

Robert Stivers – Staging Pictures – Early Polaroids by Robert Stivers

Filed under: Book Reviews, Photo Book Discussions, Photo Books — Tags: , , , — Doug Stockdale @ 3:32 pm

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Artist: Robert Stivers (born Palo Alto, CA & resides Santa Fe, NM and Los Angeles, CA)

Published by Dark Spring Press, copyright 2017

Essay: Robert Flynn Johnson

Text: English

Hard cover, with image index, sewn binding, four-color lithography, printed by Arizona Lithography and binding by Roswell Bookbinders, AZ

Photobook designer: Andy Burgess and Dawne Osborne

Notes: This is a small retrospective body of early photographic work of Robert Stivers using Polaroid (Polaroid back on a Hasselblad) film to experiment and play with visual ideas. Stivers was in the transition from being a dancer (with recent back issues) to that of a visual artist. As aptly pointed out in the Introduction by Robert Flynn Johnson, a transition from “a sensitivity to balance, form, grace, beauty and movement (as a dancer)….into the fixed imagery of photography was an early challenge.”

As such there is a rawness in the Polaroid remnants that remain, reminding me of the concept behind Stephen Gill in which he buried photographic prints to see what might happen. In the case of Stivers these Polaroids were not meant to be the final artistic object, but his attempts to understand the potentials of the medium; thus creating collages, scratching and burning the image surface and other experiments to push and pull the potential narrative. What we see are out-takes and an inventory of the early work-in-progress, similar to the hand-written notes of an author or the preliminary drawings for a painting.

What results are mysterious images cloaked in darkness that became the building blocks of Stivers photographic oeuvre. The book design by Andy Burgess and Dawne Osborne push that concept of mystery and the elements of surrealism even further with the utilization of black pages and black image borders.

Cheers, Douglas Stockdale

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