Lauryn Hill I can’t stand to see you cry by Rahim Fortune is published by Loose Joints. Even while touching on these broad themes, intimacy remains the common thread that makes each image feel tangible. Images of protests are also prevalent, along with images showing lonesome buildings surrounded by grass and air. Fortune shows the prevalence of industrialism in Texas and, even more intensely, its proximity to human life.
His documentation of environmental disparities and its intersection with health is also stark. Toward the end, the viewer finally sees the photographer's most vulnerable image: his father laying in bed while connected to breathing tubes and the delicate placement of his hand holding Fortune’s. The book is filled with black-and-white imagery of friends, family, and community members whose subtle gestures are felt through nearly all of the 112 pages. In his second photo book, Fortune moves us visually through an embrace of his home life in Texas. Rahim Fortune’s I Can’t Stand to See You Cry shows there is strength in vulnerability. It’s a shame that Lora Webb Nichols’ work went unseen for so long, but the world of photography, and American history, is richer because of her eye. Photographs of hardened copper miners and loggers are contrasted with everyday familial routines-a woman brushing her hair, a sick husband resting in bed, a little girl and her pooch-each as tenderly photographed as the last.
Lora was an entrepreneur who used photography to provide a level of financial stability for herself and her family.” The book's editor, Nicole Jean Hill, who first discovered the archive while participating as an artist-in-residence in Wyoming in 2012, writes of Nichols, “Lora does not fit the usual narrative of female photographers from this era, which commonly places cameras in the hands of wealthy women who pursued the medium as a pastime. This is a small but meticulously crafted glimpse into the archive of 24,000 or so photographs that photographer Lora Webb Nichols produced and collected over the course of her lifetime, only seen by a handful of people before the publishing of this volume.
0 kommentar(er)
