Berlin

Anne Collier, Woman Crying (Comic) #16, 2019, C-print, 77 3⁄4 × 49 3⁄4". From the series “Woman Crying (Comic),” 2018–.

Anne Collier, Woman Crying (Comic) #16, 2019, C-print, 77 3⁄4 × 49 3⁄4". From the series “Woman Crying (Comic),” 2018–.

Anne Collier

Galerie Neu

There are many good reasons to cry. Many bad, also. Love, laughter, fear, fury, disgust, relief, vacuity, loss. (“Loss is legion,” Gillian Rose writes.) Scant few human reactions denote such an abundance of emotion as the single tear shed.

But, given its ability to symbolize so universally, the tear in isolation frustrates. Cropped to close quarters, liquid on a stranger’s face, the lone tear lacks the contextualizing information required to determine its causality. “Tears are signs,” croons Roland Barthes in A Lover’s Discourse (1977), “not expressions.” Displaced from their flesh and blood, these signs point everywhere and nowhere. They signify in such plenty that they signify nothing at all.

Anne Collier’s tears are white. They are white, and they are captured from the front or from the side, although two are shot through with the cobalt-blue gleam of nearby irises. Collier’s tears are

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