Visual art contributes to our understanding of the visual brain because it explores and reveals the brain's perceptual capabilities. As Paul Klee once wrote, "Art does not reproduce the visible; it makes things visible." But visual art also obeys the laws of the visual brain, and thus reveals these laws to us. Of these laws, two stand supreme.
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The first is the law of constancy. By this I mean that the function of the visual brain is to seek knowledge of the constant and essential properties of objects and surfaces, when the information reaching it changes from moment to moment. The distance, the viewing point, and the illumination conditions change continually, yet the brain is able to discard these changes in categorizing an object.
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The second supreme law is that of abstraction. By abstraction I mean the process in which the particular is subordinated to the general, so that what is represented is applicable to many particulars. This second law is intimately linked to the first, because abstraction is a critical step in the efficient acquisition of knowledge; without it, the brain would be enslaved to the particular. The capacity to abstract is also probably imposed on the brain by the limitations of its memory system, because it does away with the need to recall every detail. Art, too, abstracts and thus externalizes the inner workings of the brain. Its primordial function is thus a reflection of the function of the brain.
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As a photographer I have specialized on camera obscura and pinhole techniques during last 20 years. In 1986 I graduated from the University of Art and Design Helsinki, department of photography (BA) and from the University of Helsinki, department of Ecological Zoology (MS).
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Robert Mapplethorpe was born in 1946 in Floral Park, Queens. Of his childhood he said, "I come from suburban America. It was a very safe environment and it was a good place to come from in that it was a good place to leave." In 1963, Mapplethorpe enrolled at Pratt Institute in nearby Brooklyn, where he studied drawing, painting, and sculpture. Influenced by artists such as Joseph Cornell and Marcel Duchamp, he also experimented with various materials in mixed-media collages, including photographs cut from books and magazines. He acquired a Polaroid camera in 1970 and began producing his own images to incorporate into the collages, saying he felt "it was more honest." That same year he and Patti Smith, whom he had met three years earlier, moved into the Chelsea Hotel.
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PhotoBistro provides, without aesthetic bias, an exhibition and sales space for serious art, documentary, or journalistic photographers. The main criteria for showing at PhotoBistro is an obvious seriousness of intent or commitment to the medium as shown by the photographer's résumé and/or the work itself.
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El arte siempre me interesó y viví con la ilusión, muy extendida en aquel entonces, de que la fotografia era el medio de expresión artistica más simple. Cuando recuerdo mis ensayos de aquella época en otros géneros artísticos, me doy cuenta de que finalmente, he encontrado mi camino. Manuel Álvarez Bravo
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