"If it makes you cry, it goes in the show"
About this Quote
Vulnerability is the real production value. When Annie Leibovitz says, "If it makes you cry, it goes in the show", she’s not pitching sentimentalism; she’s describing an editorial compass calibrated to genuine emotional voltage. In a culture that’s fluent in irony and allergic to earnestness, the line is almost punk: treat your own tears as data. Not because emotion is automatically profound, but because it’s hard to fake the kind that breaks your composure.
Leibovitz’s context matters. She built a career photographing public figures whose images are already overmanaged, overlit, and overexplained. Her best work doesn’t just document celebrity; it punctures the agreed-upon facade, turning a brand back into a person. The quote suggests a ruthless standard: keep the frame that costs you something. The tear is proof of contact with the subject, with memory, with risk. It’s also a filter against the technically perfect but spiritually dead image.
There’s subtext here about authorship. The "you" is the maker, not the audience. If the photograph moves the artist first, it has a chance to move anyone else; if it doesn’t, no amount of clever sequencing will rescue it. And "goes in the show" is tellingly pragmatic: emotion isn’t a private diary entry, it’s a curatorial criterion. She’s granting permission to prioritize the uncomfortable, the intimate, the hard-to-explain - the stuff that makes a body react before the mind can sanitize it.
Leibovitz’s context matters. She built a career photographing public figures whose images are already overmanaged, overlit, and overexplained. Her best work doesn’t just document celebrity; it punctures the agreed-upon facade, turning a brand back into a person. The quote suggests a ruthless standard: keep the frame that costs you something. The tear is proof of contact with the subject, with memory, with risk. It’s also a filter against the technically perfect but spiritually dead image.
There’s subtext here about authorship. The "you" is the maker, not the audience. If the photograph moves the artist first, it has a chance to move anyone else; if it doesn’t, no amount of clever sequencing will rescue it. And "goes in the show" is tellingly pragmatic: emotion isn’t a private diary entry, it’s a curatorial criterion. She’s granting permission to prioritize the uncomfortable, the intimate, the hard-to-explain - the stuff that makes a body react before the mind can sanitize it.
Quote Details
| Topic | Art |
|---|---|
| Source | Help us find the source |
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