It is not merely the image qua image that is the focus of contemplation, evocation, and memory, but its material form, enhanced by its presentational form, that is central to the photograph’s function as a socially salient object.
The process of excavation sifts through the layers that are the spatialization of the passage of time.
Never before has an age been so informed about itself, if being informed means having an image of objects that resembles them in a photographic sense. . . .
The designs of Modernism were largely meant to defy memory and deny history. However, the Goldfinger residence at 2 Willow Road demonstrates a fruitful domestication of the ‘machine à habiter’ through the display of sentimental objects.
Of the five senses, touch might be the one most often linked to emotion and feeling. To be touched or moved by things (or even words) is to know the world aesthetically through a process of identifying and separating.
In 1888, the Kodak camera ushered in a new kind of picture– the snapshot– as well as a new class of photographers and more modern sensibility. The Victorian parlor and its family card album gave way to the less formal living room and snapshot album.