Archive for the ‘Materiality’ Category

Batchen, Geoffrey. ‘Ere the Substance Fade: Photography and hair jewellery’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 32-46 p.32 [On a photo-locket] Designed to be touched, this object touches back, casually grazing the pores of my skin with its textured surfaces. In this mutual […]


Pallasmaa, Juhani. The Eyes of the Skin (Chichester: Wiley, 2008) p.10 All the senses, including vision, are extensions of the tactile sense; the senses are specialisations of skin tissue, and all sensory experiences are modes of touching and thus related to tactility. pp.10-11 Our contact with the world takes place at the boundary line of […]


Marks, Laura U. ‘The Memory of Touch’ The Skin of the Film (London: Duke University Press, 2000) 127-193 p.162 Haptic perception is usually defined by psychologists as the combination of tactile, kinesthetic, and proprioceptive functions, the way we experience touch both on the surface of and inside our bodies. In haptic visuality, the eyes themselves function like organs of […]


Savedoff, Barbara E. ‘Transformation in Photography’ Transforming Images: How Photography Complicates the Picture (New York: Cornell University Press, 2000) 47-128 p.48 Photography’s special significance lies in its documentary quality, in the fact that the photographer does not have the painter’s freedom to create and control. But if this is true, we can only evaluate photographs […]



Julian Walker

26Jan10

From his website: http://walkerjulian.tripod.com/id34.html Most of my work is site-specific; where it is not, it is strongly referencing an idea or set of ideas. In this sense it is reactive, exploring how I can understand specific bits of the world, or exploring how other people have done so. Hence my interest in museums, collections and […]


From http://www.claudiaangelmaier.de/index.php The play with the images of art and their history is at the heart of Claudia Angelmaier’s work whereby particular focus lies on the pictures and their mechanical reproduction, material image and contextual situation. The protagonists of Angelmaier’s large-scale photographic works are books, postcards or transparencies and slides which show copies of “the […]


One of my favourite works. It tells us more about photography than seeing ‘the photograph’ ever could. Buy the book here: http://www.cornerhouse.org/books/info.aspx?ID=745&page=0 I have scanned the images myself so hopefully this won’t have any copyright issues – but I want more people to be able to see this work!


Stewart, Susan. ‘From the Museum of Touch’ Material Memories ed. by Marius Kwint, Christopher Breward, Jeremy Aynsley, (Oxford: Berg, 1999) 17-36  p.31 Of all the senses, touch is most linked to emotion and feeling. To be ‘touched’ or ‘moved’ by words or things implies the process of identification and separation by which we apprehend the […]


Batchen, Geoffrey. ‘Vernacular Photographies’ Each wild idea: writing, photography, history (Cambridge, Mass.; London: MIT, 2002) 56-80 p.57 [Batchen describes] what has always been excluded from photography’s history: ordinary photographs  […] the photographs that preoccupy the home and the heart but rarely the museum or the academy. [Batchen describes reasons why vernacular photographs were written out of […]


Batchen, Geoffrey., ‘’fearful ghost of former bloom’: What Photography Is’ Where is the Photograph ed. by David Green (Brighton, Kent: Photoforum, Photoworks, 2003) 15-29 [Batchen discovers a large 19th century photo-object combining hair, waxen flowers, wreath, words and a photograph] p.19 Memory is here given a physical manifestation. Or perhaps it would be more accurate […]


“Materiality: An Introduction” Daniel Miller pp.1-50 in Materiality, edited by Daniel Miller, published by Duke University Press, London, 2005. p.5 […] objects are important not because they are evident and physically constrain or enable, but often precisely because we do not “see” them. The less we are aware of them, the more powerfully they can […]