Home / Quotes / Quote by Max Kozloff

Quote by Max Kozloff

“Though infested with many bewildering anomalies, photographs are considered our best arbiters between our visual perceptions and the memory of them. It is not only their apparent 'objectivity' that grants photographs their high status in this regard, but our belief that in them, fugitive sensation has been laid to rest.”

Book:Photography & Fascination: Essays

Work

Photography & Fascination: Essays

This book delves into the various facets of photography, examining its influence on art, history, and human experience. The essays within offer insights into the technical, aesthetic, and social dimensions of photography, providing a comprehensive look at its significance in modern life. more

Author

Max Kozloff

Max Kozloff is a renowned historian, born on June 21, 1933. His research focuses on modern art and photography, particularly in-depth studies of the works of 20th-century artists. more

“We perceive and interpret the outer world through a set of incredibly fine internal receptors. But we are incapable, by ourselves, of grasping or tweezing out any permanent, sharable figment of it. Practically speaking, we ritually verify what is there, and are disposed to call it reality. But, with photographs, we have concrete proof that we have not been hallucinating all our lives.”

World Reality Our Lives Fine Photograph Proof Permanent Perceive Internals Concrete Incapable Grasping Outer Worlds Verify Figments

Book:Photography & Fascination: Essays

Source: Photography & Fascination: Essays

“Faces in the everyday impress us as hives of subtlety. That impression must be sharpened in photography, which discloses only a microsecond of the face's behaviour, immersed in a social process.”

Faces Social Process Photography Everyday Impression Behaviour Impress Subtlety Hives

Author:Max Kozloff

“No matter how physically faint, a photograph involuntarily whisper of something exquisitely carnal. The weeks, the years, whatever stretches of time separating our present from the photographs retire into the transparence of the shot and seem erased by it. We almost have to shake ourselves to overcome the feeling that we peer out at the other place, in that different age. Yet we are always aware of this illusory dislocation, for such is the ambiguity, in principle, that seduces us over and over again in the photographic experience.”