Contents

 

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Snapshots No. 1 Objects and time Truth and mystery Snapshot technology: color Tinting The intrusive camera “Innocence” Relationships Nudity Taste in snapshots; rarity Size Control The family Style: poses and posing Machines Formal accident: pictorial happenstance Formal accident: technical flaws Formal accident: wear and damage Degrees of mystery: who, what, and why The back “Amateur photography” Life Death Meta-shit Hyper-meta-shit Gallery 1	Found photos Multiple images Duchamp Foundness; the eye of the finder Composition and anachronism Feeling The limits of accident? Part I The limits of accident? Part II Uniqueness and responsibility Folk art Funk Irony and badness Unconscious self-revelation Extremes of condition Portraits; more responsibility Idealization Neighboring genres, Part I Neighboring genres, Part II Polaroids Wrap-up of pluses and minuses Gallery 2-A Gallery 2-B	Collecting Collecting and selecting Is snapshot collecting true collecting? The look The politics of snapshots, Part I The politics of snapshots, Part II The politics of snapshots, Part III Tolerance Context The power of many Antiques Small blunt instruments The hunt Tricks Vagueness Misery What is good? Mortal tedium Public and private Categories “Vernacular photography” A one-way street? Part I A one-way street? Part II Imitation Bill Morrison Beyond the collection [Untitled post] Gallery 3-A Gallery 3-B Gallery 3-C
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