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Titel och upphov The big archive : art from bureaucracy
Utgivning, distribution etc. MIT Press , Cambridge, Mass. ; 2008 : 2008.
Utgivningsår
SAB klassifikationskod
Fysisk beskrivning
Anmärkning: Bibliografi etc. Includes bibliographical references and index.
Term
ISBN 978-0-262-19570-6 (hardcover : alk. paper) 978-0-262-19570-6 0-262-19570-4 (hardcover : alk. paper) 0-262-19570-4
Antal i kö:
*00001085nam a22003617a 4500
*00126461
*007|||||||||||||||||||||||
*008110824s2008 xxua | b 001 0 eng c
*020 $a978-0-262-19570-6 (hardcover : alk. paper)
*020 $a978-0-262-19570-6
*020 $a0-262-19570-4 (hardcover : alk. paper)
*020 $a0-262-19570-4
*035 $a(Ko)30521
*040 $dDLC$dDLC$dBTCTA$dBAKER$dYDXCP
*084 $aIb.5
*1001 $aSpieker, Sven
*24514$aThe big archive :$bart from bureaucracy /$cSven Spieker
*260 $aCambridge, Mass. ;$a2008 :$bMIT Press ,$c2008.
*300 $axiii, 319 s. :$bill.
*504 $aIncludes bibliographical references and index.
*650 4$aKonst och arkiv
*650 4$aKonsthistoria
*650 4$a1900-talet
*650 4$aArt, Modern
*650 4$a20th century.
*650 4$aCollective memory .
*650 4$aArt and history.
*697 $cKonsthistoria: 1905-
*8520 $hKONST - Ib.5
^
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The archive as a crucible of twentieth-century modernism and key for understanding contemporary art.
The typewriter, the card index, and the filing cabinet: these are technologies and modalities of the archive. To the bureaucrat, archives contain little more than garbage, paperwork no longer needed; to the historian, on the other hand, the archive's content stands as a quasi-objective correlative of the "living" past. Twentieth-century art made use of the archive in a variety of ways -- from what Spieker calls Marcel Duchamp's "anemic archive" of readymades and El Lissitzky's Demonstration Rooms to the compilations of photographs made by such postwar artists as Susan Hiller and Gerhard Richter. In The Big Archive , Sven Spieker investigates the archive -- as both bureaucratic institution and index of evolving attitudes toward contingent time in science and art -- and finds it to be a crucible of twentieth-century modernism.
Dadaists, constructivists, and Surrealists favored discontinuous, nonlinear archives that resisted hermeneutic reading and ordered presentation. Spieker argues that the use of archives by such contemporary artists as Hiller, Richter, Hans-Peter Feldmann, Walid Raad, and Boris Mikhailov responds to and continues this attack on the nineteenth-century archive and its objectification of the historical process.
Spieker considers archivally driven art in relation to changing media technologies -- the typewriter, the telephone, the telegraph, film. And he connects the archive to a particularly modern visuality, showing that the avant-garde used the archive as something of a laboratory for experimental inquiries into the nature of vision and its relation to time. The Big Archive offers us the first critical monograph on an overarching motif in twentieth-century art.
Acknowledgments p. vii Sixteen Ropes p. ix Introduction p. 1 1881: Matters Of Provenance (Picking Up After Hegel) p. 17 Freud's Files p. 35 1913: "Du Hasard En Conserve": Duchamp's Anemic Archives p. 51 1924: The Bureaucracy Of The Unconscious (Early Surrealism) p. 85 Around 1925: The Body In The Museum p. 105 1970-2000: Archive, Database, Photography p. 131 The Archive At Play p. 173 Epilogue p. 193 Notes p. 195 Index p. 217