The big archive : art from bureaucracy /

By:

Spieker, Sven

Publication details: Cambridge, Mass. : MIT Press, c2008.Description: xiii, 219 p. : ill. ; 24 cmISBN:

9780262195706
0262195704
9780262195706 (hardcover : alk. paper)

Subject(s):

DDC classification:

709.04 22

LOC classification:

N6490 .S646 2008

Other classification:

20.30

Contents:

Introduction -- 1881: Matters of provenance (picking up after Hegel) -- Freud's files: Sigmund Freud -- 1913: "Du hasard en conserve": Duchamp's anemic archives: Marcel Duchamp -- 1924: the bureaucracy of the unconscious (early surrealism): André Breton, Max Ernst, Le Corbusier -- Around 1925: the body in the museum: Eli Lissitzky, Sergei Einstein -- 1970-2000: archive, database, photography: Hans-Peter Feldmann, Susan Hiller, Gerhard Richter, Walid Raad, Boris Mikhailov -- The archive at play: Michael Fehr, Andrea Fraser, Susan Hiller, Sophie Calle -- Epilogue / Thomas Demand.

Sixteen Ropes / Ilya Kabakov -- 1. Introduction -- 2. 1881: Matters of Provenance (Picking up After Hegel) -- 3. Freud's Files -- 4. 1913: "Du Hasard en Conserve": Duchamp's Anemic Archives -- 5. 1924: The Bureaucracy of the Unconscious (Early Surrealism) -- 6. Around 1925: The Body in the Museum -- 7. 1970-2000: Archive, Database, Photography -- 8. The Archive at Play -- Epilogue / Thomas Demand.

Review: "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." "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."--BOOK JACKET.

Holdings ( 1 )
Title notes ( 4 )

Holdings
Item type	Current library	Collection	Call number	Copy number	Status	Date due	Barcode
Book	Whitecliffe Library General Shelves	General	N 440 SPI (Browse shelf(Opens below))	1	Available		0011082

Includes bibliographical references (p. 195-215) and index.

"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." "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."--BOOK JACKET.