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070925s2008 maua b 001 0 eng |
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|a 2007039872
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|a (OCoLC)173659554
|z (OCoLC)429178246
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|a (OCoLC)990000603530204151
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|a DLC
|b eng
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|a N6490
|b .S646 2008
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|a 709.04
|2 22
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1 |
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|a Spieker, Sven.
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4 |
|a The big archive :
|b art from bureaucracy /
|c Sven Spieker.
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| 260 |
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|a Cambridge, Mass. :
|b MIT Press,
|c c2008.
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| 300 |
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|a xiii, 219 p. :
|b ill. ;
|c 24 cm.
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| 504 |
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|a Includes bibliographical references (p. 195-215) and index.
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|a 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.
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|a "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.
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| 650 |
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|a Art, Modern
|y 20th century.
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| 650 |
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|a Collective memory.
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| 650 |
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|a Art and history.
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| 650 |
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7 |
|a Arte moderno
|y Siglo XX.
|2 UDESA
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| 650 |
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7 |
|a Memoria colectiva.
|2 UDESA
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| 650 |
|
7 |
|a Arte e historia.
|2 UDESA
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| 856 |
4 |
1 |
|3 Table of contents only
|u http://catdir.loc.gov/catdir/toc/ecip081/2007039872.html
|