The Big Archive: Art from Bureaucracy Sven Spieker

ISBN: 9780262195706

Published:

Hardcover

219 pages


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The Big Archive: Art from Bureaucracy  by  Sven Spieker

The Big Archive: Art from Bureaucracy by Sven Spieker
| Hardcover | PDF, EPUB, FB2, DjVu, AUDIO, mp3, RTF | 219 pages | ISBN: 9780262195706 | 5.69 Mb

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 archivesMoreThe 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 archives 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 Duchamps anemic archive of readymades and El Lissitzkys 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.



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