MARC Record from harvard_bibliographic_metadata

LEADER: 02963cam a2200337 a 4500
001 011735932-7
005 20081117140700.0
008 070925s2008 maua b 001 0 eng
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016 7 $a014679796$2Uk
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050 00 $aN6490$b.S646 2008
082 00 $a709.04$222
100 1 $aSpieker, Sven.
245 14 $aThe big archive :$bart from bureaucracy /$cSven Spieker.
260 $aCambridge, Mass. :$bMIT Press,$cc2008.
300 $axiii, 219 p. :$bill. ;$c24 cm.
504 $aIncludes bibliographical references (p. 195-215) and index.
505 0 $aIntroduction -- 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.
520 1 $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."--Jacket.
650 0 $aArt, Modern$y20th century.
650 0 $aCollective memory.
650 0 $aArt and history.
650 0 $aArchives in art.
776 08 $iOnline version:$aSpieker, Sven.$tBig archive.$dCambridge, Mass. : MIT Press, ©2008$w(OCoLC)734738166
988 $a20081106
906 $0DLC