MARC Record from marc_columbia

LEADER: 03038cam a22003494a 4500
001 6895709
005 20221122060317.0
008 070925t20082008maua b 001 0 eng
010 $a 2007039872
020 $a9780262195706 (hardcover : alk. paper)
020 $a0262195704 (hardcover : alk. paper)
024 $a40015851549
035 $a(OCoLC)ocn173659554
035 $a(OCoLC)173659554
035 $a(NNC)6895709
035 $a6895709
040 $aDLC$cDLC$dBTCTA$dBAKER$dYDXCP$dUKM$dC#P$dOrLoB-B
050 00 $aN6490$b.S646 2008
082 00 $a709.04$222
100 1 $aSpieker, Sven.$0http://id.loc.gov/authorities/names/n95108896
245 14 $aThe big archive :$bart from bureaucracy /$cSven Spieker.
260 $aCambridge, Mass. :$bMIT Press,$c[2008], ©2008.
300 $axiii, 219 pages :$billustrations ;$c24 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
504 $aIncludes bibliographical references (p. 195-215) and index.
505 00 $tSixteen Ropes /$rIlya Kabakov -- $g1.$tIntroduction -- $g2.$t1881: Matters of Provenance (Picking up After Hegel) -- $g3.$tFreud's Files -- $g4.$t1913: "Du Hasard en Conserve": Duchamp's Anemic Archives -- $g5.$t1924: The Bureaucracy of the Unconscious (Early Surrealism) -- $g6.$tAround 1925: The Body in the Museum -- $g7.$t1970-2000: Archive, Database, Photography -- $g8.$tThe Archive at Play -- $tEpilogue /$rThomas 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."--BOOK JACKET.
650 0 $aArt, Modern$y20th century.$0http://id.loc.gov/authorities/subjects/sh85007805
650 0 $aCollective memory.$0http://id.loc.gov/authorities/subjects/sh2006002444
650 0 $aArt and history.$0http://id.loc.gov/authorities/subjects/sh85007960
852 80 $bfax$hN6490$iSp43