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The Big Archive: Art From Bureaucracy (Mit Press),Used
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The archive as a crucible of twentiethcentury modernism and key for understanding contemporary art.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 quasiobjective correlative of the living past. Twentiethcentury art made use of the archive in a variety of waysfrom 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 archiveas both bureaucratic institution and index of evolving attitudes toward contingent time in science and artand finds it to be a crucible of twentiethcentury 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, HansPeter Feldmann, Walid Raad, and Boris Mikhailov responds to and continues this attack on the nineteenthcentury archive and its objectification of the historical process.Spieker considers archivally driven art in relation to changing media technologiesthe typewriter, the telephone, the telegraph, film. And he connects the archive to a particularly modern visuality, showing that the avantgarde 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 twentiethcentury art.
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