A book that has been read but is in good condition. Very minimal damage to the cover including scuff marks, but no holes or tears. The dust jacket for hard covers may not be included. Binding has minimal wear. The majority of pages are undamaged with minimal creasing or tearing, minimal pencil underlining of text, no highlighting of text, no writing in margins. No missing pages. See the seller’s listing for full details and description of any imperfections. See all condition definitions- opens in a new window or tab
|Seller Notes:||“Slight Creasing To Spine and Wear To Edges Of Pages”|
|Description||The typewriter, the card index, and the filing cabinet: these are techlogies and modalities of the archive. To the bureaucrat, archives contain little more than garbage, paperwork 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. Dadaists, constructivists, and Surrealists favored discontinuous, nlinear 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 techlogies -- 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 mograph on an overarching motif in twentieth-century art.|
|Author Biography||Anoma Pieris is a lecturer in the Department of Architectureat the University of Melbourne.|
|Prizes||Winner of AAUP Book, Jacket and Journal Show Design Awards: Trade Illustrated Category 2009.|
|Publisher||MIT Press Ltd|
|Date of Publication||01/08/2008|
|Subject||Fine Arts / Art History|
|eBay Product ID (ePID)||95775776|
|Place of Publication||Cambridge, Mass.|
|Country of Publication||United States|
|Content Note||78 b&w illus.|
|Interest Age||From 18|
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