具体描述
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. 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.
作者简介
目录信息
读后感
评分
评分
评分
评分
用户评价
开头提到archive如双头门神，一头面向administrative一头面向historical，我后知后觉恍然大悟，Janus Film的namesake原来是这意思！这本从十九世纪archive的principle of provenance出发，基本按线性历史顺序往后讲了现代主义艺术家在实践中对这种传统的颠覆，分了几个大的话题。和白教堂的《Archive》前半本有很多理论和作品reference上的重合（当然），但不那么碎片化（当然），感觉在看复习参考书????
评分开头提到archive如双头门神，一头面向administrative一头面向historical，我后知后觉恍然大悟，Janus Film的namesake原来是这意思！这本从十九世纪archive的principle of provenance出发，基本按线性历史顺序往后讲了现代主义艺术家在实践中对这种传统的颠覆，分了几个大的话题。和白教堂的《Archive》前半本有很多理论和作品reference上的重合（当然），但不那么碎片化（当然），感觉在看复习参考书????
评分开头提到archive如双头门神，一头面向administrative一头面向historical，我后知后觉恍然大悟，Janus Film的namesake原来是这意思！这本从十九世纪archive的principle of provenance出发，基本按线性历史顺序往后讲了现代主义艺术家在实践中对这种传统的颠覆，分了几个大的话题。和白教堂的《Archive》前半本有很多理论和作品reference上的重合（当然），但不那么碎片化（当然），感觉在看复习参考书????
评分开头提到archive如双头门神，一头面向administrative一头面向historical，我后知后觉恍然大悟，Janus Film的namesake原来是这意思！这本从十九世纪archive的principle of provenance出发，基本按线性历史顺序往后讲了现代主义艺术家在实践中对这种传统的颠覆，分了几个大的话题。和白教堂的《Archive》前半本有很多理论和作品reference上的重合（当然），但不那么碎片化（当然），感觉在看复习参考书????
评分开头提到archive如双头门神，一头面向administrative一头面向historical，我后知后觉恍然大悟，Janus Film的namesake原来是这意思！这本从十九世纪archive的principle of provenance出发，基本按线性历史顺序往后讲了现代主义艺术家在实践中对这种传统的颠覆，分了几个大的话题。和白教堂的《Archive》前半本有很多理论和作品reference上的重合（当然），但不那么碎片化（当然），感觉在看复习参考书????
相关图书
本站所有内容均为互联网搜索引擎提供的公开搜索信息，本站不存储任何数据与内容，任何内容与数据均与本站无关，如有需要请联系相关搜索引擎包括但不限于百度，google,bing,sogou 等
© 2026 qciss.net All Rights Reserved. 小哈图书下载中心 版权所有