Wow, Zach, that is !For once, I'm speechless....
Autor: • February 5, 2011 • Essay • 358 Words (2 Pages) • 476 Views
When artists address the archive they align themselves with that confidence and that doubt, with the archive’s order and its barely contained anxiety. Pop, Minimalism and Conceptualism, perhaps the three most influential strands of post-war art, all prized the archive or the archival grid as their ideal form. We see it in Warhol’s screen-prints, in the sculptures of Donald Judd and Carl Andre, the installations of Sol Lewitt and Hanne Darboven and the photo work of Christian Boltanksi and Bernd & Hilla Becher. The archival grid has been art’s quasi-bureaucratic way to mimic and estrange the modern regimes of the image.
For once, I'm speechless....Got to you already, did they?
All photographic images come from archives. The very idea of the archive shaped how photography developed from its invention in the 1830s. The standardisation of cameras and film formats, the standardisation of printed matter, the standardisation of the family album, the picture library, the computer image file, the press agency and even the modern art gallery – these are all archival forms of, and for, the photographic image. The hungry gathering and ordering of information proceeds according to rules but it is forever holding off a potential collapse into chaos, because there is always something wild and unpredictable about the behaviour of images (never mind the quantity of them). We feel the strain of that disaster more than ever as the world’s archives are themselves subject to digital re-archiving and redistribution via the internet.