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Sara Callahan

precisely the editor's role as the first and most critical reader that he emphasised; the curator was compared to an active reader who affects the final form of the text. 68 Within archive theory and texts on archive art, the archive is often described as a connector between different elements, enabling or enforcing a particular kind of cross-reading – for example when Hal Foster referred to the archival impulse as ‘a will to connect’. 69

in Art + Archive
Barry Reay

sorts of paper and celluloid matter, including thousands of works of Mail Art, itself became an exhibit at the São Paulo Biennial in 2004.41 However, the archival impulse in modern art can be seen everywhere.42 The installation artist Christian Boltanski’s haunting imagery of the lost property of the inhabitants of Munich or the workers of Halifax, and his Les Archives de C. B. 1965–1988 (1989), which Kate Albers argues is not an archive, are but the best known of many interpretations of the visual archive.43 Thomas Demand’s Archive (1995) is a photographic print of a

in Sex in the archives
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Reckless people
Dominic Johnson

a future through the discrete terms given by a title and by documentation. If known at all to those who do not know Farquhar personally, it is by her legend. This is the case for much of Farquhar’s work, which continues to be fleeting, incidental, resistant to archival impulses and incorrigible in its durations and settings. A further performance of extremity of the 1970s, John Duncan’s Scare (1976) stages the inflammatory nature of reckless performance as both explosive and inflammatory. A written statement by the artist (exhibited as part of the work) reads

in Unlimited action
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‘Northern Irish art’ in the wider world
Declan Long

between a traumatic past and an unwritten but daunting future. Concerns of this kind are also relevant to the ‘archival impulses’ (to borrow Hal Foster’s term94) evident in video work by Miriam de Búrca. Her practice has included recorded encounters with places and people that range from deadpan studies of deserted urban spaces to, for example, a filmed conversation with a veteran Belfast taxi driver who adds an anecdotal commentary as the artist records an afternoon’s journey through key ‘troubles’ territories –​de Búrca taking one of the informal, historical ‘terror

in Ghost-haunted land
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Sara Callahan

. N. Nilsson, ‘The Memory of a Person’, trans. A. Crozier, Comma , 1 (2004), pp. 179–82. 20 Walter Benjamin is mentioned in, to name only a few, Schaffner, ‘Deep Storage’; Simon, ‘Introduction: Following the Archival Turn’; Foster, ‘An Archival Impulse’; Merewether (ed.), The Archive ; Spieker, The Big Archive ; O. Enwezor, ‘Archive Fever: Photography between History and the Monument’, in Archive Fever: Uses of the Document in

in Art + Archive
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Sara Callahan

. 26. 69 As noted, when Claire Bishop argued that Hal Foster's list of artists working within an archival impulse should be supplemented, Zoe Leonard was one of the suggested additions, and Foster did indeed add her when the text was republished in 2015. Zoe Leonard was also part of Okwui Enwezor's Archive Fever (text and exhibition), albeit not with Analogue but with The Fae Richards Photo Archive

in Art + Archive
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Sara Callahan

essay ‘An Archival Impulse’ was republished in 2015. Spieker, The Big Archive , pp. 152–61; van Alphen, Staging the Archive , pp. 232ff.; Jones, Installation Art and the Practices of Archivalism , p. 138. 57 S. Gade, ‘Performing Histories: Archiving Practices of Rimini Protokoll and The Atlas Group’, in Borggreen and Gade (eds), Performing Archives/Archives of Performance , pp. 386

in Art + Archive