October 17: Epistemological Aesthetics

Walid Raad, Let’s be honest, the weather helped_12 Belgium, 1998 (fair use)

PRESENTATIONS: LoriBeth, Maris, Ding, Julianne

READINGS/LISTENINGS

Optional: Pick a couple other archivally-aligned artists, and explore their work:

Camille Henrot, Grosse Fatigue (fair use)

SUPPLEMENTAL RESOURCES

Christian Berger and Jessica Santone, Special Issue on “Documentation as Art Practice in the 1960s,” Visual Resources: An International Journal on Images and Their Uses 32:3-4 (2016); Sophie Berrebi, The Shape of Evidence: Contemporary Art and the Document (Amsterdam: Valiz Press, 2015); Sue Breakell, “Perspectives: Negotiating the ArchiveTate Papers (Spring 2008); Giuliana Bruno, “Storage Space,” e-flux architecture (November 16, 2016); Benjamin H.D. Buchloh, “Gerhard Richter’s ‘Atlas’: The Anomic Archive” October 88 (Spring 1999): 117-45; Kathy Michelle Carbone, “Artists and Records: Moving History and Memory” Archives and Records 38:1 (2017); Anthony Downey, Ed., Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East (New York: I.B. Tauris, 2015); Chad Elias, “The Libidinal Archive: A Conversation with Akram Zaatari,” Tate Papers 19 (2013); Okwui Enwezor, Archive Fever: Uses of the Document in Contemporary Art (Steidl/ICP, 2008); Gabriella Giannachi, Archive Everything: Mapping the Everyday (Cambridge, MA: MIT Press, 2016) [terrible book, good examples]; Guy Mannes-Abbott, “This Is Tomorrow: On Emily Jacir’s Art of Assembling Radically Generative Archives,” in Dissonant Archives: Contemporary Visual Culture and Contested Narratives in the Middle East, ed. Anthony Downey (New York: I.B. Tauris, 2015): 109-27; National Archives of Australia, Visible Archive Series Browser; Nataša Petrešin-Bachelez, “Innovative Forms of Archives” Series, e-flux; Simone Ostoff, Performing the Archive: The Transformation of the Archive in Contemporary Art From Repository of Documents to Art Medium (New York: Atropos Press, 2009) [good examples, but not a good book]; Ingrid Schaffner & Matthias Winzen, eds., Deep Storage: Collecting, Storing, and Archiving in Art (New York: Prestel, 1998); Sven Spieker, “1970-2000: Archive, Database, Photography” In The Big Archive: Art from Bureaucracy (Cambridge, MA: MIT Press 2009): 130-171; Domietta Torlasco, The Heretical Archive: Digital Memory at the End of Film (Minneapolis: University of Minnesota Press, 2013) [Monica Bonvicini, Pierre Huyghe, Agnès Varda, Marco Poloni, Chris Marker]; Emily Wroczynski, “Walid Raad and the Atlas Group” Third Text 25:6 (November 2011): 763-773; Mabel O. Wilson, “Collecting Publics: The Spatial Politics of Dorchester Projects” in Entry Points, The Vera List Center Field Guide on Art and Social Justice, Vol. 1, ed. Carin Kuoni and Chelsea Haines (New York: Vera List Center, 2015): 230-9.

COLLECTION INTERFACE AESTHETICS: Aarhus Urban Mediaspace, “The Library of the Future”; “Dynamic Order” Sitterwerk Art Library, which makes use of RFID technology, in St. Gallen, Switzerland [+ video], and see AstromZimmer’s dynamic library workbenches [+ video]; Jeff Goldenson’s Rewrite the Library project at Olin College; Good, Form & Spectacle, “What’s In the Library?” + “New Work: Wellcome Library Alpha”; Harvard Library Innovation Lab, Harvard’s Library Test Kitchen; NYPL Labs’ work; Elissa Lee’s work with the UTS Library; Re-Envisioning Branch Libraries design study; Arian Roth and Marina Schütz, Eds., The Dynamic Library: Organizing Knowledge at the Sitterwerk – Precedents and Possibilities (Chicago: Soberscove Press, 2015); Rosten Woo’s work on Haystacks (and his epic “Can I help you find something?” project blog); Mitchell Whitelaw, “Generous Interfaces for Digital Cultural Collections,” Digital Humanities Quarterly 9:1 (2015). Mitchell Whitelaw’s work.

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