Memory / Documents of Contemporary Art / edited by Ian Farr.

Contributor(s):

Material type: Text

TextSeries: Documents of contemporary art seriesPublication details: London : Whitchapel Gallery ; Cambridge, Massachusetts : The MIT Press, 2012.Description: 239 pages ; 21 cmISBN:

9780262517768 (pbk. : alk. paper)
0262517760 (pbk. : alk. paper)

Subject(s):

DDC classification:

709.04 WHI

Contents:

Proust\'s binoculars, 1964 / Roger Shattuck -- The crisis of the ancien scopic régime, 1993 / Martin Jay -- Memory images, 1927 / Siegfried Kracauer -- Space and the collective memory, 1925 / Maurice Halbwachs -- Outmoded spaces, 1993 / Hal Foster -- House and universe, 1958 / Gaston Bachelard -- Realms of memory, 1984 / Pierre Nora -- Memories and images, 2004 / Paul Ricoeur -- The infinite line, 2004 / Briony Fer -- The sadness of the machine, 2001 / Ollivier Dyens -- Garden center \'44, 1944-72 / Joseph Cornell -- Places (notes on a work in progress), 1974 / Georges Perec -- Perec: uncovering the infra-ordinary, 2006 / Michael Sheringham -- In conversation with W.J.T. Mitchell, 1994 / Robert Morris -- Idris Khan, 2010 / Francis Hodgson -- The journey-form (3): temporal bifurcations, 2009 / Nicolas Bourriaud -- Clarice Lispector: the approach, 1979 / Hélène Cixous -- Uta Barth, 2000 / Margaret Sundell -- Resistance to replication, 2007 / Margaret Iversen -- Analogue, chance and memory, 2011 / Michael Newman -- The ontology of performance: representation without reproduction, 1993 / Peggy Phelan -- Apparition, 2003 / Roger Malbert -- Addict-love, 2008 / Tom Burr -- Portrait of an image: a portfolio by Roni Horn, 2005 / Lauren Sedofsky -- Past future/split attention, 1972 / Dan Graham -- Subject as object, 2001 / Anne Rorimer -- On Kent State (1970), 1972 / Richard Hamilton -- The industrialization of memory, 1996 / Bernard Stiegler -- Pierre Huyghe: The third memory (1999), 2007 / Tom McDonough -- Documents into monuments: archives as meditations on time, 2008 / Okwui Enwezor -- Crystals, 2005 / Daniel Birnbaum -- Kota Ezawa: Lennon Sontag Beuys (2004), 2005 / Megan Ratner -- Living with ghosts: from appropriation to invocation in contemporary art, 2007 / Jan Verwoert -- Retro/Necro: from beyond the grave of the politics of re-enactment, 2007 / Pia & Galia Kollective -- Marina Abramovic\'s Time, 2010 / Abigail Levine -- One-person protests: notes about going (back) there, 2008 / Johanna Burton -- Strange temporalities, 1994 / Victor Burgin -- Make me stop smoking, 2006 / Rabih Mroué -- Lost in narration: in conversation with Anthony Downey, 2012 / Rabih Mroué -- The anarchive, 2008 / Tom McDonough -- Negative images, 2006 / Lisa Saltzman -- In the dark regions of the world, 2000 / Hans Rudolf Reust -- Latent archives, roving lens, 2006 / Uriel Orlow -- Kutlug Ataman: Küba, 2005 / Peter Suchin -- Being-political, 2010 / T.J. Demos -- Stan Douglas\' Inconsolable memories, 2006 / Sylvie Fortin.

Summary: This anthology investigates the turn in art not only towards archives and histories, the relics of modernities past, but toward the phenomena, in themselves, of haunting and the activation of memory. It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of active forgetting. Its discussions encompass artworks from the late 1940s onward, ranging from reperformances such as Marina Abramović\'s Seven Easy Pieces (embodied resurrections of decades-removed performance pieces by her contemporaries) to the inanimate trace of memory Robert Morris assigns to his free-form felt pieces, which forget in their present configurations their previous slides and falls. Contextualizing memory\'s role in visual theory and aesthetic politics--from Marcel Proust\'s optics to Bernard Stiegler\'s analysis of memory\'s industrialization--this collection also surveys the diversity of situations and registers in which contemporary artists explore memory. Art that engages with memory embodied in material and spatial conditions is examined beside works that reflect upon memory\'s effects through time, and yet others that enlist the agency of remembrance or forgetting to work through aspects of the numerous pasts by which the present is always haunted.--Publisher.

Fiction notes: Click to open in new window

Holdings
Item type	Current library	Call number	Copy number	Status	Date due	Barcode
Standard Loan	LSAD Library Main Collection	709.04 WHI (Browse shelf(Opens below))	1	Available		39002100572065
Standard Loan	LSAD Library Main Collection	709.04 WHI (Browse shelf(Opens below))	2	Missing		39002100566513

Enhanced descriptions from Syndetics:

Investigations into the wide array of artistic relationships to memory, repetition and reappearance, and forgetting, in artworks from the late 1940s to the present.

This anthology investigates the turn in art not only towards archives and histories, the relics of modernities past, but toward the phenomena, in themselves, of "haunting" and the activation of memory. It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of "active" forgetting. Its discussions encompass artworks from the late 1940s onward, ranging from reperformances such as Marina Abramović's Seven Easy Pieces (embodied resurrections of decades-removed performance pieces by her contemporaries) to the inanimate trace of "memory" Robert Morris assigns to his free-form felt pieces, which "forget" in their present configurations their previous slides and falls.

Contextualizing memory's role in visual theory and aesthetic politics--from Marcel Proust's optics to Bernard Stiegler's analysis of memory's "industrialization"--this collection also surveys the diversity of situations and registers in which contemporary artists explore memory. Art that engages with memory embodied in material and spatial conditions is examined beside works that reflect upon memory's effects through time, and yet others that enlist the agency of remembrance or forgetting to work through aspects of the numerous pasts by which the present is always haunted.

Includes bibliographical references (pages 226-232) and index.

This anthology investigates the turn in art not only towards archives and histories, the relics of modernities past, but toward the phenomena, in themselves, of haunting and the activation of memory. It looks at a wide array of artistic relationships to memory association, repetition and reappearance, as well as forms of active forgetting. Its discussions encompass artworks from the late 1940s onward, ranging from reperformances such as Marina Abramović\'s Seven Easy Pieces (embodied resurrections of decades-removed performance pieces by her contemporaries) to the inanimate trace of memory Robert Morris assigns to his free-form felt pieces, which forget in their present configurations their previous slides and falls. Contextualizing memory\'s role in visual theory and aesthetic politics--from Marcel Proust\'s optics to Bernard Stiegler\'s analysis of memory\'s industrialization--this collection also surveys the diversity of situations and registers in which contemporary artists explore memory. Art that engages with memory embodied in material and spatial conditions is examined beside works that reflect upon memory\'s effects through time, and yet others that enlist the agency of remembrance or forgetting to work through aspects of the numerous pasts by which the present is always haunted.--Publisher.

Author notes provided by Syndetics

Ian Farr is commissioning editor for Documents of Contemporary Art. He was formerly an editor of Phaidon's Contemporary Artists and Themes & Movements series.