Archive for the ‘Archive & Photography’ Category

Dahlgren, Anna. ‘Dated Photographs: The Personal Photo Album as Visual and Textual Medium’, Photography & Culture, 3:2, 175-194 p.176 Unlike personal photo albums made after 1900, text is scarce in general in personal carte-de-visite albums and, especially, indications of when the images were taken are very rare. This characteristic seems to suggest a different view of […]


Price, Mary. ‘The End, Secular Aura’ The Photograph: A Strange, Confined Space (Stanford, CA: Stanford University Press, 1994) 173-177 p.173 Each of the metaphors used, whether the term is aura, mask, or language, illuminates the idea of the photograph. Benjamin, Proust, Musil, and Barthes, as well as Keats with his negative capability, are all saying, in individual poetic […]


Bezencenet, Stevie., Bresheeth, Haim. ‘Photographic Archives’ Photographic Practices: Towards a different image ed. by Stevie Bezencenet and Philip Corrigan (London: Comedia, 1986) 61-64 p.61 The problem is that this multiplicity of imagery [found in private and public archives] is often not accorded any significance and consequently not ‘mapped’. Such a process involves an attitude, before […]


Making Meaning

10Oct11

Willumson, Glenn. ‘Making Meaning: Displaced materiality in the library and art museum’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 62-80 p.62 Although they are initially treasured for their ability to reproduce a person, an event or a location, the passage of time is not […]



From http://www.claudiaangelmaier.de/index.php The play with the images of art and their history is at the heart of Claudia Angelmaier’s work whereby particular focus lies on the pictures and their mechanical reproduction, material image and contextual situation. The protagonists of Angelmaier’s large-scale photographic works are books, postcards or transparencies and slides which show copies of “the […]


pp.3-6 in: Bate, David. ‘The Archaeology of Photography: Rereading Michel Foucault and The Archaeology of Knowledge’. Afterimage. vol.35 no.3 (Sept-Oct 2007) p.3 For Foucault, the historian must excavate an archive to reveal not merely what is in it, but the very conditions that have made that archive possible, what he calls its historical a priori. In […]


Slater, Don. ‘Domestic Photography and Digital Culture’ The Photographic Image in Digital Culture ed. by Martin Lister (London: Routledge, 1995) 129-146 p.130 The photographic image in the everyday of digital culture takes its shape and force within [the] mélange of domesticity, consumerism and leisure. p.131 In sum, what is important in the development of domestic photography is […]


Sassoon, Joanna. ‘Photographic Materiality in the Age of Digital Reproduction’ Photographs Objects Histories: On the materiality of images ed. by Elizabeth Edwards and Janice Hart (London: Routledge, 2004) 186-202 p.186 The invention of digital technology represents the first revolutionary change for photographic methods since Talbot’s invention of the calotype, which introduced the negative/positive process and […]


Labyrinth (My Mother’s Album) is a large-scale installation consisting of a series of narrow corridors leading in a maze-like double spiral. The viewer enters the installation through a door and is lead through progressively shorter corridors at right angles until he or she enters a small space in the centre of the labyrinth. This room, […]


Volpe, Andrea L., ‘Archival Meaning: Materiality, Digitization, and the Nineteenth-century Photograph’ AfterImage, 36 no.6 May/June 2009. 11-14 p.11 By focusing on the photograph as object and the terms on which digitization is changing access to photographs as archival objects, these exhibits prompt a rethinking of the history of nineteenth-century photography as a history of what […]


Spieker, Sven., The Big Archive: Art from Bureaucracy (London: The MIT Press, 2008) 1-15   p.26-27 The fact that film and photography, in Benjamin’s examples, often leave their objects unrecognizable because they reproduce only parts of them or bcause they reproduce them at very close range (“enlargement not merely clarifies what we see indistinctly ‘in […]


Rice, Shelley., ‘Archive Fever & Barbara Bloom’, Aperture, 192 (Fall 2008), 10-11 p.10 [Rice asks] ‘Why the current fetish for archives?’ [Rice] ‘began to see what our new digital, archival practice is: a never-ending stream of information, rarely coalescing into meaning.’ ‘Why has archive fever resurfaced today? Perhaps because globalization, economic and political changes, new […]


Ulrich Baer ‘Deep in the Archive’, Aperture, 193 (Winter 2008), 54–59 p.54 ‘In the silence of the archive, researchers try and grasp the texture of lives from the remains left here, on this sheet, in this box, on this clean table, and now for their eyes only.’ ‘By definition, archives always collect a bit too […]