The significance of the archive in modernity and in contemporary art; writings by Sigmund Freud, Michel Foucault, Hal Foster, and others, and essays on the archival practice of such artists as Gerhard Richter, Christian Boltanski, Renée Green, and The Atlas Group.In the modern era, the archive -- official or personal -- has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing conflicts, the emergence of the postcolonial era, and the fall of communism have each provoked a reconsideration of the authority given the archive -- no longer viewed as a neutral, transparent site of record but as a contested subject and medium in itself.This volume surveys the full diversity of our transformed theoretical and critical notions of the archive -- as idea and as physical presence -- from Freud's "mystic writing pad" to Derrida's "archive fever"; from Christian Boltanski's first autobiographical explorations of archival material in the 1960s to the practice of artists as various as Susan Hiller, Ilya Kabakov, Thomas Hirshhorn, Renée Green, and The Atlas Group in the present.Not for sale in the UK and Europe.

THE ARCHIVE /ANGLAIS (DOCUMENTS OF CO)

Arts & Photography

Merewether, Charles

History & Criticism

WHITECHAPEL GAL

Co-published by SITE Santa Fe and New Museum of Contemporary Art – 79 pages, 28 color plates, softback, 12 x 9 inches – Introduction by Louis Grachos, Essays by Dan Cameron and Charles Merewether -1998.

Doris Salcedo

Cameron, Dan

Collections, Catalogs & Exhibitions

New Museum of Contemporary Art

Describing "The Bird's Nest," the "intoxicatingly" beautiful stadium built for the 2008 Beijing Olympics by Basel-based architects Herzog & de Meuron in collaboration with Chinese Conceptual artist Ai Weiwei, The New York Times' Nicolai Ouroussoff wrote, "The crisscrossing columns create a Piranesian world of dark corners and odd leftover spaces--an effect that intensifies as you ascend through the structure. Light filters through the translucent roof panels, and a network of drainpipes suspended from the roof adds a tough, utilitarian feel. The feverish play of light and shadows is reminiscent of the set for a German Expressionist film. From your seat, you gaze out at the surrounding skyline, where rows of generic housing towers seem to extend to eternity." This large-format, two-volume set features one book on the construction of the stadium from 2005 to 2008, and another that presents The 24 Hour Series, a sequence of photographs taken of the stadium by Ai Weiwei once an hour for one day and night. Also featured are the major installation created by the artist and architects for the 2008 Venice Biennale of Architecture and related works produced for an exhibition in London in the autumn of 2008.

Ai Weiwei: Beijing, Venice, London, Herzog & de Meuron

Sports & Outdoors

Miscellaneous

Walther Konig

Ai Weiwei: According to What?

A leading figure among Chinese artists of his generation, Ai Weiwei creates art that poses fundamental questions about the ways in which art and culture interrelate with society and how society interrelates with individual existence. As a result of his internationally acclaimed work and his direct engagement with Chinese policies and politics, Ai has been thrust into the global spotlight. Featuring his most significant works since 2000, this catalog offers insight into the artist’s use of simple forms and artistic methods reminiscent of Conceptual and Minimal art, his preoccupation with the traditional design of furniture and other daily objects, and his iconoclastic attitudes toward traditional values and political authority. The book includes works in sculpture, photography, video, and site-specific architectural installations, making it an invaluable resource on Ai’s enormously diverse oeuvre.

Brougher, Kerry

Kataoka, Mami

Reference

Prestel USA

The Swedish painter Karin Mamma Andersson works with dreams, fairy tales and the details of everyday life. Her passion for storytelling means that every dark maelstrom is scattered with structuring elements: a window, a television, someone looking at a painting. Her early works feature children in vast landscapes, forests, lakes and countryside that echo her own childhood in northern Sweden, (she was born in Luleå in 1962). In later pieces, this rural setting yields to the interiors of the art world--cluttered framers' workshops, libraries and elegant salons. Most recently, these rooms have opened up towards new realms, where the finely ornamented objects from Andersson's gallery scenes seem at home, dreamlike, in the wilderness, with paintings hanging from snowy mountains. Whatever her motifs, the atmosphere is always one of serenity and wonder, a moment of appreciation between finding and forgetting. Today, Andersson is one of Sweden's most internationally recognized artists, with recent solo exhibitions at David Zwirner Gallery, New York, Stephen Friedman Gallery, London, and the Carnegie Museum of Art, Pittsburgh. She represented her country at the Venice Biennale in 2003, and was also featured at the 2004 Berlin Biennial and the Sydney Biennial, 2006.

Karin Mamma Andersson

Noring, Ann-Sofi

Steidl/Moderna Museet, Stockholm

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