This alternative study of archive and photography brings many types of image assemblages into view, always in relation to the regulated systems operating within the institutional milieu. The archive catalogue is presented as a critical tool for mapping image time, and the language of image description is seen as having a life, a worth and an aesthetic value of its own. Functioning at the intersection of text and image, the book combines media culture, archival techniques, and contemporary discourse on art and conceptual writing.
- Cover
- Table of Contents
- Acknowledgements
- Introduction
- 1 The archivization of the image
- 2 The social archive
- 3 Catalogue, list, description
- 4 The archiving camera
- 5 Archival art, performativity and poetics
- 6 Afterword: the post-digital archive
- Bibliography
- Index
- List of illustrations
- Figure 1.1 August Sander, Master Mason (1932).
© Die Photographische Sammlung/SK Stiftung Kultur—August Sander Archiv, Cologne / DACS 2019.
- Figure 1.2 Alphonse Bertillon, albumen silver print from glass negative (1894). Recto showing photograph of Gaston Perot, verso identifying Perot as labourer and anarchist.
- Figure 1.3 Illustration and description of the louse from Robert Hooke, Microscopic Observations or Dr Hooke’s Wonderful Discoveries by the Microscope (London, Printed for Robert Wilkinson, 1780).
Courtesy of the Special Collections Division, Hartley Lib
- Figure 1.4 Spirit photograph by William Hope featuring Harry Price as sitter and featuring the ‘spirit’ of Price’s mother (c.1922).
University of London, Senate House Library.
- Figure 1.5 Adam Broomberg and Oliver Chanarin Yekaterina Samutsevic, of Pussy Riot, from Broomberg and Chanarin’s series of portraits Spirit is a Bone (2013).
© Broomberg & Chanarin; Courtesy the artists and Lisson Gallery.
- Figure 2.1 Carte de Visite by Oliver François Xavier Sarony (1860s), albumen silver print. Recto showing George Henry Broughton, verso showing the photographer’s mark.
Courtesy of the Metropolitan Museum of Art (Albert Ten Eyck Gardner Collection).
- Figure 2.2 Mountbatten Album, MB2-L7, page 62, ‘Acrobatics!! Malta, Summer 1932’.
Special Collections Division, Hartley Library, University of Southampton.
- Figure 2.3 Mountbatten Album, MB2-L7, page 63, ‘Acrobatics!! Malta, Summer 1932’.
Special Collections Division, Hartley Library, University of Southampton.
- Figure 2.4 Carousel of slides for the Kodak Carousel Projector.
Author’s own photograph.
- Figure 2.5 Numbering system on the carousel.
Author’s own photograph.
- Figure 3.1 Strongroom, Special Collections, University of Southampton.
Courtesy of the Special Collections Division, Hartley Library, University of Southampton.
- Figure 3.2 Hetain Patel, installation view from Love and Marriage (2012).
Courtesy Hetain Patel and John Hansard Gallery. Photo: Steve Shrimpton.
- Figure 3.3 ‘Two Boys Boxing’, From Carmen Kilner’s Album, part of The Basque Children of ’37 Archive.
Courtesy of Carmen Kilner.
- Figure 4.1 Jane Birkin. Still from film 0025, from El Rastro (2014).
Author’s own work.
- Figure 4.2 Jane Birkin. Still from film 0030, from El Rastro (2014).
Author’s own work.
- Figure 4.3 Jane Birkin. Still from film 0037, from El Rastro (2014).
Author’s own work.
- Figure 4.4 Page from a copy book of the First Duke of Wellington, a memorandum dated 20 November 1806, MS 61 WP1/165.
Special Collections Division, Hartley Library, University of Southampton.
- Figure 5.1 Ceiling ducting carrying filtered air and other services, Special Collections, University of Southampton.
Courtesy of the Special Collections Division, Hartley Library, University of Southampton.
- Figure 5.2 Nine contact prints from the Hampshire Roads Survey, MS1/LF780/UNI 7/105/6.
Special Collections Division, Hartley Library, University of Southampton.
- Figure 5.3 Jane Birkin (2012) Still from the film Island at 00:03:56.
Author’s own work.
- Figure 5.4 Jane Birkin (2012) Still from the film Island at 00:04:08.
Author’s own work.
- Figure 5.5 Jane Birkin (2012) Still from the film Island at 00:04:19.
Author’s own work.
- Figure 6.1 Kenneth Goldsmith Printing out the Internet, Labor Gallery, Mexico City (2013).
Courtesy of the artist and Labor Gallery.
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