artists responses to institutional archives
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paula roush presentation on artists responses to institutional archives part of developing the digital image/ project 2, weeks 9 and 10, march 2011
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artists responses to institutional archives
- 1. DEVELOPING THE DIGITAL IMAGE-project 2: week 8 http://www.msdm.org.uk/miniarchive
- 2. Alphonse Bertillon, «Bertillonage», 1890Vitrine | Photography |Vitrinephotographiqued’einseignement du signalementdescriptif, 1890 Quelle: Identity and Alterity. Figures of the Body 1895/1995, la Biennale diVenezia, Venice 1995, S. 113
- 3. Alphonse Bertillon, «Bertillonage», 1890Séance de mesurations: mensuration du crâne, face et plongée, 1890 s: Identity and Alterity. Figures of the Body 1895/1995, la Biennale diVenezia, Venice 1995
- 4. Francis Galton, 1877- «Composite-Fotografie»
- 5. Anon.: Anthropometric card, 27 May 1898 (fingerprints probably added later), no format or technique given ; Friedrich Paul, Handbuch der kriminalistischenPhotographie, Berlin 1900 ; Courtesy: PolizeihistorischeSammlung, Berlin http://chs.revues.org/index1056.html
- 6. Carry Mae Weems, From Here I Saw What Happened and I Cried, 1995-1996, 33 toned prints FROM HERE I SAW WHAT HAPPENED YOU BECOME A SCIENTIFIC PROFILE
- 7. # A NEGROID TYPE & A PHOTOGRAPHIC SUBJECT
- 8. YOU BECAME PLAYMATE TO THE PATRIARCH AND I CRIED
- 9. Lorna Simpson, Twenty Questions (A Sampler), 1986, 4 gelatin silver prints, 6 engraved plastic plaques, Photographs 25½ inches each (framed diameter), 106¾ inches overall
- 10. Lorna Simpson, Proof Reading, 1989, 4 Polaroid prints, 4 engraved plastic plaques, 40 X 40 inches overall
- 11. Glenn Ligon , 1997 Self-Portrait Exaggerating My Black Features and Self-Portrait Exaggerating My White Features
- 12. Glenn Ligon (b.1960), Self-Portrait, 1996. Silkscreen ink and gesso on canvas, 121.9 × 101.6 cm.
- 13. Jenny Holzer Redaction Paintings (2006- Jenny Holzer ‘DODDOACID 008769′ 2007 Oil on linen
- 14. Jenny Holzer ‘Right Hand (Palm Rolled)’ 2007 Oil on linen 80 x 62 in. (203.2 x 157.5 cm) Text: U.S. government document
- 15. Jenny Holzer ‘Wish List/Gloves Off’ 2006
- 17. Jenny Holzer creating silkscreen prints from declassified and redacted government documents at Brand X in New York City
- 18. “I draw from everything – from the National Security Archives collection to old material from the FBI’s website…. I concentrate on the content. It tends to be very rough material about what’s happened to soldiers in the field, about the good and bad choices they’ve been forced to make, and what has happened to detainees and civilians. I also go to material that’s almost completely gone, either whited out or blacked out, because that represents the issue. You don’t have to spill words when the page is completely black.” Jenny Holzer
- 19. Felix Gonzalez-Torres “Untitled (Death by Gun),” a 1990. A thick stack of poster-sized white paper, each printed with the same graphic: the faces, names, ages and hometowns of 464 people who were killed by gunshots over one week — May 1 to 7, 1989 — along with a brief synopsis of the circumstances of the person’s death. The viewer is invited to take and keep sheets from the stack, which is continually replenished. http://www.moma.org/collection/browse_results.php?object_id=61825 These images and words, appropriated from Time magazine, where they first appeared.
- 21. A secretly taken photograph of Suffragettes Evelyn Manesta and Lillian Forrester, Manchester Prison, 1913. The photographer was hiding in a van as the women took exercise in the prison yard. http://news.bbc.co.uk/1/shared/spl/hi/pop_ups/03/uk_enl_1064935743/html/1.stm
- 22. Scotland Yard memo on Lillian Forrester and Evelyn Manesta, 1914. The photographs were taken while they were imprisoned in Holloway Prison, London, in 1913. Evelyn Manesta and the Resistance to "Modern" Photographic Surveillance http://www.notbored.org/suffragettes.html
- 29. Hasan Elahi http://www.trackingtransience.net/ Tracking Transience: Away a collection of over 1,200 meals that I have eaten while in transit between September 2003 and January 2007 as development work for tracking device ongoing
- 33. https://www.mi5.gov.uk/output/documents-from-the-fuchs-case.html documents from the case of Klaus Fuchs, the German-born nuclear physicist who spied for the Soviets during the 1940s. They are among declassified files held by the National Archives at Kew, London, and can be viewed by any person with a free National Archives pass. part of the files KV 2/1244 to KV 2/1270 ("Emil Julius Klaus FUCHS").
- 34. http://lcweb2.loc.gov/ammem/daghtml/daghome.html The Library of Congress daguerreotype collection- 725 photographs dating from 1839 to 1864. Portrait daguerreotypes produced by the Mathew Brady early architectural views by John Plumbe, street scenes, early portraits by pioneering daguerreotypist Robert Cornelius, studio portraits by black photographers James P. Ball and Francis Grice, and copies of painted portraits. Copyright and Other Restrictions
- 35. [Unidentified woman and girl, seated, facing front]. Grice, F. (Francis), photographer. CREATED/PUBLISHED [ca. 1855] http://lcweb2.loc.gov/cgi-bin/query
- 36. VADS (Visual Arts Data Service) an online resource for visual arts. Established in 1997 it has built up a collection of visual over 100,000 art and design images that are freely available and copyright cleared for use in learning, teaching and research in the UK. http://www.vads.ac.uk/
- 38. Ken Garland Children Collection Design Council Archive Date 1966 Description Child with blue, purple, and red op- art backdrop skipping rope and blurred in movement. Subject wallpaper; Garland, Ken; Title Retro Woman against Wallpaper Collection Student Response Bank Creator Sally Freestone and Alex Brooks Date 2001 Description Woman wearing a retro red hot-pants suit and red hat, in front of complicated retro wallpaper, holding Polaroid land camera to her eye. Completed Nov 15th 2001 in response to Ken Garland's images held at the Design Council Archive, Brighton. Series of 5. Id Number Current Repository SRB0001 location current repository Student Response Bank location former repository Southampton Institute Subject interior; wallpaper; Material photographic print
- 39. Gabriel Kuri, artist-in-residence at the University of Brighton Design Archives 'Britain at Table' exhibition (1956) Design Council Archive Black & white print 56-2927
- 40. UrielOrlow, The Wiener Library (London), video with sound, 90 mins looped, 2000-2
- 41. UrielOrlow, Inside The Archive, 145 images as video slide show or photographic installation, 2000-2006
- 43. The materiality of the archive, michellevickerman, sophieengledew, tom doughty, 2010
- 44. The materiality of the archive, sophie green, 2010
- 45. Jane and Louise Wilson Unfolding the Aryan Papers, 2008
- 50. Andy Warhol, 138 of 612 Time Capsules (From 1974 until his death in 1987 ) installed in the Andy Warhol Museum, Pittsburgh. Photo by Paul Rocheleau.
- 51. Time Capsules: Warhol collected more than 600 plain cardboard boxes which he called “time capsules.” He filled them with objects from his everyday life: Mail Newspapers Food Clothing Gifts Souvenirs Clothing Plane Tickets Andy Warhol, 138 of 612 Time Capsules installed in the Andy Warhol Museum, Pittsburgh. Photo by Paul Rocheleau. Andy Warhol, Time Capsule 232, Collection of newspapers form the Iran Hostage Crisis.
- 53. Collecting provides a way to organize & reflect our chaotic world.
- 54. A collection of things reveals personal and cultural patterns and associations.Andy Warhol’s Time Capsules were a way for him to organize a myriad of things over time as well as to reflect on particular moments such as the Iran Hostage crisis featured in these newspapers collected in 1978.
- 56. What is artistic practice? Andy Warhol in portrait session with unidentified man 1980. An artist’s practice is fundamentally the wayan artist goes about making.
- 57. Andy Warhol at work in his studio at 1342 Lexington Ave., December 1962 Andy Warhol with Campbell's Soup Can paintings in his Lexington Avenue townhouse ca. 1962. Artistic practice includes the techniques and media an artist uses as well as an artist’s ideas and approach.
- 58. Warhol began collecting Hollywood movie star photographs at the age of 9 in this scrapbook.
- 59. Warhol’s early interest in movies and Hollywood continued into adulthood. In the 1960s Andy Warhol made famous paintings of movie stars from publicity photographs from his collection. Andy Warhol Liz, 1962
- 60. Warhol continued to collect “stars” in his filmed portraits called Screen Tests: ST308 Edie Sedgwick, 1965 16mm, b&w, silent; 4.6 min. @16 fps. Collection of The Andy Warhol Museum, Founding Collection, Contribution the Andy Warhol Foundation for the Visual Arts, Inc. © 2000 The Andy Warhol Museum, Pittsburgh, All rights reserved. ST67 Salvador Dali, 1966 16mm, b&w, silent; 3.7 min. @16 fps. Collection of The Andy Warhol Museum, Founding Collection, Contribution the Andy Warhol Foundation for the Visual Arts, Inc. © 2000 The Andy Warhol Museum, Pittsburgh, All rights reserved. 3 –4 minute films in which the sitter posed in front of the film camera in silence. Warhol tried to collect people being themselves. Warhol created over 500 of these short films.
- 61. Other Artists Who Collect:Stephan HoderleinWhitfield LovellKarstenBottPortia MunsonMarc Dion
- 62. Personal Collecting:artists who use their personal collections in symbolic ways to convey their ideas about the worldProfessional Collecting:artists whose practice can be compared to anthropologists and other professionals whose work strives to reveal new information about culture.Institutional Collecting:artists whose work questions institutional collecting and display in natural history and art museums.
- 63. Personal Collecting: Stefan Hoderleinphotographs his collection of clothing against black backgrounds. The combination of clothing changes in each figure. Stefan Hoderlein, Matching Jacket and Pants, 1996, Slide Projection, 3 views, Installation at Gallerie Fricke, Berlin. Matching Jacket and Pants
- 64. Whitfield Lovelluses his various collections of personal and anonymous artifacts as source material and inspiration for his artwork. Whitfield Lovell’s hand collection, detail, installation at The Andy Warhol Museum, 1998
- 66. She collects objects as an anthropologist might in order to reveal larger cultural attitudes or trends.Portia Munson, Pink Project, 1994, detail, Installation of found pink objects,Courtesy of the artist.
- 67. Karsten Bottloves collecting, storing, exhibiting, and scientifically classifying objects. His exhibited items have no labels so that the viewer may freely associate with the objects. He tries to create a link with peoples’ personal histories through his collection. Karsten Bott,One of Each, 1993, detail, Installation at the Offenes Kulturhaus, Linz, 1993, 10 x 30 m.
- 69. the cleaning and classifying stage
- 70. and the final display in what Dion terms his “Cabinets of Curiosities.” Mark Dion, The Tate Thames Dig Project, The Tate Gallery, 1999.
- 72. Antique items were shown alongside contemporary items
- 73. Ephemera and detritus were next to objects of value Mark Dion Cabinets of Curiosities
- 74. Gallery View, from Raid the Icebox with Andy Warhol, Exhibition at the Museum of Art, Rhode Island School of Design, April 23 - June 30, 1970 Warhol’s Raid the Ice box:pun referring to many museums’ cold storage areas that are filled with objects that the public does not see
- 76. These Windsor chairs which had been kept in storage as lesser pieces were hung on the wall as if they were master paintingsGallery View, Installation of Windsor Chairs, from Raid the Icebox with Andy Warhol, Exhibition at the Museum of Art, Rhode Island School of Design, April 23 - June 30, 1970
Notas del editor
- lphonse Bertillon«Bertillonage»The process developed in 1879/1880 by the criminologist and anthropologist Alphonse Bertillon was founded on the assumption that a person’s body measurements remain relatively unchanged after reaching the age of twenty. Measuring and registering body proportions made a person unquestionably identifiable in the event of subsequent criminal offences. Also introduced at this time, as an obligatory component of the identification process, was the police photograph [mug shot], which held to the rigid practice of photographing offenders en face and en profil. Up until 1905, the Paris Police Department was said to have identified altogether 12,614 repeated offenders with the Bertillonage process, whose complexity also made it prone to miscalculation. The possibility of confusing 11 different, body measurements could not be entirely ruled out. Bertillon’s process was also expensive and time consuming. These flaws led to quickly implementing dactylopy or identifying subjects by their fingerprints, introduced twenty years later. In France as well, Bertillonage was finally abandoned in 1914, after Bertillon’s death. But a few Bertillonage elements exist even today in the criminal police identification process, for example the combination of profile and frontal shots when photographing offenders. In addition, Bertillon’s collection of types of faces and noses form the basis for what were later composite sketches of suspects.
- Alphonse Bertillon«Bertillonage»The process developed in 1879/1880 by the criminologist and anthropologist Alphonse Bertillon was founded on the assumption that a person’s body measurements remain relatively unchanged after reaching the age of twenty. Measuring and registering body proportions made a person unquestionably identifiable in the event of subsequent criminal offences. Also introduced at this time, as an obligatory component of the identification process, was the police photograph [mug shot], which held to the rigid practice of photographing offenders en face and en profil. Up until 1905, the Paris Police Department was said to have identified altogether 12,614 repeated offenders with the Bertillonage process, whose complexity also made it prone to miscalculation. The possibility of confusing 11 different, body measurements could not be entirely ruled out. Bertillon’s process was also expensive and time consuming. These flaws led to quickly implementing dactylopy or identifying subjects by their fingerprints, introduced twenty years later. In France as well, Bertillonage was finally abandoned in 1914, after Bertillon’s death. But a few Bertillonage elements exist even today in the criminal police identification process, for example the combination of profile and frontal shots when photographing offenders. In addition, Bertillon’s collection of types of faces and noses form the basis for what were later composite sketches of suspects.
- Beginning 1877, Francis Galton worked with the process of composite photography to verify and illustrate his study of heredity. This involved exposing an arbitrary number of individual portraits of chosen groups of people on a photographic plate, with the respective exposure time for each image made in relation to the number of used portraits. The overlapping caused the subjects’ individual physiognomic qualities to vanish and accentuated common characteristics of the chosen group. The composite process resulted in producing a slightly blurred image, which, as Galton wrote, «portrayed no specific type of person, but rather an imaginary figure endowed with the average characteristics of a specific group of people. [...] [This] represents the portrait of a type and not of an individual.» Galton’s process was founded on the physiognomic idea that a person’s character and potential could be established through appearance alone. The example shown here – the synthesis of the ‹epitomic Jew,› and the intensification of an archive to a single image – demonstrates the most dangerous effects that combining eugenics with composite photography produces.
- Scotland Yard memo on suffragettes Lillian Forrester and Evelyn Manesta, 1914.Scotland Yard memo on suffragettes Lillian Forrester and Evelyn Manesta, 1914. The two women had convictions for window breaking and attacking paintings in the Manchester Art Gallery, two forms of direct action carried out by the suffragettes as part of their campaign to secure the vote for women. The photographs were taken while they were imprisoned in Holloway Prison, London, in 1913.
- As artist-in-residence at the University of Brighton Design Archives, Gabriel Kuri's intervention As Selected for the Design Centre, London moved photography quite literally out of the archive and into the public arena.Taking as his starting point a pristine black and white image from 1956 of domestic tableware from the Design Council Archive, Kuri's project reflected on the immaculate and unsoiled pictorial aesthetic that was characteristic not only of the Design Council's post-war photography but also of an era of unbridled enthusiasm for modernity and progress.Producing an installation that was then replicated and sited at different civic spaces throughout Brighton for the duration of the Biennial, Kuri created an encounter with the past that embraced mass produced objects and the rituals of the everyday.
- yardstick