The shape of evidence: contemporary art and the document, by Sophie Berrebi

Click to increase image sizeClick to decrease image size

Notes

1 Allan Sekula, “The Body and the Archive,” October 39 (Winter 1986): 3–64; Jacques Derrida and Eric Prenowitz, “Archive Fever: A Freudian Impression,” Diacritics 25, no. 2 (Summer 1995): 9–63; Hal Foster, “An Archival Impulse,” October 110 (Fall 2004): 3–22.

2 Archive Fever: Uses of the Document in Contemporary Art was curated by Enwezor for the International Center of Photography (New York) and ran from January 18 to May 4, 2008.

3 Elaborated in Michel Foucault, “Discipline and Punish, Panopticism,” in Discipline and Punish: The Birth of the Prison, ed. Alan Sheridan (New York: Vintage Books, 1977), 195–228; Sekula, “The Body and the Archive”; and John Tagg, The Burden of Representation: Essays on Photographies and Histories (London: Macmillan, 1988).

4 Jeff Wall, “‘Marks of Indifference’: Aspects of Photography in, or as, Conceptual Art,” in Ann Goldstein and Anne Rorimer, Reconsidering the Object in Art, 1965–1975, exhibition catalog (Los Angeles: Museum of Contemporary Art, 1995), 247–67.

5 Ann Laura Stoler, “Colonial Archives and the Arts of Governance,” Archival Science 2 (2002): 87.

6 Hubert Damisch, A Theory of /Cloud/: Toward a History of Painting, trans. Janet Lloyd (Stanford: Stanford University Press, 2002).

7 Yve-Alain Bois, Denis Hollier, Rosalind Krauss, and Hubert Damisch, “A Conversation with Hubert Damisch,” October 85 (Summer 1998): 8.

Additional information

Notes on contributors

Erin Silver

ERIN SILVER is an art historian and independent curator. She is an emerging scholar of queer feminist visual culture, performance, activism, and art history, and obtained a PhD in Art History and Gender and Women's Studies from McGill University in 2013. She is the co-editor (with Amelia Jones) of Otherwise: Imagining Queer Feminist Art Histories (Manchester University Press, 2015).