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.
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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).