[Fall 2002]
Angela Grauerholz, Secrets, A Gothic Tale, fonds photographique in situ, ca. 80 épreuves argentiques dans 6 portfolios et 4 classeurs ; 6 photos encadrées et un livre, Domaine de Kerguéhennec, Bretagne, 1993. © Angela Grauerholz
Angela Grauerholz, Secrets, A Gothic Tale, fonds photographique in situ, ca. 80 épreuves argentiques dans 6 portfolios et 4 classeurs ; 6 photos encadrées et un livre, Domaine de Kerguéhennec, Bretagne, 1993. © Angela Grauerholz
Melvin Charney, UN DICTIONNAIRE...Illuminations (vue partielle), 200 planches, acrylique sur épreuve argentique, 27,8 x 35,5 ou 28 x 35 cm ch., 1970-1996. Présentée à la Fondation pour l’architecture, Bruxelles, septembre-novembre 1997. © Melvin Charney
Abstract
Since the 1960s, a number of Western art practices have revived the æsthetic of the photographic archive as it was developed in the nineteenth century. Starting from the work of Allan Sekula, the author distinguishes two æsthetic trends: the inventory and the classification. Whether arising from one or the other, use of the photographic archive seems to be a strategy through which contemporary artists redefine the limits of their field of activity, sometimes even infringing on areas of competency that are not traditionally theirs.