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dc.contributor.authorBartram, Angela
dc.date.accessioned2018-11-16T15:39:25Z
dc.date.available2018-11-16T15:39:25Z
dc.date.issued2018
dc.identifier.citationBartram, A. (2018) ‘Unsatisfactory devices: legacy and the undocumentable in art’ in Cammaer, G., Fitzpatrick, B., and Lessard, B. (eds) Critical distance in documentary media. Basingstoke: Palgrave Macmillan, pp.109-128.en
dc.identifier.isbn9783319967660
dc.identifier.isbn9783319967677
dc.identifier.doi10.1007/978-3-319-96767-7
dc.identifier.urihttp://hdl.handle.net/10545/623135
dc.description.abstractRegarding perception of ephemeral artwork when lost to the fractures of time Peggy Phelan states “you have to be there.” For Phelan ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? This essay interrogates the critical, sensitive and individualized distance necessary to archive transient artworks. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain is analysed in response to The Alternative Document, an exhibition I curated on the subject in 2016, and suggests archival possibilities beyond formal academic, artistic and museological conventions.
dc.description.sponsorshipUniversity of Derbyen
dc.language.isoenen
dc.publisherPalgrave Macmillanen
dc.relation.urlhttps://www.palgrave.com/us/book/9783319967660en
dc.rights.urihttp://creativecommons.org/licenses/by-nd/4.0/*
dc.subjectEphemeral artworksen
dc.subjectDocumenten
dc.subjectDocumentationen
dc.subjectBartramen
dc.subjectPepperen
dc.subjectChoulesen
dc.subjectholographyen
dc.subjectEthnographyen
dc.titleUnsatisfactory devices: legacy and the undocumentable in art.en
dc.typeBook chapteren
dc.contributor.departmentUniversity of Derbyen
refterms.dateFOA2019-04-30T14:34:47Z
html.description.abstractRegarding perception of ephemeral artwork when lost to the fractures of time Peggy Phelan states “you have to be there.” For Phelan ephemera, specifically performance “become[s] itself through disappearance,” which draws empathy with Walter Benjamin’s notion of the “aura of the original.” In practice this a less than pragmatic account of the reality of experiencing such artworks, for how can they exist beyond the moment of making if not recorded, in order to map their histories? This essay interrogates the critical, sensitive and individualized distance necessary to archive transient artworks. Moving beyond the disciplinary ghettos of event and documentation, it interrogates how divergent and sympathetic modes of practice allow for a greater level of sustainable critique. This complex and problematic terrain is analysed in response to The Alternative Document, an exhibition I curated on the subject in 2016, and suggests archival possibilities beyond formal academic, artistic and museological conventions.


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