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Introduction: Following the Archival Turn

Cheryl Simon
Published online: 04 Jan 2011.

To cite this article: Cheryl Simon (2002) Introduction: Following the Archival Turn, Visual Resources:
An International Journal of Documentation, 18:2, 101-107, DOI: 10.1080/01973760290011770

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 Visllal Resources, Vol. XVIII, pp. 101-107 I{Routledge
T.9 or...m#..r~p

Introduction: Following the Archival Turn

Cheryl Simon
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The aim of the introductory essay is to define "the archival turn" in contemporary art and art criticism
and to provide a historical context for the essays that follow. To this end, I discuss the appearance of archi-
val materials and forms in recent art and exhibition practice as a late-stage manifestation of a postmoder-
nist appropriational exercise, and sketch a brief overview of the key theoretical reflections informing
artistic postmodernity and its institutional critique. The review considers the abstract nature of the archi-
val principles elaborated in the writings of Michel Foucault and Walter Benjamin, published in English in
the 1970s, so to explain the linguistic orientation of early postmodemist art practice and theory. Recent
developments in archival art and art criticism are said to be distinguished by their emphasis on the
material aspects of archival practice rather than the representational politics of the institution; the
essays that follow exemplify this tendency

Kqzi~ords:Archives; Art; Institutions; Benjamin, Walter; Foucault, Michel; Postmodernism

The essays collected in this volume were first presented at the College Art
Association's 89th annual meeting (Chicago, 2001), on a panel entitled Following
the Archival Turn: Photography, the Museum and the Archive. Organized in response
to the perception of an "archival turn" in contemporary art and exhibition practices,
the call for papers invited scholars, artists and/or critics to consider the relationship
between recent shifts in the conceptual and material parameters of contemporary
art production and changes in the status of photography in the museum and
the archive. First and foremost, the idea of an "archival turn" makes reference
to the increased appearance of historical and archival photographs and artifacts,
and the approximation of archival forms, in the art and photographic practices of
the 1990s. A phenomenon that encompassed both art production as well as curator-
ial activity, it became common by the end of that decade to find ephemera
from police, public, medical, and social science institutions, as well as documenta-
tion from the art museum's own archives, within the aesthetic repertoire of the

ISSN 0197-3762 print: ISSN 1477-2809 online O 2002 Taylor & Francis Ltd
DOI: 1080/01973760290011770
 102/ VlSUAL RESOURCES

contemporary art museum. The range of practices reflecting these tendencies is

wide, with Joel Peter Witken's various exhibition and publication projects featuring
imagery from police, medical, and psychiatric archives at one end of the spectrum
and Renee Green's pseudo-ethnographical display works at the other. Carrie Mae
Weems' photo-appropriation/manipulations of nineteenth-century ethnographical
portraits by J.T. Zealy represents a middle g0und.l
The archival turn can be understood in relation to a number of social factors and
cultural conditions: fin-de-siecle/millennial nostalgia, the cultural anxieties of post-
modern time-space compression, the emergence of an evidentiary aesthetic in the
information age, or the expansion of visual culture, in both social and institutional
life, are a few of the contributing factors that come to mind.2 Nonetheless it is sig-
nificant that the historical materials and forms presented in these works are derived
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from or make reference to institutional settings. Insofar as the archival turn typically
involves the movement of visual materials from extra-artistic contexts into the field
of art, the phenomenon can also be interpreted as a late-stage manifestation of post-
modernist appropriational practices; the turning inside-out of the institutions of
modernism, if you will. As such, the discussion that ensues also encompasses a retro-
spective interrogation of the institutional critique that dominated postmodernism in
the visual arts.
Although very generally informed by the historical avant-garde's view of the
museum as a bourgeois social institution, the institutional critique of postmodernity
was distinct. First and foremost, the latter stage was concerned with the institutions
of art (in the plural) and so situated the art museum within an institutional matrix
whose individual discourses were defined in opposing, albeit mutually determining
ways: art against science, artwork against artefact, symbolic against indexical sign.
The review that ensued thus involved a deconstruction of the perceptual, cognitive,
structural and discursive parameters of art and art historical discourses as
expressed through their institutional relationships.%econdly, the cultural production
spawned by this critical enterprise expressed a high degree of ambivalence about
the social implication of art.
Two prominent theoretical endeavours shaped the critical parameters of these
explorations: the archaeological exploration of modem forms of knowledge initiated
by Michel Foucault in the late 1960s, and the allegorical historiography of Walter
Benjamin, written in the 1920s and 1930s (published in English in 1969);~both of
which were well elaborated in relation to art, art historical, and photographic prac-
tices in a wide range of critical writing from this period."t is with Foucault that
we have come to understand that the institutions of art are not located within
the walls of the museum edifice proper, but constituted through a network of
discursive practices and disciplinary rules and regulations within which artistic
practice takes form.6 In Foucault's theory, the archive is defined as the ordering
principle guiding the production of knowledge in the modern episteme: "the
system that guides the appearance of statements as unique event^."^ Key to the
relationship between power and knowledge, the archive constitutes a site - more
imaginary than real - through which social relations are regulated, enacted by
way of the discursive practices of specific institutions.' Hence, if the archive
represents the historical parameters of specific systems of knowledge, defining
what has been and can be said, it also dictates by, for, and about whom knowledge
is exercised.
 Following tlze Archizlal Turn/103

By the time that Walter Benjamin wrote his trilogy of essays concerned with mass
media, art, and cultural transformation, he had already established the "archival"
methods of cultural analysis that would shape his later work, especially his great,
unfinished archival experiment, the Passagen- Werk [Arcades ~ r o j e c t l Conceived
.~
for friends as a booklet of "aphorisms, jokes, dreams", the individual commentaries
of "One Way Street" were originally published in sections of daily newspapers,
beginning in 1923, and were designed to approximate the miscellany of reports
and stories, advertisements and pictures one might find in a newspaper, or a library,
or an archive clipping file.''' Doubtless the archival sensibility of this early project,
as well as that of his later, more ambitious Arcades Project, was informed by photo-
graphic principles. The montage-type organization of both projects' contents antici-
pates an effect akin to that of the photographic snapshot. More, there is a temporal
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dimension to these commentaries that approximates the photographic act: a concern

for reading the experience of the present through glimpses of the past.
Like Foucault, Benjamin observed a growing self-consciousness in modern life -
"a living outside the moment"" - which he attributed to the invention, commercia-
lization, and institutionalization of photography in the late nineteenth century. This
series of historical events might be described in Foucauldian terms as the constitu-
tion of a photographic archive, and for Benjamin, they represented something simi-
lar insofar as the end result was the aestheticization of political life.12 Famously,
Benjamin's approach to photography was ambivalent. He saw photographs both
as incisive reflections of reality - "a different nature opens itself to the camera
than opens to the naked eye - if only because an unconsciously penetrated space
is substituted for a space consciously explored by man"13 - and a precise expression
of its demise - "the technique of reproduction detaches the reproduced object from
the domain of tradition."14 Hence, the waning of the 'aura' of historical experience
effected by photography is also that which enables its political efficacy. "The tre-
mendous shattering of tradition which.. . is the obverse of the contemporary
crisis and renewal of mankind", promised a reordering of cultural values, and a
refunctioning of cultural life - a potential overhauling of all cultural institutions.'"
Posing the singularity and cult value of traditional, craft-based works of art against
the accessibility and exhibition value of the products of the mechanical arts,
Benjamin argued for the democratization and politicization of cultural production.
More significantly, he considered photography to be a mode of historical represen-
tation attuned to its time. If "the epoch in which man could believe himself to be in
harmony with nature has expired," the photograph expressed that situation alle-
gorically.16In this instance, it was not just the expository dimension of the image
that mattered but its performative aspect as well. While the documentary capacity
of the photograph can "extend our comprehension of the necessities which rule our
lives", its temporal dimension allegorizes the transformation of lived experience
into History, historical time into ruin.17 "Thus is manifested in the field of percep-
tion what in the theoretical sphere is noticeable in the increasing importance of
statistic^."'^
Characterized by negation, Benjamin's allegorical historiography offers very dif-
ferent possibilities for cultural producers working with historical artifacts than
Foucault's archaeological method, which imagines history in more positive terms,
as a process of discursive production. (And here we might compare the elegiac
archival productions of Sherrie Levine with the imaginary genealogies suggested
 104/ VISUAL RESOURCES

by the performative self-portraits by Cindy Sherman). Yet both thinkers have con-
ceived of the archive in a similar manner. For both, the archive exists as a site of cul-
tural power and social transformation, but one which is nonetheless abstract: an
imaginary terminus wherein cultural expressions find meaning through contingen-
cies, in allegorical associations and discursive formations. And so we find the inter-
est of early postmodernist art practices and theories in the representational practices
of cultural institutions rather than the objects framed by their practices.
In particular, postmodernist criticism took issue with the asocial and ahistorical
nature of the aesthetic discourse guiding the practices of modernism in the visual
arts, specifically Greenbergian modernism with its principles of artistic purity
and aesthetic autonomy and, its opposing of mass culture and high art.19 More
specifically, citics noted the non-correspondence of photography in its documentary
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mode, and Greenberg's brand of aesthetic modernism. Significantly, at first post-

modernist art practice was predominantly photographic and appropriative. Its fas-
cination with mass media was geared, on one hand, towards a critique of the cult
values of authorship and originality underpinning the discourses of the modern art
museum, and, on the other, towards an investigation of the politics and possibilities
of representation and the structuring of meaning in language.20(Sherrie Levine and
Barbara Kruger offer excellent illustrations of these two principle interests.)
If the recent manifestation of the archival turn carries forward the concerns of
postmodernism, this is postmodernism with a twist. More noticeably, the material
resonance of contemporary practice seems at odds with the linguistic orientation
of the archival turn in its earlier stage - emphasis is now placed on the forms of
institutional discourse and the objects they frame, rather than discursive practices
on their own terms. Moreover, as noted earlier, today's museum is peppered with
proto-museological and archival installations, historical surveys and expositions:
it does not look like the museum that was described in the art criticism of the
1970s and 1980s, but, like its mirror opposite.
If this is the case, if the museum has changed in response to the critiques of post-
modernism one must ask whether or not the models for the archive that we have
inherited from that time are adequate to our present situation. More importantly,
if the forms and contents of institutional discourse have shifted, we need to know
whether the social relations of the institution have shifted too. Consistent with
the material dimension of this recent archival turn, the papers that follow focus
on the material aspects of archival practice. Reflecting upon the aesthetic, discur-
sive, and social implications of a range of archival experiments conducted in the
art practices and history of the last century, these papers represent a new stage in
the critical analysis of the institutions of art, one which approaches the representa-
tions of institutions as historical artefacts in their own right.
Carol Payne's and Jeffrey Thomas's contribution takes form as a dialogue explor-
ing the changing function of the ethnographic archive. Both researchers at the
National Archives of Canada, for Payne, an academic interested in the role of photo-
graphy in the construction of national identities, and Thomas, an Iroquoian artist
involved in an artistic/genealogical investigation, the ethnographic archive
seemed to rest on ambigous discursive terrain: repressive insofar as its contents
represent the subjugation of Aboriginal subjects in the course of Canadian nation-
building, but also potentially affirmative in the context of recent First Nations' cul-
tural initiatives. Their discussion thus addresses the contemporary archive as a site
 Following the Archival Turn/ 105

of cultural translation within which artists's interventions have the potential to

transform the values and functions of the objects framed by the institution: what was
once evidential has become symbolic through these processes of cultural exchange.
The value and status of the photographic documentation within the art museum
is also the subject of Vid Ingelevics' contribution to the journal. An artist/curator,
Ingelevics discusses his recent Gift Shop exhibition at the Winnipeg Art Gallery, a
project which made use of the museum's own archive as a site though which to
interrogate the triangulated relationship between the museum's aesthetic standards,
its cultural functions, and economic life. Noting the persistent bias in institutional
analyses that views the photograph as a transparent representation of the world,
Ingelevics argues that this perception not only veils an aesthetic prejudice against
the cultural value of the documentary photography, but effectively disables critical
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reflection on the documentary practices of the museum itself. Interweaving photo-

graphs of the museum's artefacts made for record-keeping purpose, with images
hanging in the gallery as works of art, and reproductions made to be sold as com-
modities in the gift shop, both exhibition and essay deliberate upon the role played
by mechanical reproduction in bridging the cultural and economic functions of the
museum.
Also concerned with the changing status of photography within the museum,
Christine Hahn's paper walks us through Photography 1837-1937, Beaumont
Newhall's first major exhibition of photography at the Museum of Modern Art.
Her essay discusses the relationship of photography and the museum in it's pre-
formalist phase, a period of time surprising similar in its material dimensions
and historical orientation to the recent archival phase. Returning to expand upon
earlier critiques of the role played by the MoMA, and this particular exhbition,
in the forging of a formalist aesthetic for photography in the museum, Hahn
points to the exhibition's explicit interest in the social history of photography to
argue the anti-aesthetic orientation of Newhall's curatorial rati~nale.~' As Hahn
tells us the design for the exhibition was informed by the writing of Alois Reigl,
a nineteenth-century art historian interested in the social forces informing stylistic
evolution; thus the exhibition's focus on the relationship between technical develop-
ments in photography and social change. In remarking on the early archival orien-
tation of photography's entrance into the modern museum the essay offers an
alternative, and potentially more productive historical precedent to that of aesthetic
modernism, through which to consider the archival turn in contemporary art.
Miranda Wallace's contribution to this volume also looks to an earlier example of
archival practice in the arts of the twentieth century. Wallace's paper takes as a case
study the archival exercises involved in the curatorial and publications activities
carried out on August Sander's archival work, Menschen des 20. Iabrhunderts
("People of the Twentieth Century"), since its inception. Noting the differing repre-
sentations of Sander's work over time, Wallace offers an alternative model for the
photographic archive than that sketched by Walter Benjamin. In exploring the pro-
tean nature of archival and historical production, Wallace proposes the more cau-
tionary approach of Benjamin's contemporary Siegfried Kracauer, who saw in the
ever-expanding mass production of photographic imagery a material density that
denies historical coherence - allegorical or otherwise.
Lyndell Brown's and Charles Green's collaborative contribution also considers
the problem of historical interpretation in the age of mass reproduction.
 106/ VISUAL RESOURCES

Juxtaposing Aby Warburg's Mnernosyne Atlas against conceptual artist, Robert

Smithson's non-sites, the authors offer a new reading of the Atlas that challenges
its interpretation in recent scholarship as a positivist account of art's history.22
Warburg's choice of photography as the form used to illustrate his experimental his-
toriography has typically been interpreted as a demonstration of his faith in the
mnemonic function of that technology, and in the possibility of historical interpret-
ation more generally. Brown and Green see Warburg's project - in both its theor-
etical and concrete elaboration - quite differently. Likening the Atlas's approach to
the collection, organization, and presentation of art objects to the archaeological
methods of Smithson, they argue that Warburg may have viewed historical repre-
sentation much like Smithson did, as an entropic process. Both theorists would
seem to side with Kracauer in this regard, as both saw the accretion of representa-
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tions in modernity as an obstacle to meaningful historical interpretation.

The volume of representations available to us in the twentyfirst century has
grown significantly since Kracauer's time, and although a number of new tech-
nologies have emerged to manage this ever-expanding archive, we are still faced
with the problems of historical intepretation. How we go about interpreting these
materials will depend upon how we conceive of their value. This is to say that
we need to ask ourselves what it is we hope to understand from historical forms.
We might ask if these representations offer us a portal to other times and places,
or if they themselves are not merely representative of historical attitudes towards
representation - artefacts in their own right. Should we approach historical repre-
sentations as such, as the authors of the essays which follow here have, we may
better understand the ever increasing cultural representations of history.

NOTES

1. See Joel Peter Witkin, Harm's Way (Santa Fe, N.M.: Twin Palms Press, 1994). An archival turn is also
evident in the curatorial endeavors of the contemporary art museum. The exhibition, Scene of the Crime,
curated by Ralph Rugoff for UCLA at the Armand Hammer Museum in 1997, featured conceptual, per-
formance, and minimalist art works evincing, what Rugoff described as, a forensic aesthetic. See the
catalogue, Scene of the Crime, ed. Ralph Rugoff (Cambridge, MA/London: MIT Press and UCLA at the
Armand Hammer Museum, 1997). Exhibitions such as Police Pictrtres and Snapshots: The Photography of
Everyday Life, both presented by The San Francisco Museum of Modern Art in the late 1990s, haced his-
tories of institutional and vernacular applications of photography in the exhibition spaces typically
reserved for contemporary and modem art. And, the exhibition Caniera Obscured: Photographic
Documentation and the Public Museum, curated by contributor Vid Ingelevics, for the Photography
Gallery in London, features an historical selection of photographic documentation pictures of the instal-
lations and artifacts in natural history, ethnographic, and art museums, produced between the mid-nine-
teenth century and the mid 1960s. To date, the most comprehensive investigation of the archival turn
remains the exhibition Deep Storage curated by Ingrid Schaffner and Mathias Winsen. See the catalogue,
Deep Storage: Collecting, Storing and Archiving in Art, ed. Ingrid Schaffner and Matthias Winzen (Munich/
New York: Prestel, 1998). Kynaston McShine's exhibition The Museum as Muse, at the MoMA, in 1999
addresses related themes. See The Museum as Muse: Artists Reflect (New York: Museum of Modern Art,
1999).
2. See Andreas Huyssen, Twilight Memories: Marking Time in a Crilture of Alnnesia (New York and
London: Routledge, 1995) on millennia1 angst; Fredric Jameson, Postmodernism, or the Cultlira1 Logic of
Lnte Capitalism (Durham, NC: Duke University Press, 1991); and David Harvey, The Condition of
Postmodernity (Cambridge, M A and Oxford, UK: Blackwell, 1990) on nostalgia and postmodemism. See
Hal Foster, 'The Archive Without Museums", October 77 (Spring, 1996), on the relationship between
the expansion of visual culture and the appearance of archival forms.
3. See Hal Foster, The Return of the Real (Cambridge, MA: MIT Press, 1996) and Huyssen on the dif-
ferences between the institutional critiques of modernism and postmodernism. See Mieke Bal, Double
 Followirlg the Archival Turn/ 107
Exposures: The Subject of Cult~iralAnalysis (London and New York: Routledge, 1996); and James Clifford,
The Predicament of Cultlire: Tu?entieth Ceiltlry Ethnography, Literature, Art (Cambridge, MA and Oxford, UK:
Harvard University Press, 1988) for an analysis of the structural interdependency of the disciplines of the
human sciences: the history of art, anthropology, natural science. See Tony Bennett, The Birth of the
Museum: Histoy, Theory, Politics (London and New York: Routledge, 1995) on the simultaneity of the insti-
tutionalization of the arts and sciences, what he calls the emergence of an exhibitionary complex.
4. Michel Foucault, Les Mots et les choses (Paris: Editions Gallimard, 1966), published in English as
The Order of Things (New York: Random House, Inc., 1970); and L'Archhlogie du savoir (Paris: Editions
Gallimard, 1969), published in English as The Archaeology of Knowledge, trans. A.M. Sheridan Smith
(Tavistock Publications, 1972). See, Walter Benjamin, "A Short History of Photography", Screen, Vol. 13,
no. 1 (Spring, 1972); "The Work of Art in the Age of Mechanical Reproduction", and 'The Storyteller",
both in Il1rrminations, trans. Hannah Arendt (New York: Schocken Books, 1969); and "The Author as
Producer", in Thinking Photography, ed. Victor Burgin (London: Macmillan Education, 1982).
5. The response to the publication in English of Benjamin's writings was extensive. For its influence
on the institutional critique, and theories and histories of photography, see Douglas Crimp "On the
Museum's Ruins", in The Anti-Aesthetic: Essays on Postmodern Culture, ed. Hal Foster (Seattle: Bay Press,
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1983), 4S56; Thinking Photography, ed. Victor Burgin (London: Macmillan Education, 1982) and John
Tagg, The Burden of Representation: Essays on Photographies and Histories (Amherst: University of
Massachusetts Press, 1988), as well as Alan Sekula's "The Body in the Archive", in The Contest of
Meaning: Critical Histories of Photography, ed. Richard Bolton (Cambridge: MIT Press, 1989).
6. Foster, 184.
7. Foucault, 129.
8. Real insofar as history is expressed through the interpretation of artifacts, but more imaginary
insofar as the rules set for these practices are determined by the ~ l e and s regulations of disciplinary dis-
courses. Although conceived before Foucault's 'genealogical phase', where his theories of power/knowl-
edge were fully articulated, the archeological method clearly informs his later theoretical developments.
9. The Arcades Project was only recently published in its entirety. See Walter Benjamin, The Arcades
Project, trans. Howard Eiland and Kevin McLaughlin, prepared on the basis of the German volume edited
by Rolf Tiedemann (Cambridge, MA: Belknap Press of Harvard University Press, 1999). See also, Susan
Buck-Morss, The Dialectics of Seeing: Walter Benjamin and the Arcades Project (Cambridge, MA. and London,
UK: MIT Press, 1991).
10. Walter Benjamin, Reflections: Essays, Aphorisnls, Autobiographical Writing, trans. Edmund Jephcott,
ed. and with introduction by Peter Demetz (New York: Schocken Books, 1986).
11. See Benjamin, "Short History", 17.
12. Alan Sekula coined the term "the shadow archive" to conceptualize the social consciousness
attending the coincidental commercialization of photography and its institutionalization in the form of
actual concrete archives. Simultaneously real and "an enabling fantasy" the shadow archive contained
"the images of the bodies of heroes, leaders and moral exemplars, celebrities, and those of the poor,
the diseased, the insane, the criminal, the non-white and the female members, and all other embodiments
of the unworthy", and functioned, in both manifestations as an abstraction of the entire field of social rela-
tions through which the individual member could situate themselves. See Sekula, 347.
13. Benjamin, "Work of Art", 237.
14. Benjamin, "Work of Art", 221.
15. Ibid.
16. Benjamin, "The Storyteller", 97.
17. Benjamin, "Work of Art", 236.
18. Benjamin, "Work of Art", 223.
19. See Crimp, "On the Museum's Ruins".
20. See Douglas Crimp, "Pictures", October 8 (Spring 1979), and 'The Photographic Activity of
Postmodemism", October 15 (Winter 1980); See also Douglas Crimp, "The Museum's Old/The
Library's New Subject", in The Contest of Meaning: Critical Histories of Photography, ed. Richard Bolton
(Cambridge: MIT Press, 1989).
21. See Christopher Phillips's "The Judgement Seat of Photography", in The Contest of Menning:
Critical Histories of Photography, ed. Richard Bolton (Cambridge: MIT Press, 1989), for a historical account
of the MoMA's department of photography. Phillips argues that while Newhall's first exhibition of photo-
graphy was not explicity interested in the aesthetics of the photographic image, instead concentrating on
the history of technological innovation, because he discussed these innovations in aesthetic terms, the
exhibition laid the ground for the eventual formalist orientation of the museum's photography depart-
ment.
22. See Benjamin H.D. Buchloch, "Atlas: Warburg's paragon? The End of Collage and Photomontage
in Postwar Europe", in Ingrid Schaffner, M. Winzen, Deep Storage; and Benjamin H.D. Buchloch, "Gerhard
hchter's Altas: The Anomic Archive", October 88 (Spring 1999).