See Deep Storage. Arsenale der Erinnerung: Sammeln, Speichern, Archivieren in der Kunst, edited by Ingrid Schaffner and Matthias Winzen (New York: Prestel, 1997). 20. See Ursula Stalder, Gestrandet an den Rändern Europas (Zürich: Museum ...
Morra Smith 2006 J. Morra, M. Smith (eds.), Visual Culture: Critical Concepts in Media and Cultural Studies, vol. 1: What is visual culture studies?, London-New York 2006. Moxey 2000 K. Moxey, Nostalgia for the Real.
In Deep Storage: Arsenale der Erinnerung—Sammeln, Speichern, Archivieren in der Kunst [Deep Storage: arsenals of memory: collecting, storing, archiving in arts], edited by Ingrid Schaffner and Matthias Winzen, 278–281.
In Deep Storage. Arsenale der Erinnerung. Sammeln, Speichern, Archivieren in der Kunst, edited by Ingrid Schaffner and Matthias Winzen, 10–19. (Exhibition Catalogue Haus der Kunst München; Nationalgalerie SMPK Berlin; ...
D. Collins. Paris: Flammarion. Simmel, G. (1911) 1988. “Le concept et la tragédie de la culture.” Trans. S. Cornille and P. Ivernel. In La tragédie de la culture et autres essais (Paris: Éditions Rivages), 177–215. Sitney, P. A. 1990.
Deep Storage: Arsenale der Erinnerung. Sammeln, Speichern, Archivieren in der Kunst. Munich: Prestel, 1997. Schievelbusch, Wolfgang. Die Geschichte der Eisenbahnreise. Frankfurt a. M.: Fischer, 2000. Schippers, Kurt. Holland Dada.
To Have and To Hold is a captivating tour of collectors and their treasures from medieval times to the present, from a cabinet containing unicorn horns and a Tsar's collection of teeth to the macabre art of embalmer Dr. Frederick Ruysch, ...
“Sammeln – so selbstverständlich, so paradox”. Deep Storage: Arsenale der Erinnerung. Sammeln, Speichern, Archivieren in der Kunst. Ed. Ingrid Schaffner and Matthias Winzen. Munich: Prestel, 1997. 10–19. Wittgenstein, Ludwig.
Starting from a close examination of the photograph of Malraux in his salon, art historian Walter Grasskamp takes the reader back to the dawn of this genre of illustrated art book.
From a phenomenological perspective “biofacts” are created by man and as such are thus partially artifacts. ... reflects this change as well and distinguishes the three following types: 1. before the “biofact” comes into being, ...