Archiving Advanced Art

Collaging Information: The Artist, the Librarian, the Artist/Librarian Several years after becoming a professional librarian in 1972, I became involved in Mail Art. This international network of cooperating artists has expanded my vision of both the world and the profession. Over the years, I have taken it upon myself to document various aspects of Mail Art, which would have remained unexamined without the involvement of someone both actively participating in the medium and in possession of professional research skills. In so doing, I have been able to integrate two important facets of my life.

The journey through the creation of the groundbreaking video games continues with this breathtaking volume, featuring hundreds of pieces of concept art, design notes, and creator retrospectives from the original team behind the making of Final Fantasy X, Final Fantasy XI, Final Fantasy XII, Final Fantasy XIII, and Final Fantasy XIV. Art, commentary, and lore from a transformative era in the indispensable role-playing franchise, collected in a beautifully printed 300-plus-page hardcover. Foray into one of gaming's most iconic properties, exploring beautiful art and incisive commentary behind five of the most memorable entries in the Final Fantasy saga. Final Fantasy Ultimania Archive Volume 3 authentically translates original Japanese source material to present unparalleled access for a Western audience. This incredible tome is a must-have addition to any Final Fantasy enthusiast's collection.

Introduced by Clive Phillpot, and including artists and writers such as Gustav Metzger, Bruce McLean, Barbara Steveni, John Latham, Barry Flanagan, Edward Burra, Penelope Curtis, and Neal White, "All This Stuff "breaks new ground in the field of archive theory. It documents the innovative ways in which the arts are challenging the distinctions, processes, and crossovers between artworks and archives. This critical reexamination exemplifies how the field of art archiving is changing theory and practice as well as our understanding of what an archive is, or could be. Valuable insights are given into the archival process and the book also explores how archives can be made accessible and the unpredictable ways in which they may be explored and reinterpreted in the future.

Art + Archive provides an in-depth analysis of the connection between art and the archive at the turn of the twenty-first century. The book examines how the archive emerged in art writing in the mid-1990s and how its subsequent ubiquity can be understood in light of wider social, technological, philosophical and art-historical conditions and concerns. Deftly combining writing on archives from different disciplines with artistic practices, the book clarifies the function and meaning of one of the most persistent artworld buzzwords of recent years, shedding light on the conceptual and historical implications of the so-called archival turn in contemporary art.

An investigation of digital archiving as an integral technology of warfare and how artists respond to these changes. Digital and data technologies are actively transforming the archives of contemporary warfare. Bringing together a range of scholarly perspectives and artistic practices, (W)ARCHIVES investigates digital archiving as an integral technology of warfare and how artists respond to these changes. Throughout the book, the (w)archive emerges as a term to grasp the extended materiality of war today, wherein digital archiving intersects with images, bodies, senses, infrastructures, environments, memories, and emotions. The essays explore how this new digital materiality of war reconfigures the archival impulses that have shaped artistic practices over the last decades, and how archives can be mobilized to articulate political demands, conjure new forms of evidence, and make palpable the experience of living with war.

The Archive of Art and Design at the Victoria & Albert Museum contains Britain's foremost collection of primary source material relating to art and design, particularly of the twentieth century. Established in 1978, the Archive holds over 200 archives created by individual artists, craftspeople and designers and businesses and societies involved in the manufacture and promotion of art and design products. The Guide describes each archive in detail, offering information about its creator, its contents, and related sources held both inside and outside the V&A Museum. It is an invaluable reference text for everyone with an interest in studying British art and design.

Two works -- Conceptual and material aspects of media art -- Musical roots of performed and performative media -- Zen for film -- Changeability and multimedia art -- Time and conservation -- Heterotemporalities -- The material and the immaterial archive -- Archival implications -- Conclusion: the many archai of conservation and curation

Instead of smoothing over contemporary art's violent and iconoclastic dimensions, instead of sanitizing and making complex artworks docile in terms of archival possibilities, this book suggests we abandon our fantasy of mastery over representation and respond in kind to the archive-as-artwork, to "living" archives, and to reenactments of history with their seamless connections between fiction and non-fiction. Among the concepts examined are Vilém Flusser's techno-imagination, Lygia Clark's and Hélio Oiticica's participatory aesthetics, and Paulo Bruscky's and Eduardo Kac's literal performances of the archive. They contribute to the erosion of the archive's former boundaries, stability, function, and meaning. Writing alongside the artists as much as about them, Osthoff examines the archive mise-en-abyme, as it grows increasingly recombinant and generative. Simone Osthoff received her Ph.D. from the European Graduate School and is Associate Professor of Critical Studies in the School of Visual Arts at Pennsylvania State University. An art critic and historian of contemporary art, her numerous essays, focusing on media art practices and issues of historiography, have been published internationally and translated into over eight languages.