Carbone, Kathy (2014), Artists in the Archive: An Exploratory Study of the Artist-in-Residence Program at the City of Portland Archives & Records Center [in] Archivaria #79, on line magazine.
Reporting on an exploratory study of the inaugural artist-in-residence program at the City of Portland Archives & Records Center in Oregon, this article provides a view of the experiences and actions of the archivists, the artists, and the public arts manager participating in the residency. It pays particular attention to how the artists conceptualize, use, and respond to archival records, how and where the records circulate as works of art and poetry, and how connections are formed around the use and reuse of records. The study suggests that examining the records used in such a residency from the standpoints of their forms, uses, and paths through space and time is a productive way to reflect on the human transactions, experiences, and relationships that can occur between records, art, poetry, and the archive.
Eskildsen, Kasper Risbjerg (2008), ‘Leopold Ranke’s Archival Turn: Location and Evidence in Modern Historiography’ [in:] Modern Intellectual History, 5, 3, 2008
Historians have fetishized an archive – based research since the Rankean revolution. Contemporary archive theory is rather sceptical of the ideas of German historian Leopold von Ranke, who in the 1820s developed a model of historical research based on the archive as the most important source of historical knowledge. Ranke believed that a historian can be objective while working with archival material, forgetting his personal prejudices and political loyalties. This essay examines Ranke's approach to historical research.
Fink, Lois Marie (2006) Museum archives as resources for scholarly research and institutional identity [in:] Marstine, Janet (eds.) New Museum Theory and Practice. An Introduction. Oxford: Blackwell Publishing.
Lois Marie Fink explains the historical background of archives and describes its main characteristics. Fink states that archives are usually understood as collections of documents but in fact many types of objects can be included to archives. Archives can contain material of many different shapes, sizes, and origins such as posters, artists’ books and sometimes artworks. All these artefacts, Fink writes, are gathered, labelled and systematically arranged in order to be used by the museum staff or outside scholars. All of the above duties need time, effort and money to be done properly. Fink admits that archivists decide what is worthwhile to keep and what will be discarded, what is probably the most controversial task.
Foster, Hal (2004) “An Archival Impulse” October, Vol. 110 (Autumn), pp. 3-22
In this article, Foster identifies the presence of a distinct archival impulse in contemporary art and argues that the way a number of artists have used historical material in recent years reflects a desire ‘to connect what cannot be connected’. He discusses the concepts and characteristics of archival art and examines the work of Thomas Hirschhorn, Tacita Dean and Sam Durant.
Foster, Hal (2004) "Archives of Modern Art" [in:] October, Vol. 99 (Winter), pp. 81-95
In this text Foster sketches significant shifts in dominant archival relations that occur among modern art practice, art museum, and art history in the West from the 1850s till the 1950s.
Goldstein, Andrew M. and Rosenberg, Karen (2014), How the Art World Caught Archive Fever, 22 Jan 2014 [in] Art 101, online magazine.
The idea of the archive continues to be an undeniable force and organizing structure in exhibitions today. Artists and institutions are devoting considerable efforts to showing groups of historical art objects gathered through an idiosyncratic personal vision—with that act of curation being foregrounded as an artistic gesture. Artists working with archives elaborate on found images or objects, whether in installations featuring real archival material or through the creation of artworks in which they use the archive as a theme (sometimes even inventing material). Here the authors look at the basics of this complicated yet intensely contemporary genre, which easily elides from the hyper-researched to the totally surreal.
Magee, Karl and Walters, Susannah, Archives, Artists and Designers (2011) [in] Journal of the Society of Archivists, Vol 32, Issue 2
The University of Stirling Archives and Glasgow School of Art undertook a number of projects in collaboration with artists, designers and galleries to create new work inspired by the study of their collections, bringing their archives to new audiences. These collaborations provided an insight into the art and design world's attitude to archives. The discussions held and decisions made highlighted both the tensions often present between archival methods and creative choices and the aesthetic beauty of archives, something the profession often overlooks. This article looks at the issues raised by these often fretful, but always fruitful, collaborations.
Archiving: Theory and Practice (2002) Art-Omma, n 10, on-line magazine
Edited by Nayia Yiakoumaki, this issue of Art-Omma was focused on theory and practice of archiving. Contributors, including Hal Foster, Andrew Renton and Kitty Scott, Anna Harding, Elpida Karaba, Naomi Salaman engage with archives from different standpoints, either through theoretic work, art practices or curatorial projects.