Greetings all, While the City Experience model of the Boston was an intriguing and exciting model to explore, the turnout on Monday was less than I had hoped for. Many colleagues had already departed to return to the fray, many took Monday as their travel day, etc. and so on. I will probably beat my paper from the "/Seeing Past and Present Anew: Animating the Archive/" session into some sort of condition for an academic journal, but would also like to make it available to any who might be interested. The PowerPoint is 25 Mb, but includes the visual portion of the paper and is an absolutely necessary component, so please take that into consideration if your mail system balks at large file attachments. The paper proposal follows. Please read first and if it sound interesting, give me a shout. May take a few days to respond. Cheers, Peter Blank Animating the Archive: Playing in the Fields of Cultural Production. Case Study: 1959 – More Than Frank’s /The Americans/. As librarians we are commonly charged with creating, maintaining, and providing access to our collections. But in recent years I have completely recast my relationship to and appreciation of the “collection.” In fact, “collection” is a term I seldom use. Instead, I consider myself a sort of Bibliographer/Archaeologist on a dig, sifting through what I now refer to as the “Archive” which I define as much more than mere physical or digital collections. The Archive is an intellectual construct that defines us. A “fact” for a researcher working in our collections is often a fact only within a certain cultural and time-sensitive context. In the composting of understanding we identify as the writing of history researchers level the push and pull of cultural forces with knowledge assumptions in order to produce a serviceable end product, a history. But over time and as vantage points shift these histories lose their status as comprehensive structures and the process begins anew. Facts and assumptions are recycled with new understanding to create new products. The materials in our collections are not bound by walls, but by ideas which are both aggressive and fleeting. The books in our collections are not stillborn, but are writhing, uncontrollable entities. The Archive is anything but a collection. It is a rich, expanding, and shifting mass. It is constantly building, dismantling, and reconstituting itself, often unbeknownst to its supposed caretakers. Do we appreciate this notion of Archive? Have we lost the realization that not only are we the guardians of the Archive as it is constituted at that moment, but that the actions by which we create, maintain, and provide access to the Archive we profoundly influence how the Archive is perceived, or more importantly, /if it is perceived at all/? Are we blind to the Archive? First, I will kindle our awareness of the Archive with a brief yet stimulating excursion into Pierre Bourdieu’s notion of lost “original possibles,” field structures, and “agents” who are engaged in struggles within those fields (/The Field of Cultural Production/, 1993), T.S. Eliot’s commentaries on tradition and “the historical sense” (“Tradition and the Individual Talent,” 1917), and Thomas Kuhn’s distinction of “normal” and “revolutionary” science (/The Structure of Scientific Revolutions/, 3rd ed., 1996). These ideas reveal the essentially historicist underpinnings to my broader endeavor as an Archivist, which is to provide a constantly fertile ground for researchers to recapture essentially lost original possibles, that series of remarked and unremarked beliefs that constitute an evolving cultural system, by providing those researchers the means to excavate within the body of published literature and related materials produced within that system. Second, upon this philosophical basis for examining cultural production and using the literature of photography, I will further present the case for appreciating publication as culture and culture as publication. The very nature of research in an object-based discipline such as art history is inextricably linked to an object-based learning environment where the form of the published vehicle as physical object (book or magazine) is often as imbued with cultural codings as its contents. Published artifacts have and project their own media values. I will argue that the photobook functions as both an instrumental and a reflective object for the culture that developed around photography, specifically American art photography. By positioning the photobook against the culture which produced it, the book casts back representations that are otherwise irretrievable, providing traces of the senses of self that constituted the identities, assumptions, and values that collectively constitute culture, as well as evidence of the systems that defined photographic practices and supported certain cultural formations – and yes, made photographs. Third, zeroing in on 1959 and Robert Frank’s /The Americans/ and other photobooks of that era, I will close with a specific example of how, as a bibliographer cum Archivist, I approach the Archive as it is manifested in the Stanford Art & Architecture Library. We will look at other well known examples of photobooks from 1959, including Richard Avedon and Truman Capote’s /Observations/, Horizon Press’s /Aaron Siskind Photographs/, and William Klein’s /Rome/, as well as those less well known today, such as Carl Mydans’s /More Than Meets the Eye/ (1959) and Lloyd and Alice Reeve’s /Gift of the Grape/ (with photos by Ansel Adams and Pirkle Jones). I will demonstrate how it is possible to suggest to students through the use of materials from the Archive as well as an historical analysis of how these materials have appeared and disappeared within the Archive that these books clearly identify a shift from a culture where photography was seen as a sharing of facts to a practice for personalizing experience. It is through my new understanding of what constitutes Archive that I now base much of my collection development and instructional practice. The paper will be tight, fast paced, infused with interesting ideas, and liberally dosed with extensive illustrations from the photobook literature. Through a history of ideas and photographic practices, as illustrated by multiple dust jackets and page spreads, this paper is more a model for how one might conceptualize such an approach than a nuts and bolts presentation of “this is how I do it at Stanford.” ----------------------------- Peter P. Blank Head Librarian Art & Architecture Library 102 Cummings Art Bldg. 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