"Photography, with its extensions in film, video and the digital realm, is the main vehicle for these images. The time was, we thought of photographs as recorders of reality. Now we know they largely invent reality. At one stage or another, whether in shooting, developing, editing or placement, the pictures are manipulated, which means that we are manipulated. We are so used to this that we don’t see it; it's just as a fact of life.
"'Archive Fever' puts us deep inside right from the start. The gallery walls have been covered with sheets of plain industrial plywood. The exhibition space looks like the interior of a storage shed or a shipping container packed with images both strange and familiar.
"Familiar comes first: Andy Warhol's early 1960s 'Race Riot,' a silk-screened image of a black civil rights marcher attacked by police dogs. Warhol, our pop Proust, was a child of the archive; he lived in it and never left it. He culled his images straight from the public record — in this case Life magazine — and then made them public in a new way, as a new kind of art, the tabloid masterpiece, the cheesy sublime..." [read full article]