bibliography - University of California Press

Transcription

BIBLIOGRAPHY
GENERAL BIBLIOGRAPHY
Adesokan, Akinwumi. Postcolonial Artists and Global Aesthetics. Bloomington: Indiana University
Press, 2011.
Agamben, Giorgio. “What Is the Contemporary.” In Nudities, trans. David Kishik and Stefan
Pedatella,10–19. Stanford: Stanford University Press, 2010.
Altbach, Philip G., and Salah M. Hassan. The Muse of Modernity: Essays on Culture as Development in
Africa. Trenton, N.J.: Africa World Press, 1997.
Appiah, Kwame Anthony, and Henry Louis Gates, Jr., eds. The Dictionary of Global Culture. New
York: Alfred A. Knopf, 1997.
Art and Philosophy. Milan: Giancarlo Politi, 1991.
Art Since 1900. Texts by Frances Richard, Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin
Buchloh. New York: Thames and Hudson, 2004.
Baas, Jacquelynn, and Mary Jane Jacob, eds. Buddha Mind in Contemporary Art. Berkeley: University
of California Press, 2004.
Badiou, Alain. The Century. Trans. Alberto Toscano. Cambridge: Polity, 2007.
Baldessari, John, Megan Cranston, and Thomas McEvilley. 100 Artists See God. New York:
Independent Curators International, 2004.
Bann, Stephen. The True Vine: On Visual Representation and the Western Tradition. Oxford:
Cambridge University Press, 1989.
———. Ways Around Modernism. New York: Routledge, 2007.
Barthes, Roland. Image Music Text. Trans. Stephen Heath. London: Fontana, 1977.
———. Mythologies. Trans. Annette Lavers. New York: Hill and Wang, 1972.
Baudrillard, Jean. For a Critique of the Political Economy of the Sign. St. Louis: Telos, 1981.
Bell, Julian. Mirror of the World: A New History of Art. New York: Thames and Hudson, 2007.
Benjamin, Walter. Illuminations. Ed. Hanna Arendt, trans. Harry Zohn. New York: Schocken,
1969.
Bickers, Patricia, and Andrew Wilson. Talking Art: Interviews with Artists Since 1976. London:
Ridinghouse, 2007.
Bishop, Clare. Artificial Hells: Participatory Art and the Politics of Spectatorship. New York: Verso,
2012.
———. Installation Art. London: Tate Publishing, 2011.
———. Participation. Cambridge, Mass.: MIT Press, 2006.
Bolton, Richard, ed. The Contest of Meaning: Critical Histories of Photography. Cambridge, Mass.: MIT
Press, 1992.
BIBLIOGRAPHY for Stiles and Selz, Theories and Documents of Contemporary Art, 2nd edition (UC Press, 2012)
1
———. Culture Wars: Documents from the Recent Controversies in the Arts. New York: New Press,
1992.
Bourriard, Nicolas. Altermodern. London: Tate Publishing, 2009.
———. Postproduction. Berlin: Lukas & Sternberg, 2007.
———. The Radicant. Berlin: Lukas & Sternberg, 2009.
———. Relational Aesthetics. Dijon: Les Presses du Réel, 1998.
Breakthroughs: Avant-Garde Artists in Europe and America, 1950–1990. Columbus: Wexner Center for
the Arts, 1991.
Bryan-Wilson, Julia. Art Workers: Radical Practice in the Vietnam War Era. Berkeley: University of
California Press, 2011.
Bryson, Norman, Michael Ann Holly, and Keith Moxey, eds. Visual Culture: Images and
Interpretations. Hanover, N.H.: Press of the University of New England, 1994.
Buchloh, Benjamin H. D., Serge Guilbaut, and D. Solkin, eds. Modernism and Modernity: The
Vancouver Conference Papers. Halifax: Press of the Nova Scotia College of Art and Design, 1983.
Buergel, Roger M., and Ruth Noack. Bilderbuch: Documenta Kassel 16/06–23/09. Cologne: Taschen,
2007.
Burger, Peter. Theory of the Avant-Garde. Trans. Michael Shaw, foreword by Jochen Schulte-Sasse.
Minneapolis: University of Minnesota Press, 1984.
Butler, Cornelia, ed. Wack! Art and the Feminist Revolution. Los Angeles: Museum of Contemporary
Art; Cambridge, Mass.: MIT Press, 2007.
Calinescu, Matei. Faces of Modernity: Avant-garde, Decadence, Kitsch. Bloomington: Indiana University
Press, 1977.
Carrier, David. Artwriting. Amherst: University of Massachusetts Press, 1987.
Cederholm, Theresa Dickason. Afro-American Artists: A Bibliographical Dictionary. Boston: Boston
Public Library, 1973.
Celant, Germano. The European Iceberg: Creativity in Germany and Italy Today. Toronto: Art Gallery of
Ontario, 1985.
———. Identité Italienne: L’art en Italie depuis 1959. Paris: Centre Georges Pompidou, Musée
National d’Art Moderne and Centro Di, 1981.
Chadwick, Whitney. Women, Art, and Society. London: Thames and Hudson, 1990.
Chávez, Patricio, Madeleine Grynsztejn, and Kathryn Kanjo. La Frontera/The Border: Art about the
Mexico–United States Border Experience. San Diego: Museum of Contemporary Art, 1993.
Cheah, Pheng, and Bruce Robbins, eds. Cosmopolitics: Thinking and Feeling beyond the Nation.
Chiu, Melissa, and Benjamin Genocchio, eds. Contemporary Art in Asia: A Critical Reader.
Cambridge, Mass.: MIT Press, 2011.
Christov-Bakargiev, Carolyn. Documenta 13: Catalogue II/3, The Logbook. Ostfildern-Ruit, Germany:
Hatje Cantz, 2012.
Christov-Bakargiev, Carolyn, Guillermo Faivovich, and Nicolás Goldberg. Documenta 13: Catalogue
III/3, The Guidebook. Ostfildern-Ruit, Germany: Hatje Cantz, 2012.
Christov-Bakargiev, Carolyn, Chus Martínez, and Franco Berardi. Documenta 13: Catalog I/3, The
Book of Books. Ostfildern-Ruit, Germany: Hatje Cantz, 2012.
Ciecko, Anne Tereska. Contemporary Asian Cinema: Popular Culture in a Global Frame. New York:
Berg, 2006.
2
Cjaidjiro, Shohini. Contemporary World Cinema: Europe, the Middle East, East Asia, and South Asia.
Edinburgh: Edinburgh University Press, 2006.
Crane, Diana. The Transformation of the Avant-Garde: The New York Art World: 1940–1985. Chicago:
University of Chicago Press, 1987.
Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century.
Dainotto, Roberto. Europe (in Theory). Durham: Duke University Press, 2007.
Dalmia, Yashodhara. Contemporary Indian Art: Other Realities. Gaithersburg, Md.: Marg Foundation,
2002.
Danto, Arthur C. After the End of Art: Contemporary Art and the Pale of History. Princeton, N.J.:
Princeton University Press, 1997.
———. The Madonna of the Future: Essays in a Pluralistic Art World. 2000; Berkeley: University of
––––––. Philosophizing Art. Berkeley: University of California Press, 1999.
———. Unnatural Wonders: Essays from the Gap Between Art and Life. 2005; New York: Columbia
University Press, 2007.
David, Catherine. Documenta 10. Das Buch. Politics/Poetics. Ostfildern-Ruit, Germany: Hatje Cantz,
1997.
Derrida, Jacques. The Truth in Painting. Trans. Geoff Bennington and Ian McLeod. Chicago:
Doherty, Claire. Situation. Cambridge, Mass.: MIT Press, 2009.
Donnell, Radka. Double Vision: Perspectives on Gender and the Visual Arts. Rutherford, N.J.: Fairleigh
Dickinson University Press, 1995.
Driskell, David C. Two Centuries of Black American Art. Los Angeles: Los Angeles County Museum
of Art; New York: Alfred Knopf, 1976.
Durovicová, Natasa, and Kathleen E. Newman, eds. World Cinemas, Transnational Perspectives. New
York: Routledge, 2009.
Eagleton, Terry. Literary Theory: An Introduction. Minneapolis: University of Minnesota Press, 1983.
———. The Ideology of the Aesthetic. Cambridge: Basil Blackwell, 1990.
Eco, Umberto. The Theory of Semiotics. Bloomington: Indiana University Press, 1979.
Eigner, Saeb. Art of the Middle East: Modern and Contemporary Art of the Arab World and Iran. New
York: Merrill, 2010.
Elkins, James, ed. Is Art History Global? New York: Routledge, 2007.
Endgame: Reference and Simulation in Recent Painting and Sculpture. Texts by Thomas Crow, Yve-Alain
Blois, Elisabeth Sussman, David Joselit, Hal Foster, and Bob Riley. Boston: Institute of
Contemporary Art, 1986.
Enwezor, Okwui. Documenta11_Plattform5: The Catalog. Ostfildern-Ruit, Germany: Hatje Cantz,
2002.
———. Snap Judgments: New Positions in Contemporary African Photography. New York: International
Center of Photography; Göttingen, Germany: Steidl, 2006.
Farrell, Laurie Ann, ed. Art of the Contemporary African Diaspora. New York: Museum for African
Art; Ghent: Snoeck Publishers, 2003.
Ferguson, Russell, William Olander, Marcia Tucker, and Karen Fiss, eds. Discourses: Conversations in
Postmodern Art and Culture. Photographic sketchbook by John Baldessari. New York: New
Museum; Cambridge, Mass.: MIT Press, 1990.
3
Filipovic, Elena, Marieke van Hal, and Solveig Osvestebo, eds. The Biennial Reader. OstfildernRuit: Hatje Cantz, 2010.
Fine, Elsa Honig. The Afro-American Artist. New York: Holt, Rinehart and Winston, 1973.
Fitzgerald, Shannon, and Tumelo Mosaka, eds. A Fiction of Authenticity: Contemporary Africa Abroad.
St. Louis: Contemporary Art Museum St. Louis, 2003.
Fitzpatrick, Karen, ed. World Art: The Essential Illustrated History. London: Flame Tree Publishing,
2006.
Foster, Hal. Recodings: Art, Spectacle, Cultural Politics. Port Townsend, Wash.: Bay Press, 1985.
———, ed. The Anti-Aesthetic: Essays on Postmodern Culture. Port Townsend, Wash.: Bay Press,
1983.
———. DIA Art Foundation, Discussions in Contemporary Culture, Number One. Seattle: Bay Press,
1987.
———. Vision and Visuality: DIA Art Foundation, Discussions in Contemporary Culture. Seattle: Bay
Press, 1988.
Foucault, Michel. This Is Not a Pipe. Ed. and trans. James Harknes. Berkeley: University of
Frank, Patricia. Readings in Latin American Modern Art. New Haven: Yale University Press, 2004.
Frascina, Francis, ed. Pollock and After: The Critical Debate. New York: Harper and Row, 1985.
Frascina, Francis, and Charles Harrison, eds. Modern Art and Modernism: A Critical Anthology. New
York: Harper and Row, 1982.
Freeman, Susan Stanford. “Periodizing Modernism: Postcolonial Modernities and the
Space/Time Borders of Modernist Studies.” Modernism/modernity 13.3 (2006): 425–443.
Gallo, Rubén. New Tendencies in Mexican Art: The 1990s. New York: Palgrave Macmillan, 2004.
Galt, Rosalind, and Karl Schoonover. Global Art Cinema: New Theories and Histories. Oxford:
Oxford University Press, 2010.
Gao, Mindlu. Total Modernity and the Avant-Garde in Twentieth-Century Chinese Art. Cambridge, Mass.:
MIT Press, 2011.
Gates, Henry Louis. Figures in Black: Word, Signs, and the ‘Racial’ Self. New York: Oxford University
Press, 1987.
———. The Signifying Monkey: A Theory of Afro-American Literary Criticism. Oxford: Oxford
University Press, 1988. Harrison, Charles, and Fred Orton, eds. Modernism, Criticism, Realism:
Alternative Contexts for Art. New York: Harper and Row, 1984.
Graham, Beryl. Rethinking Curating: Art after New Media. Cambridge, Mass.: MIT Press, 2010.
Green, Charles. The Third Hand: Collaboration in Art from Conceptualism to Postmodernism.
Grosenick, Uta, Burckhard Riemschneider, and Lars Bang Larsen. Art Now. Köln: Taschen, 2001.
Groys, Boris. Art Power. Cambridge, Mass.: MIT Press, 2008.
———. History Becomes Form: Moscow Conceptualism. Cambridge, Mass.: MIT Press, 2007.
Groys, Boris, and Charles Rougle. The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and
Beyond. New York: Verso, 2011.
Harris, Jonathan, ed. Globalization and Contemporary Art. Oxford: Wiley-Blackwell, 2011.
Hassan, Salah M. Gendered Visions: The Art of Contemporary Africana Women Artists. Trenton, N.J.:
Africa World Press, 1997.
Heartney, Eleanor, Helaine Posner, Nancy Princethal, and Sue Scott. After the Revolution: Women
Who Transformed Contemporary Art. New York: Prestel, 2007.
4
Helguera, Pablo. Education for Socially Engaged Art. New York: Jorge Pinto Books, 2011.
Henderson, Linda Dalrymple. The Fourth Dimension and Non-Euclidian Geometry in Modern Art.
Princeton: Princeton University Press, 1998.
Hertz, Richard, ed. Theories of Contemporary Art. Englewood Cliffs, N.J.: Prentice-Hall, 1985.
Home, Stewart. The Assault on Culture: Utopian Currents from Lettrisme to Class War. Stirling,
Scotland: AK Press, 1991.
hooks, bell. Yearning: Race, Gender, and Cultural Politics. Boston: South End Press, 1990.
Hoptman, Laura, and Tomas Posiszyl, eds. Primary Documents: A Sourcebook for Eastern and Central
European Art since the 1950s. New York: Museum of Modern Art; Cambridge, Mass.: MIT
Press, 2002.
Hung, Wu, and Peggy Wang. Contemporary Chinese Art: Primary Documents. Durham: Duke
Jacka, Jerry D., and Lois Essary Jacka. Beyond Tradition: Contemporary Indian Art and Its Evolution.
Flagstaff, Ariz.: Northland Publishing, 1991.
Jackson, Shannon. Social Works: Performing Art, Supporting Publics. New York: Routledge, 2011.
Jacob, Mary Jane, and Jacquelynn Baas, eds. Learning Mind: Experience into Art. Chicago: School of
the Art Institute of Chicago; Berkeley: University of California Press, 2009.
Jaggar, Alison M., and Susan R. Bordo, eds. Gender/Body/Knowledge: Feminist Reconstructions of Being
and Knowing. New Brunswick, N.J.: Rutgers University Press, 1989.
Jameson, Fredric. Postmodernism or, The Cultural Logic of Late Capitalism. Durham: Duke University
Press, 1991.
Jay, Martin. Downcast Eyes: The Denigration of Vision in Twentieth-Century French Thought. Berkeley:
University of California Press, 1993.
Jones, Amelia, and Tracey Warr. The Artist’s Body. London: Phaidon Press Ltd., 2000.
Kester, Grant H. Conversation Pieces: Community and Communication in Modern Art. Berkeley:
———. The One and the Many: Contemporary Collaborative Art in a Global Context. Durham: Duke
King, Richard, Ralph Croizier, Shentian Zheng, and Scott Watson. Art in Turmoil: The Chinese
Cultural Revolution, 1966–76. Vancouver: UBC Press, 2010.
Kocur, Zoya, ed. Global Visual Cultures: An Anthology. Oxford: Wiley-Blackwell, 2011.
Kocur, Zoya, and Simon Leung, eds. Theory in Contemporary Art Since 1985. London: WileyBlackwell, 2012.
Kostelanetz, Richard, ed. Esthetics Contemporary. Buffalo, N.Y.: Prometheus, 1978.
Kotsopoulos, Nikos. Contemporary Art in Latin America. London: Black Dog Publishing, 2010.
Kozloff, Max. The Privileged Eye: Essays on Photography. Albuquerque: University of New Mexico
Press, 1987.
Kramer, Hilton. The Revenge of the Philistines: Art and Culture, 1972–1984. New York: Free Press,
1985.
Krauss, Rosalind E. The Originality of the Avant-garde and Other Modernist Myths. Cambridge, Mass.:
MIT Press, 1985.
Kwon, Miwon. One Place After Another: Site-Specific Art and Locational Identity. Cambridge, Mass.:
MIT Press, 2004.
Latour, Bruno, and Peter Weibel, eds. Iconoclash. Karlsruhe, Germany: ZKM (Center for Art and
Media); Cambridge, Mass.: MIT Press, 2002.
5
———. Making Things Public: Atmospheres of Democracy. Karlsruhe, Germany: ZKM (Center for Art
and Media); Cambridge, Mass.: MIT Press, 2005.
Levin, Kim. Beyond Modernism: Essays on Art from the ’70s and ’80s. New York: Harper and Row,
1988.
Lippard, Lucy R. From the Center: Feminist Essays on Women’s Art. New York: E. P. Dutton, 1976.
———. New Feminist Art Criticism: Critical Strategies. Manchester: Manchester University Press;
New York: St. Martin’s Press, 1994.
Lucie-Smith, Edward. Art in the Seventies. Ithaca: Cornell University Press, 1980.
Lyotard, Jean-François. The Postmodern Condition: A Report on Knowledge. Trans. Geoff Bennington
and Brian Massumi, foreword by Fredric Jameson. Minneapolis: University of Minnesota
Press, 1984.
Marcus, Greil. Lipstick Traces: A Secret History of the Twentieth Century. Cambridge, Mass.: Harvard
Marks, Laura U. The Skin of the Film: Intercultural Cinema, Embodiment, and the Senses. Durham: Duke
Mathur, Saloni, ed., The Migrant’s Time: Rethinking Art History and Diaspora. Williamstown, Mass.:
Sterling and Francine Clark Art Institute, 2011.
McEvilley, Thomas. The Exile’s Return: Toward a Redefinition of Painting for the Postmodern Era.
Cambridge: Cambridge University Press, 1993.
McShine, Kynaston. An International Survey of Recent Painting and Sculpture. New York: Museum of
Modern Art, 1984.
Mercer, Kobena, ed. Cosmopolitan Modernisms. London: Institute of International Visual Arts;
Millet, Catherine. L’art contemporain en France. Paris: Flammarion, 1988.
Mitchell, W. J. Thomas. Picture Theory: Essays on Verbal and Visual Representation. Chicago:
“Modernism.” Special issue, New German Critique 22 (Winter 1981).
Monem, Nadine. Contemporary Art in the Middle East. London: Black Dog Publishing, 2009.
Mulvey, Laura. Visual and Other Pleasures. Bloomington: Indiana University Press, 1989.
Neutres, Jerome, ed. New Delhi, New Wave. Bologna, Italy: Damiani, 2008.
Next Generation: Southern Black Aesthetic. Atlanta: Southeastern Center for Contemporary Art,
1990.
Njami, Simon, ed. Africa Remix: Contemporary Art of a Continent. London: Hayward Gallery;
Ostfildern-Ruit, Germany: Hatje Cantz, 2005.
Nochlin, Linda. Women, Art, and Power: And Other Essays. New York: Harper and Row, 1988.
Nornes, Abe Mark. Cinema Babel: Translating Global Cinema. Minneapolis: University of Minnesota
Press, 2008.
Noszlopy, Laura, and Matthew Isaac Cohen, eds. Contemporary Southeast Asian Performance:
Transnational Perspectives. Newcastle upon Tyne, England: Cambridge Scholars Publishing,
2010.
O’Brien, Mark, and Craig Little, eds. Reimagining America: The Arts of Social Change. Foreword by
Bernice Johnson Reagon. Philadelphia: New Society, 1989.
O’Neill, Paul. Curating Subjects. London: Open Editions/Occasional Table, 2007.
Owens, Craig. Beyond Recognition: Representation, Power, and Culture. Berkeley: University of
6
Papastergiadis, Nikos. Cosmopolitanism and Culture. Cambridge: Polity, 2012.
Paris/Paris 1937–1957: Créations en France: arts plastiques, littérature, théâtre, cinéma, vie quotidienne et
environnement. Prefaces by Jean-Claude Groshens and K. G. Pontus Hulten. Paris: Centre
Georges Pompidou, Musée National d’Art Moderne, 1981.
Parker, Rozsika, and Griselda Pollock. Old Mistresses: Women, Art, and Ideology. New York:
Pantheon, 1981.
Pérez-Barreiro, Gabriel, ed. The Geometry of Hope: Latin American Abstract Art form the Patricia Phelps
de Cisneros Collection. Austin, Texas: Blanton Museum of Art, 2007.
Philipsen, Lotte. Globalizing Contemporary Art. Aarhus, Denmark: Aarhus University Press, 2010.
Pinder, Kymberly N., ed. Race-ing Art History: Critical Readings in Race and Art History. New York:
Routledge, 2002.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989.
London: Reaktion Books, 2009.
Poggioli, Renato. The Theory of the Avant-Garde. Trans. Gerald Fitzgerald. Cambridge, Mass.:
Belknap Press of Harvard University, 1968.
Pollock, Griselda. Vision and Difference: Femininity, Feminism and the Histories of Art. London:
Routledge, 1988.
“Primitivism” in 20th Century Art. 2 vols. New York: Museum of Modern Art, 1984.
Ramadan, Khaled D., ed. Peripheral Insider: Perspectives on Contemporary Internationalism in Visual
Culture. Copenhagen: Museum Tusculanum Press, 2007.
Rand, Steven, and Heather Kouris, eds. Cautionary Tales: Critical Curating. New York: Apexart,
2008.
———. On Cultural Influence. New York: Apexart, 2006.
Raven, Arlene. Crossing Over: Feminism and Art of Social Concern. Ann Arbor: UMI Research Press,
1989.
Raven, Arlene, Cassandra Langer, and Joanna Frueh, eds. Feminist Art Criticism: An Anthology. Ann
Arbor: UMI Research Press. 1988.
Reilly, Maura, and Linda Nochlin, eds. Global Feminisms: New Directions in Contemporary Art. New
York: Merrell; Brooklyn: Brooklyn Museum of Art, 2007.
Richards, Judith Olch. Inside the Studio: Two Decades of Talks with Artists in New York. New York:
Independent Curator International (ICI), 2004.
Richer, Francesca, and Matthew Rosenzweig, eds. No. 1: First Works by 362 Artists. London:
Thames and Hudson, 2006.
Robertson, Clive. Policy Matters: Administrations of Art and Culture. Toronto: YYZ Books, 2006.
Rogoff, Irit, and Daniel J. Sherman, eds. Museum Culture: Histories, Discourses, Spectacles.
Selz, Peter. Art in Our Times. New York: Harry N. Abrams and Harcourt Brace Jovanovich, 1980.
––––––. Art of Engagement: Visual Politics in California and Beyond. Berkeley: University of California
Press, 2006.
Sholette, Gregory. Dark Matter: Art and Politics in the Age of Enterprise Culture. New York: Pluto
Press, 2011.
Smith, Terry. Contemporary Art: World Currents. London: Laurence King Publishers, 2011.
———. What is Contemporary Art? University of Chicago Press, 2009.
Smith, Terry, Okwui Enwezor, and Nancy Condee, eds. Antinomies of Art and Culture: Modernity,
Postmodernity, Contemporaneity. Durham: Duke University Press, 2009.
7
Sollins, Susan, et al. Art 21: Art in the Twenty-First Century, vols. 1–5. New York: Harry N. Abrams
(PBS series), 2001–9.
Solomon, Maynard. Marxism and Art: Essays Classic and Contemporary. Detroit: Wayne State
Solomon-Godeau, Abigail. Photography at the Dock: Essays on Photographic History, Institutions, and
Practices. Foreword by Linda Nochlin. Minneapolis: University of Minnesota Press, 1991.
Summers, David. Real Spaces: World Art History and the Rise of Western Modernism. London: Phaidon
Press, 2003.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. Amherst: University of
Massachusetts Press, 1988.
———. Grounds of Dispute: Art History, Cultural Politics and the Discursive Field. Minneapolis:
University of Minnesota Press, 1992.
Tawadros, Gilane, and Sarah Campbell, eds. Fault Lines: Contemporary African Art and Shifting
Landscapes. London: Institute of International Visual Arts, 2003.
Thea, Carolee, Thomas Micchelli, and Hans Ulrich Obrist. On Curating: Interviews with Ten
International Curators. New York: D.A.P./Distributed Art Publishers, 2010.
Thompson, Nato, ed. Living as Form: Socially Engaged Art from 1991–2011. Cambridge, Mass.: MIT
Press, 2012.
Trachtenberg, Alan, ed. Classic Essays on Photography. New Haven, Conn.: Leete’s Island, 1980.
Vanderlinden, Barbara, and Elena Filipovic, eds. The Manifesta Decade: Debates on Contemporary Art
Exhibitions and Biennials in Post-Wall Europe. Cambridge, Mass.: MIT Press, 2006.
Von Bennigsen, Silvia, Irene Gludowacz, and Susanne von Hagen. Global Art. Ostfildern-Ruit,
Germany: Hatje Cantz, 2009.
Waldman, Diane. Collage, Assemblage, and the Found Object. New York: Harry N. Abrams, 1992.
Wallis, Brian, ed. Art After Modernism: Rethinking Representation. Foreword by Marcia Tucker. New
York and Boston: New Museum and D.R. Godine, 1984.
Weibel, Peter, ed. Beyond Art: A Third Culture: A Comparative Study in Cultures, Art and Science in 20th
Century Austria and Hungary. New York: Springer, 2005.
Werckmeister, O. K. Citadel Culture. Chicago: University of Chicago Press, 1991.
Wescher, Herta. Collage. Trans. Robert E. Wolf. New York: Harry N. Abrams, 1971.
Wilson, Mark, ed. Curating and the Educational Turn. London: Open Editions; Amsterdam: De
Appel, 2010.
Zijlmans, Kitty, and Wilfried van Damme. World Art Studies: Exploring Concepts and Approaches.
Amsterdam: Valiz, 2008.
CHAPTER 1. GESTURAL ABSTRACTION
General Studies
Abstract Art. Vol. 1 of Art since Mid-Century: The New Internationalism. Greenwich, Conn.: New
York Graphic Society, 1971.
Barr, Alfred H. Defining Modern Art. New York: Harry N. Abrams, 1986.
Cabanne, Pierre, and Pierre Restany. L’avant garde au XXe siècle. Paris: Éditions André Ballard,
1969.
Haftmann, Werner. Painting in the Twentieth Century. 2 vols. New York: Praeger, 1960.
Hughes, Robert. Nothing if not critical. New York: Penguin, 1990.
8
Paris New York: Arts Yearbook 3. Forewords by André Masson and Stuart Davis. New York: Art
Digest, 1939.
Ponente, Nello. Modern Painting: Contemporary Trends. New York: Skira, 1960.
ABSTRACT EXPRESSIONISM
Anfam, David. Abstract Expressionism. New York: Thames and Hudson, 1990.
Ashton, Dore. The New York School. New York: Penguin, 1979.
Auping, Michael, ed. Abstract Expressionism: The Critical Developments. New York: Harry N. Abrams,
1987.
Bellow, Saul. Abstract Expressionism: A Tribute to Harold Rosenberg. Chicago: University of Chicago
and David and Alfred Smart Gallery, 1979.
Foster, Stephen C. The Critics of Abstract Expressionism. Ann Harbor: UMI Research Press, 1981.
Frascini, Francis, ed. Pollock and After: The Critical Debate. New York: Harper and Row, 1985.
Geldzahler, Henry. New York Painting and Sculpture. New York: Metropolitan Museum of Art,
1965.
Guilbaut, Serge. How New York Stole the Idea of Modern Art. Chicago: University of Chicago Press,
1983.
Hobbs, Robert C., and Gail Levin. Abstract Expressionism: The Formative Years. New York: Whitney
Museum of American Art, 1978.
Jachec, Nancy. The Philosophy and Politics of Abstract Expressionism, 1940–1960. Cambridge:
Cambridge University Press, 2000.
Kingsley, April. The Turning Point. New York: Simon and Schuster, 1992.
Kozloff, Max. Renderings. New York: Simon and Schuster, 1961.
Landau, Ellen G. Reading Abstract Expressionism: Context and Critique. New Haven, Conn.: Yale
Motherwell, Robert, and Ad Reinhardt. Modern Artists in America. New York: Wittenborn, Schultz,
1951.
O’Brien, John. Clement Greenberg: The Collected Essays and Criticism. Chicago: University of Chicago
Press, 1986.
O’Hara, Frank. Art Chronicles 1954–1966. New York: George Brazillers, 1975.
Reckitt, Helena, ed., with Peggy Phelan. Art and Feminism. London: Phaidon, 2001.
Rosenberg, Harold. The De-Definition of Art. New York: Macmillan, 1973.
———. The Tradition of the New. New York: Horizon Press, 1959.
Sandler, Irving. The Triumph of American Painting. New York: Praeger, 1970.
Seitz, William C. Abstract Expressionist Painting in America. Cambridge, Mass.: Harvard University
Press, 1983.
Shapiro, David and Cecile. Abstract Expressionism: A Critical Record. New York: Cambridge
Tuchman, Maurice. The New York School: The First Generation. Los Angeles: Los Angeles County
Museum of Art, 1965.
ART INFORMEL
Balla, Guido. From the Abstract to the Possible. New York: Wittenborn, 1960.
———. Modern Italian Painting from Futurism to the Present Day. New York: Praeger, 1958.
9
Paulhan, Jean. L’art informel. Paris: Gallimard, 1962.
———. Selected Essays. Eindhoven: Van Abbemuseum, 1986.
Artists and Writers
ALFRED H . BARR
Barr, Alfred H. Defining Modern Art: Selected Writings of Alfred H. Barr, Jr. Ed. Irving Sandler and
Amy Newman. New York: Abrams, 1986.
Kantor, Sybil Gordon. Alfred H. Barr Jr. and the Intellectual Origins of the Museum of Modern Art.
Marquis, Alice Goldfarb. Alfred H. Barr, Jr.: Missionary for the Modern. Chicago: Contemporary
Books, 1989.
Meechum, Pam. Modern Art: A Critical Introduction. New York: Routledge, 2004.
WILLI BAUMEISTER
Grohmann, Will. Willi Baumeister. New York: Harry N. Abrams, 1966.
LOUISE BOURGEOIS
Kotik, Charlotta. Louise Bourgeois: The Lover of Memory. New York: Harry N. Abrams, 1982.
Morris, Frances, and Marie-Laure Bernadac, eds. Louise Bourgeois. New York: Rizzoli, 2008.
Wye, Deborah. Louise Bourgeois. New York: Museum of Modern Art, 1982.
ALBERTO BURRI
Calvesi, Maurizio. Alberto Burri. New York: Harry N. Abrams, 1971.
LUCIO FONTANA
Lucio Fontana. Paris: Centre Georges Pompidou, Musée National d’Art Moderne, 1987.
Lucio Fontana, 1899–1968: A Retrospective. New York: Solomon R. Guggenheim Museum, 1977.
Lucio Fontana: Venice/New York. New York: Solomon R. Guggenheim Museum, 2006.
Schulz-Hoffmann, Carla. Lucio Fontana. Munich: Prestel, 1983.
HELEN FRANKENTHALER
Carmean, E. A. Helen Frankenthaler. New York: Harry N. Abrams, 1989.
Elderfield, John. Helen Frankenthaler. New York: Harry N. Abrams, 1989.
Wilkin, Karen, and Helen Frankenthaler. Frankenthaler at Eighty: Six Decades. New York: Knoedler
& Co., 2008.
TADEUSZ KANTOR
Kantor, Tadeusz. A Journey through Other Spaces. Ed. Michal Kobialka. Berkeley: University of
ANSELM KIEFER
Auping, Michael, ed. Anselm Kiefer: Heaven and Earth. Fort Worth: Modern Art Museum of Fort
Worth, in association with Prestel, 2005.
Rosenthal, Mark. Anselm Kiefer. Philadelphia: Philadelphia Museum of Art, 1987.
10
PER KIRKEBY
Borchardt-Hume, Achim, ed. Per Kirkeby. London: Tate Publishing, 2009.
Per Kirkeby Retrospective. Cologne: Museum Ludwig Köln, 1987.
JULIE MEHRETU
Allen, Siemon, Rebecca R. Hart, and Kinsey Katchka. Julie Mehretu: City Citings. Detroit: Detroit
Institute of Arts, 2009.
Chua, Lawrence, Cay Sophie Rabinowitz, Agustín Pérez Rubio, and Marcus Steinweg. Julie
Mehretu: Black City. Ostfildern-Ruit, Germany: Hatje Cantz, 2006.
Zegher, M. Catherine de, and Thelma Golden. Julie Mehretu: Drawings. New York: Rizzoli
International Publications, 2007.
HENRI MICHAUX
Henri Michaux. Texts by Octavio Paz et al. New York: Solomon R. Guggenheim Museum, 1978.
Michaux, Henri. Untitled Passages by Henri Michaux. Ed. M Catherine de Zegher. New York: The
Drawing Center, 2000.
JOAN MITCHELL
Birnstock, Judith E. Joan Mitchell. New York: Hudson Hills Press, 1988.
Livingston, Jane. The Paintings of Joan Mitchell. With essays by Linda Nochlin and Yvette Lee.
Berkeley: University of California Press, 2002.
ROBERT MOTHERWELL
Arnason, H. H. Robert Motherwell. New York: Harry N. Abrams, 1982.
Engberg, Siri, and Joan Banach. Robert Motherwell: The Complete Prints 1940–1991, A Catalogue
Raisonné. Minneapolis: Walker Art Center, 2003.
Motherwell, Robert. The Collected Writings of Robert Motherwell. Ed. Stephanie Terenzio. New York:
Oxford University Press, 1992.
———. The Writings of Robert Motherwell. Ed. Dore Ashton. Berkeley: University of California
Press, 2007.
O’Hara, Frank. Robert Motherwell. New York: Museum of Modern Art, 1965.
ELIZABETH MURRAY
Graze, Sue, Kathy Halbreich, Roberta Smith, and Clifford S. Ackley. Elizabeth Murray: Paintings
and Drawings. New York: Harry N. Abrams, 1987.
Hickey, Dave. Elizabeth Murray: Paintings, 2003–2006. New York: Pace Wildenstein, 2006.
Storr, Robert. Elizabeth Murray. New York: Museum of Modern Art, distributed by Thames and
Hudson, 2005.
BARNETT NEWMAN
Hess, Thomas B. Barnett Newman. New York: Museum of Modern Art, 1980.
Rosenberg, Harold. Barnett Newman. New York: Harry N. Abrams, 1978.
Temkin, Ann, and Richard Schiff. Barnett Newman. Philadelphia: Philadelphia Museum of Art,
2002.
11
JACKSON POLLOCK
Landau, Ellen G. Jackson Pollock. New York: Harry N. Abrams, 1989.
Naifeh, Steven, and Gregory White Smith. Jackson Pollock: An American Saga. New York: Harper
Perennial, 1991.
Varnedoe, Kirk, and Pepe Karmel. Jackson Pollock. New York: Museum of Modern Art and Harry
N. Abrams, 1998.
FIONA RAE
Criqui, Jean-Pierre, and Simon Wallis. Fiona Rae. Nîmes: Carré d’art–Musée d’art contemporain
de Nîmes, 2002.
Hickey, Dave. Fiona Rae: You Are the Young and the Hopeless. New York: Pace Wildenstein, 2006.
Higgie, Jennifer. Fiona Rae: Hong Kong Garden. London: Timothy Taylor Gallery, 2003.
DAVID REED
Armstrong, Liz. David Reed Paintings: Motion Pictures. La Jolla, Calif.: Museum of Contemporary
Art, San Diego, 1998.
Bitterli, Konrad, and Stephan Berg, eds. David Reed: You Look Good in Blue. Nuremberg: Verlag für
Moderne Kunst, 2001.
Mullins, Kevin, Richard Shiff, and John Yau. David Reed: Leave Yourself Behind. Paintings and Special
Projects, 1967–2005. Wichita, Kans.: Ulrich Museum of Art, 2005.
MARK ROTHKO
Ashton, Dore. About Rothko. New York: Oxford University Press, 1983.
Breslin, James E. B. Mark Rothko. Chicago: University of Chicago Press, 1993.
Chave, Anna C. Mark Rothko: Subjects in Abstraction. New Haven, Conn.: Yale University Press,
1989.
Mark Rothko 1903–1970. London: Tate Gallery, 1983.
Mark Rothko: Retrospektive. Munich: Hirmer Verlag, 2008.
Selz, Peter. Mark Rothko. New York: Museum of Modern Art, 1961.
DAVID SMITH
Carmean, E. A. David Smith. Washington, D.C.: National Gallery of Art, 1982.
Gray, Cleve, ed. David Smith by David Smith. New York: Holt, Rinehart and Winston, 1968.
Marcus, Stanley. David Smith: The Sculptor and His Work. Ithaca: Cornell University Press, 1983.
Smith, David, Carmen Gimenez, Rosalind Krauss, and David Anfam. David Smith: A Centennial.
New York: Solomon R. Guggenheim Museum, 2006.
JOAN SNYDER
Belz, Carl. Joan Snyder, Painter: 1969 to Now. Waltham, Mass.: Brandeis University, Rose Art
Museum, 1994.
Herrera, Hayden, Jenni Sorkin, and Norman Kleeblatt. Joan Snyder. New York: Harry N. Abrams,
2005.
McNear, Sarah Anne. Joan Snyder: Works with Paper. Allentown, Penn.: Allentown Art Museum,
1993.
12
PAT STEIR
Drathen, Doris von. Pat Steir: Installations. Milan: Edizioni Charta, 2006.
———. Pat Steir: Paintings. Milan: Edizioni Charta, 2007.
McEvilley, Thomas. Pat Steir. New York: Harry N. Abrams, 1995.
Yau, John, and Barbara Weidle. Dazzling Water, Dazzling Light: Pat Steir Paintings. Seattle:
University of Washington Press, 2000.
MICHEL TAPIÉ
Tapié, Michel. Morphologie autre. Turin: Pozzo, 1960.
ANTONI TÀPIES
Dizeus, Victoria Combalia. Tàpies. New York: Rizzoli, 1990.
Penrose, Roland. Tàpies. New York: Rizzoli, 1978.
CY TWOMBLY
Cy Twombly. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 1985.
Heiner, Bastian. Cy Twombly: Bilder/Paintings. Berlin: Propyläen, 1978.
Serota, Nicholas, ed. Cy Twombly: Cycles and Seasons. London: Tate Publishing, 2008.
Szeemann, Harald, ed. Cy Twombly. Munich: Prestel, 1987.
Varnedoe, Kirk. Cy Twombly. New York: Museum of Modern Art, 1994.
EMILIO VEDOVA
Celant, Germano. Vedova. Milan: Electa, 1984.
Schulz-Hoffmann, Carla, ed. Emilio Vedova. Munich: Hirmer, 1986.
Vedova, Emilio, Angelandreina Rorro, and Alessandra Barbuto. Emilio Vedova: 1919–2006. Milan:
Electa, 2007.
WOLS
Haftmann, Werner, and Jean-Paul Sartre. Wols. New York: Harry N. Abrams, 1965.
Wols Bilder Aquarelle Zeichnungen. Zurich: Kunsthaus, 1989.
CHAPTER 2. GEOMETRIC ABSTRACTION
General Studies
Abstraction/Abstraction. Texts by Elaine A. King and David Carrier. Pittsburgh: Carnegie-Mellon
Alloway, Lawrence. Systemic Painting. New York: Solomon R. Guggenheim Museum, 1966.
Arnheim, Rudolph. Art and Visual Perception: A Psychology of the Creative Eye. Berkeley: University of
Baker, Kenneth. Minimalism: Art of Circumstance. New York: Abbeville, 1988.
Barrett, Cyril. Op Art. New York: Viking, 1970.
Battcock, Gregory, ed. Minimal Art: A Critical Anthology. New York: E. P. Dutton, 1968.
Colpitt, Frances. Minimal Art: The Critical Perspective. Ann Arbor: UMI Research Press, 1990.
13
Contrasts of Form: Geometric Abstract Art: 1910–1980. Texts by John Elderfield and Magdalena
Dabrowski. New York: Museum of Modern Art, 1985.
Greenberg, Clement. Art and Culture. New York: Beacon, 1961.
———. Post-Painterly Abstraction. Los Angeles: Los Angeles County Museum of Art, 1964.
Hunter, Sam. New Images/Pattern & Decoration. Kalamazoo: Kalamazoo Institute of Arts, 1983.
Jensen, R., and P. Conway. Ornamentalism: The New Decorativeness in Architecture and Design. New
York: C. N. Potter, 1982.
Kallard, Thomas. Laser Art and Optical Transforms. New York: Optosonic, 1979.
McShine, Kynaston. Primary Structures: Younger American and British Sculptors. New York: Jewish
Museum, 1966.
O’Doherty, Brian. Inside the White Cube. Santa Monica: Lapis Press, 1976.
O’Hare, Mary Kate, Karen A. Bearor, Tricia Laughlin Bloom, Aliza Edelman, and Adele Nelson.
Constructive Spirit: Abstract Art in South and North America, 1920s–50s. Bristol, UK:
Pomegranate, 2011.
Papadakis, Andreas C. Abstract Art and the Rediscovery of the Spiritual. London: Art and Design,
1987.
Rotzler, Willy. Constructivism and the Geometric Tradition: Selections from the McCrory Corporation
Collection. Buffalo, N.Y.: Albright-Knox Gallery, 1979.
Tuchman, Maurice. American Sculpture of the Sixties. Los Angeles: Los Angeles County Museum of
Art, 1965.
Artists and Writers
JOSEF ALBERS
Albers, Josef. Interaction of Color. New Haven, Conn.: Yale University Press, 1971.
Bucher, François. Josef Albers: Despite Straight Lines: An Analysis of His Graphic Constructions.
Josef Albers: A Retrospective. New York: Solomon R. Guggenheim Museum, 1988.
CARL ANDRE
Andre, Carl. 12 Dialogues, 1962–1963/Carl Andre, Hollis Frampton. Ed. Benjamin H. D. Buchloh.
Halifax: Press of the Nova Scotia College of Art and Design; New York: Parasol Press and
New York University Press, 1981.
Carl Andre: Gemeentemuseum Den Haag. Prepared by Rita Sartorius, edited by Piet de Jonge.
Eindhoven: Van Abbemuseum, 1987.
Fuchs, R. H. Carl Andre: Wood. Eindhoven: Van Abbemuseum, 1978.
Katz, Robert. Naked by the Window: The Fatal Marriage of Carl Andre and Ana Mendieta. New York:
Atlantic Monthly Press, 1990.
Waldman, Diane. Carl Andre. New York: Solomon R. Guggenheim Museum, 1970.
CHARLES BIEDERMAN
Biederman, Charles. Art as the Evolution of Visual Knowledge (Red Wing, Minn.: C. Biederman,
1948).
———. The Dehumanization and Denaturalization of Modern Art: From Symbolism to Neoplasticism. Red
Wing, Minn.: C. Biederman, 1992.
14
———. The New Cerame, from Monet to Mondriaan. Red Wing, Minn.: C. Biederman, 1958.
———. Search for New Arts. Red Wing, Minn.: Art History, 1979.
Charles Biederman: A Retrospective. Minneapolis: Minneapolis Institute of Arts, 1976.
Larsen, Susan C., and Patricia McDonnell. Charles Biederman. Minneapolis: Frederick R. Weisman
Art Museum, University of Minnesota, 2003.
MAX BILL
Max Bill. Ed. Max Bill and James N. Wood. Buffalo, N.Y.: Buffalo Fine Arts Academy, 1974.
Max Bill, Retrospektive: Skulpturen, Gemälde, Graphik 1928–1987. Frankfurt: Kunsthalle, 1987.
Max Bill: No Beginning, No End: A Retrospectve Marking the Centenary of the Artist, Designer, Architect,
Typographer and Theoretician. Herford, Germany: Museum MART, 2008.
DANIEL BUREN
Daniel Buren. Stuttgart: Staatsgalerie, 1990.
The Eye of the Storm: Works in Situ by Daniel Buren. New York: Solomon R. Guggenheim Museum,
2005.
Francblin, Catherine. Daniel Buren. Paris: artpress, 1987.
Lyotard, Jean-François, and Jean-Hubert Martin. Daniel Buren, les couleurs, sculptures, les formes,
peintures. Ed. Benjamin H. D. Buchloh. Halifax: Press of the Nova Scotia College of Art and
Design; Paris: Centre Georges Pompidou, Musée National d’Art Moderne, 1981.
ANTHONY CARO
Blume, Dieter. Anthony Caro: Table and Related Sculptures 1966–1978. Trans. Eric Selman and Elke
Blume. Braunschweig: Der Kunstverein, 1979.
Blume, Dieter, ed. Anthony Caro: A Catalogue Raisonné. Cologne: Galerie Wentzel, 1981–2007.
Caro. Photography by John Riddy, text by Karen Wilkin, ed. Ian Barker. New York: Te Neues,
1991.
Rubin, William Stanley. Anthony Caro. New York: Museum of Modern Art and New York
Graphic Society, 1975.
Waldman, Diane. Anthony Caro. New York: Abbeville, 1982.
LYGIA CLARK
Best, Sue. “Lygia Clark: Bodily Sensation and Affect: Expression as Communion.” Australian and
New Zealand Journal of Art 6/7, part 2/1 (2006): 82–104.
Bois, Yve-Alain, and Lygia Clark. “Nostalgia of the Body.” October 69 (Summer 1994): 85–109.
Borja-Villel, Manuel J. Lygia Clark. Barcelona: Fundació Antoni Tàpies, 1998.
Brett, Guy. “Lygia Clark: The Borderline Between Art and Life.” Third Text 1, no. 1 (Autumn
1987): 65–94.
———. “Lygia Clark: In Search of the Body.” Art in America 82, no. 7 (1994): 55–63, 108.
Carvajal, Rina, and Alma Ruiz, eds. The Experimental Exercise of Freedom: Lygia Clark, Gego, Mathias
Goeritz, Hélio Oiticica, and Mira Schendel. Los Angeles: Museum of Contemporary Art, 1999.
AD DEKKERS
Ad Dekkers. Amsterdam: Stedelijk Museum, 1981.
15
DAN FLAVIN
Govan, Michael, and Tiffany Bell. Dan Flavin: A Retrospective. With an essay by Brydon E. Smith.
New York: Dia Art Foundation, 2004.
Monuments for V. Tatlin from Dan Flavin 1964–1982. Los Angeles: Museum of Contemporary Art,
1989.
Neue Anwendungen fluoreszierenden Lichts mit Diagrammen, Zeichnungen und Drucken von Dan Flavin.
Baden-Baden and Stuttgart-Bad-Cannstatt: Kunsthalle, 1989.
GRUPO RUPTURA
Amaral, Aracy. Projeto construtivo brasileiro na arte: 1950–1962. Rio de Janeiro: Museu de Arte
Moderna do Rio de Janeiro, 1977.
Bandeira, João. Arte concreta paulista: documentos. São Paulo: Cosac & Naify Edicões, 2002.
Brito, Ronaldo. Neoconcretism: Apex and Rupture of the Brazilian Constructivist Project. 2nd ed. São
Paulo: Cosac & Naify Edicões, 1999.
Cintrão, Rejane, and Ana Paula Nascimento. Grupo Ruptura. São Paulo: Cosac & Naify Edicões,
2002.
FERREIRA GULLAR ( JOSÉ RIBAMAR FERREIRA )
Gullar, Ferreira. Cultura posta em questão: vanguarda e subdesenvolvimento. São Paulo: Editora José
Olympio, 2002.
———. Experiência neoconcreta. São Paulo: Cosac & Naify Edicões, 2007.
———. “O Grupo Frente e a reação neoconcreta.” In Arte Construtiva no Brasil, ed. Aracy
Amaral, 143–81. São Paulo: Editora Gaudi, 1998).
———. A luta corporal. Rio de Janeiro: Civilização Brasileira, 1954.
———. “Teoria do não-objeto.” Jornal de Brasil, Sunday supplement, Dec. 19–20, 1959.
Translation by Michael Asbury, “Theory of the Non-object,” in Cosmopolitan Modernisms, ed.
Kobena Mercer, 170–73. London: Institute of International Visual Arts; Cambridge, Mass.:
MIT Press, 2005.
Jiménez, Ariel, and Ferreira Gullar. Ferreira Gullar in Conversation with Ariel Jiménez. New York and
Caracas: Fundación Cisneros/Colección Patricia Phelps de Cisneros, 2012.
PETER HALLEY
The City Influence: Ross Blechner, Peter Halley, Jonathan Lasker. Foreword by Barry A. Rosenberg,
essay by Peter Halley. Dayton: Museum of Contemporary Art at Wright State University,
1992.
Peter Halley. Pully/Lausanne: FAE Musée d’Art Contemporain, 1992.
Saltz, Jerry, ed. Beyond Boundaries: New York’s New Art. Essays by Peter Halley and Roberta Smith.
New York: A. Van Der Marck Editions, 1986.
VALERIE JAUDON
New Masters. Berlin: Amerika Haus, 1983.
Valerie Jaudon. New York: Sidney Janis Gallery, 1990.
16
ALFRED JENSEN
Alfred Jensen: Paintings. New York: Pace Gallery, 1991.
Alfred Jensen: Paintings and Drawings from the Years 1957–1977. Essays by Linda L. Cathcart and
Marcia Tucker. Buffalo, N.Y.: Albright-Knox Gallery, 1978.
Alfred Jensen: Paintings and Works on Paper. New York: Solomon R. Guggenheim Museum, 1985.
Cooke, Lynn, et. al. Alfred Jensen: Concordance. New York: Dia Center for the Arts, 2002.
DONALD JUDD
Bois, Yve-Alain. Donald Judd. Paris: Galerie Lelong, 1991.
Donald Judd. Ed. Jochen Poetter, trans. Andrew Bird, contributions by Rosemarie E. Pahlke,
photography by Phillip Schonborn. Stuttgart-Bad-Cannstatt: Edition Cantz, 1989.
Donald Judd: Catalogue Raisonné of Paintings, Objects, and Wood Blocks, 1960–1974. Ottowa: National
Gallery of Canada, 1975.
Haskell, Barbara. Donald Judd. New York: Whitney Museum of American Art, 1988.
Judd, Donald. Complete Writings 1959–1975. Halifax: Press of the Nova Scotia College of Art and
Design; New York: New York University Press, 1975.
Serota, Nicholas, ed. Donald Judd. London: Tate Publishing, 2004.
ANISH KAPOOR
Baume, Nicholas, ed. Anish Kapoor: Past, Present, Future. Cambridge, Mass.: MIT Press, 2008. Crone, Rainer F., and Alexandra von Stosch. Anish Kapoor. From Colour to Darkness: Svayambh. New
York: Prestel, 2008.
Schneider, Eckhard, ed. Anish Kapoor: My Red Homeland. Cologne: Kunsthaus Bregenz, 2003.
ELLSWORTH KELLY
Bois, Yve-Alain, Jack Cowart, and Alfred Paquement. Ellsworth Kelly: The Years in France, 1948–
1954. Washington, D.C.: National Gallery of Art, 1992.
Goossen, E. C. Ellsworth Kelly. New York and Greenwich, Conn.: Museum of Modern Art and
New York Graphic Society, 1973.
Rose, Barbara. Ellsworth Kelly: Curves/Rectangles. New York: Blum Helman Gallery, 1989.
Sims, Patterson. Ellsworth Kelly, Sculpture. New York: Whitney Museum of American Art, 1982.
Waldman, Diane, ed. Ellsworth Kelly: A Retrospective. New York: Solomon R. Guggenheim
Museum, distributed by Harry N. Abrams, 1996.
YVES KLEIN
Restany, Pierre. Yves Klein. Trans. John Shepley. New York: Harry N. Abrams, 1982.
———. Yves Klein: Le feu au coeur du vide. Paris: La Différence, 1990.
Yves Klein. Catalog by Jean Yves Mock, assisted by Veronique Legrand. Paris: Le Musée, 1983.
Yves Klein, 1928–1962: Selected Writings. Ed. Jacques Caumont and Jennifer Gough-Cooper, trans.
Barbara Wright. London: Tate Gallery, 1974.
GYULA KOŠICE
Borras, Maria Lluisa. Arte Madí. Madrid: Museo Nacional Centro de Arte Reina Sofía, 1997.
17
Jiménez López, José, ed. Arte Madi Internacional: fin de milenio. Murcia, Spain: Editorial Godoy,
2000.
Kosice, Gyula. Arte Madí. Buenos Aires: Ediciones de Arte Gaglianone, 1996.
———. Arte y filosofía porvenirista. Buenos Aires: Ediciones de Arte Gaglianone, 1996.
———. Madigrafías y otros textos. Buenos Aires: Nuevohacer Grupo Editor Latinoamericano,
2001.
JOYCE KOZLOFF
Johnston, Patricia A. Joyce Kozloff: Visionary Ornament. Contributions by Hayden Herrera and
Thalia Gouma-Peterson. Boston: Boston University Art Gallery, 1986.
Kozloff, Joyce. Patterns of Desire. New York: Hudson Hills Press, 1990.
YAYOI KUSAMA
Gautherot, Franck, ed. Yayoi Kusama: Mirrored Years. Dijon: Presses du Réel, 2009.
Hoptman, Laura, Akira Tatehata, and Udo Kultermann. Yayoi Kusama. London: Phaidon, 2000.
Karia, Bhupendra. Yayoi Kusama: A Retrospective. New York: Center for International
Contemporary Arts, 1989.
Zelevansky, Lynn, Laura Hoptman, and Akira Tatehata. Love Forever: Yayoi Kusama, 1958–1968.
Los Angeles: Los Angeles County Museum of Art, 1998.
RICHARD PAUL LOHSE
Fragen an Lohse. Lucerne: Das Kunstmuseum, 1985.
Richard Paul Lohse: Modular and Serial Orders, 1943–84. Ed. Hans Joachim Albrecht, trans. Jerome
Dassin, Stanley Mason, and Marie Luise Syrig. Zurich: Waser, 1984.
Richard Paul Lohse 1902–1980. Ludwigshafen am Rhein: Wilhelm-Hack Museum, 1992.
Riese, Hans-Peter, and Friedrich W. Heckmanns. Richard Paul Lohse, Drawings, 1935–1985.
Foreword by Dieter Bachmann. New York: Rizzoli, 1986.
PIERO MANZONI
Battino, Freddy, and Luca Palazzoli. Piero Manzoni: Catalogue Raisonné. Milan: Vanni Scheiwiller,
1991.
Celant, Germano. Piero Manzoni. Milan: A. Mondadori Arte; Paris: Musée d’Art Moderne de la
Ville de Paris, 1991.
———. Manzoni: A Retrospective. Milan: Skira, 2009.
BRICE MARDEN
Brice Marden. New York: Solomon R. Guggenheim Museum, 1975.
Garrels, Garcy. Plane Image: A Brice Marden Retrospective. New York: Museum of Modern Art, 2006.
Kertess, Klaus. Brice Marden, Paintings and Drawings. New York: Harry N. Abrams, 1992.
Lewison, Jeremy. Brice Marden, Prints, 1961–1991: A Catalogue Raisonné. London: Tate Gallery,
1992.
18
AGNES MARTIN
Agnes Martin: Paintings and Drawings = Peintures et dessins, 1974–1990. Amsterdam: Stedelijk
Museum, 1991.
Cooke, Lynn. . . . going forward into unknown territory . . . : Agnes Martin’s Early Paintings 1957–1967.
Beacon, N.Y.: Dia Art Foundation, 2004.
Haskell, Barbara, ed. Agnes Martin. Essays by Barbara Haskell, Anna C. Chave, and Rosalind
Krauss. New York: Whitney Museum of American Art, 1992.
Schwartz, Dieter, ed. Writings = Schriften/Agnes Martin. Winterthur: Kunstmuseum Winterthur;
Stuttgart: Edition Cantz, 1992.
MELISSA MEYER
Melissa Meyer: Paintings and Drawings, 1980–84. Curated by Jeanette Ingberman, essay by Stephen
Westfall. New York: Exit Art, 1984.
Melissa Meyer, New Paintings, Jim Melchert, Copper Where It Ends. New York: Holly Solomon Gallery,
1991.
Rubinstein, Meyer Raphael. “Melissa Meyer, With Digressions.” Arts 62, no. 22–23 (March 1988):
22–23.
BORIS MIKHAILOV
Guerin, Frances, and Roger Hallas. The Image and the Witness: Trauma, Memory, and Visual Culture.
New York: Wallflower Press, 2007.
Mikhailov, Boris, with Alla Efimova. “Feeling Around.” In Beyond Memory: Soviet Nonconformist
Photography and Photo-Related Works of Art, ed. Diane Neumaier, 261–77. New Brunswick, N.J.:
Jane Voorhees Zimmerli Art Museum, Rutgers University Press, 2004.
Stahel, Urs. Boris Mikhailov: A Retrospective. Zurich: Scalo, 2003.
Williams, Gilda, and Boris Mikhailov. Boris Mikhailov. London: Phaidon, 2001.
KENNETH NOLAND
Fried, Michael. Three American Painters: Kenneth Noland, Jules Olitski, Frank Stella. New York:
Garland, 1965.
Moffett, Kenworth. Kenneth Noland. New York: Harry N. Abrams, 1977.
Waldman, Diane. Kenneth Noland: A Retrospective. New York: Solomon R. Guggenheim Museum,
1977.
ODILI DONALD ODITA
Beijering, Sonja, Simon Ferdinando, and Renée Ridgway. Migrating Identity:
Transmission/Reconstruction. Amsterdam: SEB Foundation, 2004.
Odita, Odili Donald. Double Edge. Cape Town: Michael Stevenson, 2008.
———. “Pipo Nguyen-Duy: The Thin Line between Tragedy and Beauty.” In Elaine H. Kim,
Margo Machida, and Sharon Mizota, Fresh Talk, Daring Gazes: Conversations on Asian American
Art, 139–42. Berkeley: University of California Press, 2003.
19
HÉLIO OITICICA
Brett, Guy, et al. Hélio Oiticica: Rotterdam: Witte de With, Center for Contemporary Art;
Minneapolis: Walker Art Center, 1992.
Osthoff, Simone. “Lygia Clark and Hélio Oiticica: A Legacy of Interactivity and Participation
for a Telematic Future.” Leonardo 30, no. 4 (1997): 279–89; www.leonardo.info/isast/
spec.projects/osthoff/osthoff.html.
Ramírez, Mari Carmen, Wynne Phelan, and Luciano Figueiredo. Hélio Oiticica: The Body of Color.
London: Tate, 2007.
AD REINHARDT
Bois, Yve-Alain. Ad Reinhardt. New York: Museum of Modern Art; Los Angeles: Museum of
Inboden, Gudrun, and Thomas Kellein. Ad Reinhardt. Stuttgart: Staatsgalerie, 1985.
Lippard, Lucy R. Ad Reinhardt. New York: Harry N. Abrams, 1981.
BRIDGET RILEY
The Artist’s Eye. London: National Gallery, 1989.
Bridget Riley: Paintings 1982–1992. Nuremberg: Kunsthalle Nuremberg; London: South Bank
Centre, 1992.
Bridget Riley: Rétrospective. Paris: Musée d’art moderne de la Ville de Paris, 2008.
Bridget Riley: Works 1959–78. Introduction by Robert Kudielka, trans. David Brittl. London:
British Council and Illustrated London News, 1978.
DOROTHEA ROCKBURNE
Lovatt, Anna. “Dorothea Rockburne: Intersection.” October 122 (Fall 2007): 31–52.
Marlais, Michael. Dorothea Rockburne. Drawing: Structure and Curve. New York: John Weber Gallery,
1978.
Yau, John. Dorothea Rockburne, New Work: Cut-Ins. New York: André Emmerich Gallery, 1989.
MIRIAM SCHAPIRO
Broude, Norma. “Miriam Schapiro and ‘Femmage’: Reflections on the Conflict between
Decoration and Abstraction in Twentieth Century Art.” Arts 54, no. 6 (February 1980): 83–
87.
Gouma-Peterson, Thalia, ed. Miriam Schapiro: A Retrospective 1953–1980. Wooster, Ohio: College
of Wooster, 1980.
Schapiro, Miriam. “Notes from a Conversation on Art, Feminism and Work.” In Sara Ruddick
and Pamela Daniels, eds., Working It Out: Twenty-Three Women Writers, Scientists and Scholars Talk
About Their Lives and Work. New York: Pantheon, 1977.
SEAN SCULLY
Carrier, David. Sean Scully. London: Thames and Hudson, 2006.
Eccher, Danilo, Donald Kuspit, Lorand Hegyi, and Maria Luïsa Borràs. Sean Scully: A Retrospective.
London: Thames and Hudson, 2007.
Ingleby, Florence, ed. Sean Scully: Resistance and Persistence: Selected Writings. London: Merrell, 2006.
20
TONY SMITH
Lippard, Lucy R. Tony Smith. New York: Harry N. Abrams, 1972.
Storr, Robert, John Keenan, and Joan Pachner. Tony Smith: Architect, Painter, Sculptor. New York:
Museum of Modern Art, 1998.
Tony Smith: Recent Sculpture. Foreword by Martin Friedman, interview by Lucy R. Lippard. New
York: M. Knoedler, 1971.
FRANK STELLA
Frank Stella. New York: Museum of Modern Art; Greenwich, Conn.: New York Graphic Society,
1970.
Frank Stella: Black Paintings, 1958–1960: Cones and Pillars, 1984–1987. Exhibition and catalog by
Gudrun Inboden, contributions by Jens Kraubig. Stuttgart: Staatsgalerie, 1988.
Frank Stella: Painting into Architecture. With an essay by Paul Goldberger. New York: Metropolitan
Museum of Art; New Haven, Conn.: Yale University Press, 2007.
Paquement, Alfred. Frank Stella. Paris: Flammarion, 1988.
Rubin, Lawrence. Frank Stella: Paintings 1958 to 1965: A Catalogue Raisonné. Introduction by Robert
Rosenblum. New York: Stewart, Tabori and Chang, distributed by Workman, 1986.
Stella, Frank. Working Space. Cambridge, Mass.: Harvard University Press, 1986.
ANNE TRUITT
Anne Truitt, Sculpture 1961–1991. Introduction by Jane Livingston. New York: André Emmerich
Gallery, 1991.
Truitt, Anne. Anne Truitt: Sculpture and Painting. Charlottesville: University of Virginia Art
Museum, 1976.
———. Turn: The Journal of an Artist. New York: Penguin, 1987.
VICTOR VASARELY
Dahhan, Bernard. Victor Vasarely: Ou la connaissance d’un art moleculaire: La nouvelle plastique et les
sciences modernes. Paris and Denoël: Gonthier, 1979.
Diehl, Gaston. Vasarely. Trans. Eileen B. Hennessy. New York: Crown, 1991.
Farbstadt = Cité Polychrome = The Polychrome City. Introduction by Eugen Gomringer, trans. Leslie
Owen and Franz Leopold Jaumonet. Munich: Bruckmann, 1977.
Victor Vasarely. Ed. Péterné Cifka. Budapest: Szépművészeti Múzeum, 1982.
Victor Vasarely: Retrospective 1947–1986, Journal: Notes Brutes 1946–1967. Arras: Centre Culturel
Noroît, 1992.
CHAPTER 3. FIGURATION
General Studies
Battcock, Gregory, ed. Super-Realism. New York: E. P. Dutton, 1975.
Berman, Greta, and Jeffrey Wechsler. Realism and Realities: The Other Side of American Painting. New
Brunswick, N.J.: Rutgers University Press, 1982
Cockcroft, Eva, John Weber, and Jim Cockcroft. Toward a People’s Art: The Contemporary Mural
Movement. New York: E. P. Dutton, 1977.
21
Dillenberger, John, ed. Paul Tillich on Art and Architecture. New York: Crossroads, 1987.
Figurative Art. Vol. 2 of Art since Mid-Century: The New Internationalism. Greenwich, Conn.: New
York Graphic Society, 1971.
Hess, Thomas, and John Ashbery, eds. Narrative Art: Art News Annual XXXVI. New York:
Macmillan, 1970.
Hills, Patricia, and Robert K. Tarbell. The Figurative Tradition and the Whitney Museum of American
Art. New York: Whitney Museum of American Art, 1980.
Joachimedes, Christo, ed. A New Spirt in Painting. London: Royal Academy of Art, 1981.
Kultermann, Udo. New Realism. Greenwich, Conn.: New York Graphic Society, 1976.
Lambert, Jean C. Cobra. New York: Abbeville, 1984.
Mailer, Norman. The Art of Graffiti. New York: Praeger, 1974.
Meisel, Louis. Photo-Realism. New York: Harry N. Abrams, 1980.
Morris, Frances. Paris Post War: Art and Existentialism. London: Tate Gallery, 1993.
Read, Herbert. Art and Alienation: The Role of the Artist in Society. New York: Horizon, 1967.
Refigured Painting: The German Image 1960–88. Munich: Prestel; New York: Solomon R.
Guggenheim Museum, 1988.
Reichardt, Jasia. Nieuwe Realisten. The Hague: Gemeentemuseum, 1964.
Sartre, Jean-Paul. Essays in Aesthetics. New York: Citadel, 1963.
Schulze, Franz. Fantastic Images: Chicago Art since 1945. Chicago: Follett, 1972.
Schwartz, Barry. The New Humanism: Art in a Time of Change. New York: Praeger, 1974.
Selz, Peter. New Images of Man. New York: Museum of Modern Art, 1959.
Stokvis, Willemijn. Cobra: An International Movement in Art after the Second World War. New York:
Rizzoli, 1988.
Volker, Bertelmeh. Street Murals. New York: Alfred Knopf, 1982.
Zeitgeist. Berlin: Marti-Gropius Bau, 1982.
Artists and Writers
MAGDALENA ABAKANOWICZ
Magdalena Abakanowicz. Chicago: Museum of Contemporary Art, 1982.
Rose, Barbara. Magdalena Abakanowicz. New York: Harry N. Abrams, 1993.
KAREL APPEL
Frankenstein, Alfred. Karel Appel. New York: Harry N. Abrams, 1980.
Karel Appel: Retrospective 1945–2005. Bratislava, Slovakia: Danubiana Meulensteen Art Museum,
distributed by D.A.P./Distributed Art Publishers, 2005.
Ragon, Michel. Karel Appel: The Early Years 1937–1957. Paris: Éditions Galilee, 1981.
Restany, Pierre, and Allen Ginsberg. Karel Appel. New York: Abbeville, 1985.
FRANCIS BACON
Gale, Matthew, and Chris Stephens, eds. Francis Bacon. London: Tate Publishing, 2008.
Rothenstein, John. Francis Bacon. New York: Viking, 1964.
Rucchi, Lorenza. Francis Bacon. New York: Harry N. Abrams, 1975.
Sylvester, David. Interviews with Francis Bacon. New York: Thames and Hudson, 1981.
22
GEORG BASELITZ
Franzke, Andreas. Georg Baselitz. New York: Te Neues, 1988.
Rosenthal, Norman. Baselitz. London: Royal Academy of Arts, 2007.
Serota, Nicholas, and Mark Francis. Baselitz Painting 1960–1983. London: Whitechapel Gallery,
1983.
JEAN - MICHEL BASQUIAT
Buchhart, Dieter. Jean-Michel Basquiat. Riehen, Switzerland: Fondation Beyeler; Ostfildern-Ruit,
Chiappini, Rudy, ed. Jean-Michel Basquiat. Lugano: Museo d’arte moderna Città di Lugano; Milan:
Skira, 2005.
Clement, Jennifer. The Widow Basquiat. Edinburgh: Canongate Books, 2001.
Cortez, Diego, Glenn O’Brien, Gerard Basquiat, and Franklin Sirmans. Jean-Michel Basquiat: 1981,
the Studio of the Street. Milan: Edizioni Charta; New York: Deitch Projects, 2007.
Emmerling, Leonhard. Jean-Michel Basquiat 1960–1988. Cologne: Taschen Art Album, 2003.
Hoban, Phoebe. Basquiat: A Quick Killing in Art. 2nd ed. New York: Penguin Books, 2004.
Marshall, Richard. Jean-Michel Basquiat. New York: Harry N. Abrams/Whitney Museum of
American Art, 1992.
Mayer, Marc, and Fred Hoffman. Basquiat. New York: Merrell/Brooklyn Museum, 2005.
Mercurio, Gianni, Glenn O’Brien, and Annette Lage. The Jean-Michel Basquiat Show. Milan: Skira,
2007.
Pfeffer-Lévy, Géraldine, ed. Jean-Michel Basquiat. 3rd ed. Paris: Galerie Enrico Navarra, 2000.
ROMARE BEARDEN
Conwill, Kinshaha Holman. Memory and Metaphor: The Art of Romare Bearden. New York: Oxford
Fine, Ruth. The Art of Romare Bearden. Washington, D.C.: National Gallery of Art, 2003.
Schwartzman, Myron. Romare Bearden. New York: Harry N. Abrams, 1990.
MAX BECKMANN
Fischer, Friedhelm W. Max Beckmann: Symbol und Weltbild. Munich: W. Fink, 1972.
Rainbird, Sean, ed. Max Beckmann. New York: Museum of Modern Art, distributed by D.A.P.,
2003.
Schulz-Hoffman, Carla, and Judith C. Weiss, eds. Max Beckmann: Retrospective. St. Louis: St. Louis
Museum of Art; Munich: Prestel, 1984.
Selz, Peter. Max Beckmann: Portrait of the Artist. New York: Museum of Modern Art, 1964.
FRANCESCO CLEMENTE
Auping, Michael. Francesco Clemente. New York: Harry N. Abrams, 1985.
Crone, Rainer. Clemente. New York: Vintage, 1987.
Dennison, Lisa. Clemente. New York: Solomon R. Guggenheim Museum, distributed by Harry N.
Abrams, 1999.
Percy, Anne, and Raymond Foye. Francesco Clemente: Three Worlds. New York: Rizzoli, 1990.
23
CHUCK CLOSE
Lyons, Lisa, and Robert Storr. Chuck Close. New York: Rizzoli, 1987.
Storr, Robert, ed. Chuck Close. New York: Museum of Modern Art, distributed by Harry N.
Abrams, 1998.
WILLEM DE KOONING
Gaugh, Harry F. De Kooning. New York: Abbeville, 1982.
Hess, Thomas B. Willem de Kooning. New York: Museum of Modern Art, 1968.
Rosenberg, Harold. De Kooning. New York: Harry N. Abrams, 1974.
Sylvester, David, Richard Shiff, and Marla Prather. Willem de Kooning: Painting. Washington:
National Gallery of Art; New Haven, Conn.: Yale University Press, 1994.
JEAN DUBUFFET
Demetrion, James T., ed. Jean Dubuffet 1943–1963. Washington: Hirschhorn Museum and
Sculpture Garden, Smithsonian Institution, 1993.
Franzke, Andreas. Dubuffet. New York: Harry N. Abrams, 1981.
Jean Dubuffet: A Retrospective. New York: Solomon R. Guggenheim Museum, 1966.
Selz, Peter. The Work of Jean Dubuffet. New York: Museum of Modern Art, 1962.
MARLENE DUMAS
Boogerd, Dominic van den, Barbara Bloom, and Mariuccia Casadio. Marlene Dumas. London:
Phaidon, 1999.
Butler, Cornelia H. Marlene Dumas: Measuring Your Own Grave. Los Angeles: Museum of
Knubben, Thomas, Tilman Osterwold, and Jean Christophe Ammann. Marlene Dumas: Wet
Dreams: Watercolors. Ostfildern-Ruit, Germany: Hatje Cantz, 2003.
Romano, Gianni, Angela Vettese, and Barbara Poli. Marlene Dumas: Suspect. Milan: Skira, 2003.
RICHARD ESTES
Meisel, Louis. Richard Estes. New York: Harry N. Abrams, 1986.
JEAN FAUTRIER
Peyré, Yves. Fautrier. Paris: Éditions du Regard, 1990.
ERIC FISCHL
Schjedahl, Peter. Eric Fischl. New York: Stewart, Tabori and Chang, 1988.
SHERMAN FLEMING
Fleming, Sherman. “Nigger as Anti-Body.” White Walls 25 (Spring 1990): 54–56.
———. “RODFORCE and the Anti-Formalist Reclamation Organization.” High Performance 5,
no. 1 (Spring–Summer 1982): 143.
Oliver, Valerie Cassel. “Thunderbolt Special: The Great Electric Show and Dance (after Sam
Lightnin’ Hopkins), Project Row Houses.” Art Lies: A Contemporary Art Quarterly 62 (2009);
www.artlies.org/article.php?id=1783&issue=62&s=0.
24
Stiles, Kristine. “Rodforce: Thoughts on the Art of Sherman Fleming.” High Performance 10, no. 2
(1987): 34–39.
LUCIAN FREUD
Gowing, Lawrence. Lucian Freud. New York: Thames and Hudson, 1982.
Hughes, Robert. Lucian Freud. New York: Thames and Hudson, 1987.
Lampert, Catherine. Lucian Freud: Recent Work. London: Whitechapel Gallery, 1993.
ALBERTO GIACOMETTI
Dupin, Jacques. Alberto Giacometti. Trans. John Ashbery. Paris: Maeght, 1962.
Hohl, Reinhold. Alberto Giacometti. New York: Harry N. Abrams, 1970.
Klemm, Christian, et. al. Alberto Giacometti. New York: Museum of Modern Art; Zurich:
Kunsthaus Zürich; distributed by Harry N. Abrams, 2001.
Sylvester, David. Alberto Giacometti. London: Weidenfeld and Nicolson, 1967.
LEON GOLUB
Glennie, Sarah. Leon Golub: Paintings 1950–2000. Dublin: Irish Museum of Modern Art, 2000.
Kuspit, Donald. Leon Golub, Existentialist/Activist Painter. New Brunswick, N.J.: Rutgers University
Press, 1985.
PHILIP GUSTON
Ashton, Dore. Yes, but . . . A Critical Study of Philip Guston. New York: Viking, 1976.
Auping, Michael. Philip Guston: Retrospective. Fort Worth: Modern Art Museum of Fort Worth;
London: Thames and Hudson, 2003.
Hopkins, Henry T., ed. Philip Guston. San Francisco: San Francisco Museum of Modern Art,
1980.
Mayer, Musa. Night Studio: A Memoir of Philip Guston. New York: Alfred Knopf, 1988.
Philip Guston. San Francisco: San Francisco Museum of Modern Art, 1981.
RENATO GUTTUSO
Crispolti, Enrico. Guttuso. Milan: Montodori, 1987.
BARKLEY L . HENDRICKS
The Barkley L. Hendricks Experience. New London, Conn.: Lyman Allyn Museum of Art,
Connecticut College, 2001.
Campbell, Mary Schmidt. Barkley L. Hendricks: Oils, Watercolors, Collages, and Photographs. New
York: The Studio Museum in Harlem, 1980.
Schoonmaker, Trevor. Birth of the Cool. Durham, N.C.: Nasher Museum of Art, Duke University,
2008.
DAVID HOCKNEY
Kitaj, R. B., et al. David Hockney: A Retrospective. Los Angeles: Los Angeles County Museum of
Art, 1988.
25
Livingstone, Marco. David Hockney. New York: Holt, Rinehart and Winston, 1981.
Stangos, Nikos, ed. David Hockney by David Hockney. New York: Harry N. Abrams, 1981.
M . F . HUSAIN
Chandra, Pradeep. M. F. Husain: A Pictorial Tribute. New Delhi: Niyogi Books, 2012.
Husain, Maqbul Fida. Art and Cinema. Ahmedabad: Anil Relia, Archer, 1997.
———. Epic India: M. F. Husain’s Mahabharat Project. Salem, Mass.: Essex Museum, 2006.
———. The Genesis of Gaja Gamini. Ahmedabad: H2A Graphic International, 2000.
———. Let History Cut across Me without Me. New Delhi: Vadehra Art Gallery, 1993.
Husain, Maqbul Fida, and Khalid Mohamed. Where Art Thou: An Autobiography. Mumbai: M. F.
Husain Foundation, 2002.
Raghbeer, Anjali, and Soumya Menon. M. F. Husain: Barefoot Husain. Chennai, India: Tulika, 2010.
Ramaswamy, Sumathi, ed. Barefoot across the Nation: M. F. Husain and the Idea of India. New York:
Routledge, 2010.
JÖRG IMMENDORFF
Elliott, David, and Harald Szeemann. Jörg Immendorff: Cafe Deutschland and Related Works. Oxford:
Jörg Immendorff: male lago. Cologne: König, 2005.
WILLIAM KENTRIDGE
Benezra, Neal David. William Kentridge. Chicago: Museum of Contemporary Art, 2001.
Cameron, Dan, Carolyn Christov-Bakargiev, and J. M. Coetzee. William Kentridge. London:
Phaidon, 1999.
Christov-Bakargiev, Carolyn. William Kentridge. Milan: Skira, 2004.
Kentridge: Tapestries. Philadelphia: Philadelphia Museum of Art, 2008.
Rosenthal, Mark, Michael Auping, Cornelia H. Butler, and Judith B. Hecker. William Kentridge:
Five Themes. San Francisco: San Francisco Museum of Modern Art, 2009.
R . B . KITAJ
Kitaj, R. B. First Diasporist Manifesto. London: Thames and Hudson, 1989.
Livingstone, Marco. R.B. Kitaj. New York: Rizzoli, 1985.
Morphet, Richard. R.B. Kitaj. New York: Rizzoli, 1994.
FERNAND LÉGER
De Francia, Peter. Fernand Léger. New Haven, Conn.: Yale University Press, 1983.
Serota, Nicholas, ed. Léger, the Later Years. London: Whitechapel Gallery, 1987.
ROBERT MAPPLETHORPE
Kardon, Janet. Robert Mapplethorpe: The Perfect Moment. Philadelphia: Institute of Contemporary
Art, University of Pennsylvania, 1984.
Marshall, Richard, Richard Howeard, and Ingrid Sischy. Robert Mapplethorpe. New York: Whitney
Morrisroe, Patricia. Mapplethorpe. New York: Random House, 1995.
26
TAKASHI MURAKAMI
Cruz, Amada, Midori Matsui, and Dana Friis-Hansen. Takashi Murakami: The Meaning of the
Nonsense of the Meaning. New York: Center for Curatorial Studies Museum, Bard College, in
association with Harry N. Abrams, 1999.
Darling, Michael. “Plumbing the Depths of Superflatness.” Art Journal 60, no. 3 (2001): 77–89.
Murakami, Takashi. Summon Monsters? Open the Door? Heal? Or Die? Ed. Junichi Shioda. Tokyo:
Museum of Contemporary Art, 2001.
———. “Theory of Super Flat Japanese Art.” In Painting at the Edge of the World, ed. Douglas
Fogle, 187–205. Minneapolis: Walker Art Center, 2001.
Schimmel, Paul, and Lisa Gabrielle Mark, eds. © MURAKAMI. Los Angeles: Museum of
WANGECHI MUTU
Cox, Lorraine Morales. “Transformed Bodies, Colonial Wounds, and Ethnographic Tropes:
Wangechi Mutu.” Paradoxa 21 (2008): 67–75. Firstenberg, Laurie. “Perverse Anthropology: The Photomontage of Wangechi Mutu.” In Looking
Both Ways: Art of the Contemporary African Diaspora, ed. Laurie Ann Farrell, 136–43. New York:
Museum for African Art; Ghent: Snoeck-Ducaju & Zoon, 2003.
Matt, Gerald, and Angela Stief. Wangechi Mutu: In Whose Image. Nuremberg: Verlag für Moderne
Kunst, 2009.
Singleton, Douglas, ed. A Shady Promise. Bologna: Damiani, 2008.
ALICE NEEL
Hills, Patricia. Alice Neel. New York: Harry N. Abrams, 1988.
Temkin, Ann, Susan Rosenberg, and Richard Flood. Alice Neel. New York: Whitney Museum of
Art and Harry N. Abrams, 2000.
CONSTANT NIEUWENHUYS
Van Haaren, H. Constant. Amsterdam: Meulenhoff, 1967.
CATHERINE OPIE
Ferguson, Russell, Joshua Decter, and Kate Bush. Catherine Opie: The Photographers’ Gallery, London.
London: Photographers’ Gallery, 2000.
Hough, Jessica, A. M. Homes, and Elizabeth Armstrong. Catherine Opie: 1999 [&] In and Around
Home. Ridgefield, Conn.: Aldrich Contemporary Art Museum, 2006.
Reilly, Maura. “The Drive to Describe: An Interview with Catherine Opie.” Art Journal 60, no. 2
(2001): 83–95.
PHILIP PEARLSTEIN
Nochlin, Linda. Philip Pearlstein. Athens: Georgia Museum of Art, 1970.
Perault, John. Philip Pearlstein. New York: Harry N. Abrams, 1988.
MICHELANGELO PISTOLETTO
Celant, Germano. Pistoletto. New York: Rizzoli, 1989.
27
ARNULF RAINER
Fuchs, R. H. Arnulf Rainer. Munich: Prestel; New York: Solomon R. Guggenheim Museum, 1989.
Honisch, Dieter. Arnulf Rainer Retrospective. Berlin: Nationalgalerie, 1980.
LARRY RIVERS
Harrison, Helen A. Larry Rivers. New York: Harper and Row, 1984.
Hunter, Sam. Larry Rivers. New York: Harry N. Abrams, 1970.
Rivers, Larry. What Did I Do? New York: HarperCollins, 1992.
SUSAN ROTHENBERG
Auping, Michael. Susan Rothenberg. New York: Rizzoli, 1992.
Simon, Joan. Susan Rothenberg. New York: Harry N. Abrams, 1991.
Susan Rothenberg: Drawings, 1974–2004. With an essay by Robert Storr. New York: Sperone
Westwater, 2004.
WILLEM SANDBERG
Sandberg, W., and H. L. C. Jaffé. Kunst van heden in het Stedelijk. Amsterdam: Meulenhoff, 1961.
JENNY SAVILLE
Eccher, Danilo. Jenny Saville. Milan: Museo d’arte Contemporanea Roma, 2005.
———. Jenny Saville. New York: Rizzoli, in association with Gagosian Gallery, 2005.
———. Jenny Saville: Territories. New York: Gagosian Gallery, 1999.
JULIAN SCHNABEL
Schiff, Gert. Julian Schnabel. New York: Pace Gallery, 1984.
Serota, Nicholas, and Joanna Skipwith, eds. Julian Schnabel. London: Whitechapel Gallery, 1986.
ANDRES SERRANO
Hobbs, Robert, et al. Andres Serrano. Philadelphia: Institute of Contemporary Art, 1994.
SHAHZIA SIKANDER
Bhabha, Homi, Sean Kissane, and Enrique Juncosa. Shahzia Sikander. Milan: Edizioni Charta,
2007.
Desai, Vishakha N. Conversations with Traditions: Nilima Sheikh and Shahzia Sikander. New York:
Asia Society, 2001.
Linton, Meg. Shahzia Sikander: Dissonance to Detour. Los Angeles: Ben Maltz Gallery, Otis College
of Art and Design, 2005.
Reena, Jana. “Shahzia Sikander: Celebration of Femaleness.” Flash Art (International) 31, no. 199
(1998): 98–101.
———. Shahzia Sikander. Chicago: Renaissance Society, University of Chicago, 1998.
NANCY SPERO
Nancy Spero. London: Institute of Contemporary Art, 1987.
Nancy Spero: Dissidances. Barcelona: Museu d’Art Contemporani de Barcelona, 2008.
28
MARK TANSEY
Christ, Hans D., Iris Dresseler, Roland Mönig, and Guido de Werd. Mark Tansey. Bielefeld,
Germany: Kerber Verlag, 2005.
Danto, Arthur C., and Christopher Sweet. Mark Tansey: Visions and Revisions. New York: Harry N.
Abrams, 1992.
Freeman, Judi. Mark Tansey. Los Angeles: Los Angeles County Museum of Art, 1993.
Taylor, Mark C. The Picture in Question: Mark Tansey and the Ends of Representation. Chicago:
PAUL TILLICH
Tillich, Paul. The Courage To Be. 2nd ed. New Haven, Conn.: Yale University Press, 2000.
———. The Essential Tillich. Ed. F. Forrester Church. Chicago: University of Chicago Press, 1999.
———. Paul Tillich in Conversation: Psychotherapy, Religion, Culture, History. Bristol, Ind.: Wyndham
Hall Press, 1988.
———. The Spiritual Situation in Our Technological Society. Macon, Ga.: Mercer, 1988.
———. Writings in Social Philosophy and Ethics. Berlin and New York: De Gruyter, 1998.
LUC TUYMANS
Harris, Gareth. “Why Paintings Succeed Where Words Fail: Interview with Luc Tuymans.” Art
Newspaper 205 (September 9, 2009); www.theartnewspaper.com/articles/Why-paintingssucceed-where-words-fail/19286.
Loock, Ulrich. Luc Tuymans. London: Phaidon, 2003.
Molesworth, Helen, and Madeleine Grynsztejn. Luc Tuymans. San Francisco: San Francisco
Museum of Modern Art; Columbus, Ohio: Wexner Center for the Arts, 2009.
Roelstraete, Dieter, and Montserrat Gleason. Luc Tuymans: I Don’t Get It. Antwerp: Ludion, 2008.
Sigg, Pablo, and Gerrit Vermeiren. Luc Tuymans: Is It Safe? London: Phaidon, 2010.
Tuymans, Luc. Against the Day. London: Steidl, 2010.
JOHN PITMAN WEBER
Kempf, Roger, ed. “Un art populaire: Les peintures murales.” In Les États-Unis au mouvement.
Paris: Denoël/Gonthier, 1972.
CHAPTER 4. MATERIAL CULTURE AND EVERYDAY LIFE
General Studies
Adorno, Theodor, and Max Horkheimer. “The Culture Industry: Enlightenment as Mass
Deception” (1946), in Dialectics of Enlightenment. New York: Herder and Herder, 1969.
Baudrillard, Jean. Simulations. Trans. Paul Foss, Paul Patton, and Philip Beitchman. New York:
Semiotext(e), 1983.
Belsito, Peter. Notes from the Pop Underground. Berkeley: Last Gasp of San Francisco, 1985.
Buron, Johanna, et al. Pop Art: Contemporary Perspectives. Princeton, N.J.: Princeton University Art
Museum; New Haven, Conn.: Yale University Press, 2007.
Celant, Germano. OffMedia: Nuove techniche artistiche, video, disco, libro. Bari: Dedalo Libri, 1977.
29
Connolly, Cynthia, Leslie Clague, and Sharon Cheslow, eds. Banned in DC: Photos and Anecdotes
from the DC Punk Underground (79–85). Washington, D.C.: Sun Dog Propaganda, 1988.
Crane, Diana. The Production of Culture: Media and the Urban Arts. Newbury Park, Calif.: Sage
Publications, 1992.
Enzensberger, Hans Magnus. The Consciousness Industry: On Literature, Politics, and the Media. New
York: Seabury Press, 1974.
Francis, Mark, and Hal Foster. Pop. London: Phaidon Press Ltd., 2005.
Garber, Marjorie, Jann Matlock, and Rebecca Walkowitz, eds. Media Spectacles. New York:
Routledge, 1993.
Geldzahler, Henry. New York Painting and Sculpture: 1940–1970. New York: Museum of Modern
Art, 1969.
Haskell, Barbara. Blam! The Explosion of Pop, Minimalism, and Performance: 1958–1964. Essay by John
G. Hanhardt. New York: Whitney Museum of American Art, 1984.
Hebdige, Dick. Subculture: The Meaning of Style. London: Methuen, 1983.
Lippard, Lucy R., ed. Pop Art. Contributions by Lawrence Alloway, Nancy Marmer, and Nicolas
Callas. New York: Oxford University Press, 1966.
Lyons, Joan, ed. Artists’ Books: A Critical Anthology and Source Book. Layton, Utah: Gibbs M. Smith,
Peregrine Smith Books; Rochester, N.Y.: Visual Studies Workshop Press, 1985.
Mahsun, Carol Anne. Pop Art and the Critics. Ann Arbor: UMI Research Press, 1987.
Melley, George. Revolt into Style: The Pop Arts. Garden City, N.Y.: Anchor, 1971.
Newhall, Beaumont. The History of Photography from 1839 to the Present. Revised edition. New York:
Poets of the Cities New York and San Francisco: 1950–1965. New York: E. P. Dutton, 1974.
Powell, Richard J. The Blues Aesthetic: Black Culture and Modernism. Washington, D.C.: Washington
Project for the Arts, 1989.
Reichardt, Jasia. Between Poetry and Painting. London Institute of Contemporary Arts, 1965.
Russell, John, and Suzi Gablik. Pop Art Redefined. London: Thames and Hudson, 1969.
Seitz, William C. The Art of Assemblage. New York: Museum of Modern Art, 1961.
Sontag, Susan. On Photography. New York: Delta, 1973.
Tomkins, Calvin. The Bride and the Bachelors: Five Masters of the Avant-Garde. New York: Penguin,
1968.
———. Off the Wall: Robert Rauschenberg and the Art World of Our Time. New York: Doubleday,
1980.
———. Post to Neo: The Art World of the 80s. New York: H. Holt, 1988.
———. The Scene: Reports on Post-Modern Art. New York: Viking, 1976.
Wallis, Brian, and Thomas Finkelpearl, eds. This Is Tomorrow Today: The Independent Group and
British Pop Art. Essays by Lawrence Alloway, Reyner Banham, Judith Barry, Kenneth
Frampton, Richard Hamilton, Dick Hebdige, Thomas Lawson, Alison and Peter Smithson,
Eugenie Tsai, Brian Wallis, and Graham Whitham. New York: Institute for Art and Urban
Resources, 1987.
Artists and Writers
BANKSY
Banksy. Banging Your Head against a Brick Wall. London: Weapons of Mass Distraction, 2001.
30
———. Banksy: Wall & Peace. London: Century, 2005.
———. Existencilism. London: Weapons of Mass Distraction, 2002.
Bull, Martin. Banksy Locations and Tours. Oakland, Calif.: PM Press, 2009.
Clarke, Robert. Seven Years with Banksy. London: Michael O’Mara, 2012.
Ellsworth-Jones, Will. Banksy. London: Aurum, 2012.
Gough, Paul, ed. Banksy: The Bristol Legacy. Bristol: Redcliffe, 2012.
Leverton, Marc. Banksy Myths and Legends. Berkeley, Calif.: Gingko Press, 2011.
Shove, Gary. Banksy. Berkeley, Calif.: Gingko Press, 2012.
Wright, Steve. Banksy’s Bristol, Home Sweet Home: The Unofficial Guide. Bristol: Tangent Books, 2007.
BLEK LE RAT
King, Adz, and Sybille Prou. Blek le Rat (Street Graphics/Street Art). London: Thames and Hudson,
2008.
Prou, Sybille. Blek le rat: Getting through the Walls. London: Thames and Hudson, 2008.
Shove, Gary. Untitled: Street Art in the Counter Culture. London: Carpet Bombing Culture, 2009.
———. Untitled II: The Beautiful Renaissance: Street Art and Graffiti. Carpet Bombing Culture, 2009.
———. Untitled III: This Is Street Art. London: Carpet Bombing Culture, 2010.
GEORGE BRECHT
Brecht, George. Chance-imagery. New York: Something Else Press, 1966.
———. Games at the Cedilla: or, The Cedilla Takes Off. New York: Something Else Press, 1967.
———. George Brecht—Notebooks. Ed. Dieter Daniels and Hermann Braun. Cologne: König,
1991.
Hughes, Patrick, and George Brecht. Vicious Circles and Infinity. Garden City, N.Y.: Doubleday,
1975.
Martin, Henry, ed. An Introduction to George Brecht’s Book of the Tumbler on Fire. Interviews by Ben
Vautier and Marcel Alocco, Henry Martin, Irmeline Lebeer, Gislind Nabakowski, Robin Page,
and Michael Nyman, anthology of texts by George Brecht. Milan: Multhipla Edizioni, 1978.
Robinson, Julia, and Alfred Fischer. George Brecht: Events: A Heterospective. Cologne: König, 2005.
MAURIZIO CATTELAN
Bonami, Francesco, Nancy Spector, Barbara Vanderlinden, and Massimiliano Gioni. Maurizio
Cattelan. London: Phaidon, 2003.
Jouannais, Jean-Yves. “Les Witz de Maurizio Cattelan = The Witz Kid.” Art Press, no. 265 (2001):
18–23.
Manacorda, Francesco. Maurizio Cattelan. Milan: Electa, 2006.
Verzotti, Giorgio. Maurizio Cattelan. Milan: Edizioni Charta, 1999.
ENRIQUE CHAGOYA
Enrique Chagoya: Locked in Paradise. Reno: Nevada Museum of Art, 2000.
Hickson, Patricia, Daniela Perez, Robert Storr, and Jeff Fleming. Enrique Chagoya: Borderlandia.
Des Moines, Iowa: Des Moines Art Center, 2007.
Rodriguez, Geno. Enrique Chagoya: When Paradise Arrived. New York: Alternative Museum, 1989.
31
JUDY CHICAGO
Chicago, Judy. The Birth Project. Garden City, N.Y.: Doubleday, 1985.
———. The Dinner Party: A Symbol of Our Heritage. Garden City, N.Y.: Anchor, 1979.
———. Through the Flower: My Struggle as a Woman Artist. Introduction by Anaïs Nin. Garden City,
N.Y.: Doubleday, 1975.
BRUCE CONNER
Dean, Robert, and Dennis Hopper. Bruce Conner: Assemblages, Paintings, Drawings, Engravings,
Collages 1960–1990. Los Angeles: Michael Kohn Gallery, 1990.
Solnit, Rebecca. Secret Exhibition: Six California Artists of the Cold War Era. San Francisco: City
Lights, 1990.
TONY CRAGG
Celant, Germano, Danilo Eccher, and Ulrich Wilmes, eds. Tony Cragg: Signs of Life. Düsseldorf:
Richter, 2003.
Tony Cragg, Sculpture 1975–1990. Organized by Paul Schimmel and Marilu Krodé, with essays by
Lucinda Barnes and Sue Henger. Newport Beach, Calif.: Newport Harbor Art Museum,
1990.
JEFF DONALDSON
Afri-Cobra II. Amherst: University of Massachusetts Art Gallery, 1973.
Kai, Nubia. AFRICOBRA: The First Twenty Years. Atlanta: Nexus Contemporary Art Center,
1990.
Thorson, Alice. “An Interview with Jeff Donaldson: AfriCobra—Then and Now.” New Art
Examiner (March 1990): 26–31.
ÖYVIND FAHLSTRÖM
Öyvind Fahlström. New York: Solomon R. Guggenheim Museum, 1982.
Öyvind Fahlström: Another Space for Painting. Barcelona: Museu d’Art Contemporani, 2001.
Pontus Hulten, K.G., and Bjorn Springfeldt. Öyvind Fahlström. Paris: Centre Georges Pompidou,
Musée National d’Art Moderne, 1980.
ION GRIGORESCU
Grigorescu, Ion. Grigorescu Ion. Bucharest: Uniunea Artiştilor Plastici din R.S. România, Galeria
Căminul Artei, February 1991.
———. Ion Grigorescu: Desen, Pictură, Fotografie, Object. Bucharest: Uniunea Artiştilor Plastici din
R.S. România, Galeria Căminul Artei, May 1980.
———. Ion Grigorescu: Desen, Pictură, Fotografie, Object. Bucharest: Uniunea Artiştilor Plastici din
R.S. România, Galeria Căminul Artei, April 1992.
RICHARD HAMILTON
Field, Richard S. Richard Hamilton, Image and Process: Studies, Stage, and Final Proofs from the Graphic
Works, 1952–82. Stuttgart: Edition Hansjörg Mayer, in association with Tate Gallery, 1983.
32
Hamilton, Richard, and Dieter Schwarz. Richard Hamilton: Exteriors, Interiors, Objects, People.
Hannover: Kestner-Gesellschaft, 1990.
Richard Hamilton. London: Tate Gallery, 1992.
DAVID HAMMONS
Hassan, Salah M., and Cheryl Finley, eds. Diaspora Memory Place: David Hammons, Maria Magdalena
Campos-Pons, Pamela Z. Munich: Prestel, 2008.
Heiss, Alanna. David Hammons: Rousing the Rubble. New York: Institute for Contemporary Art,
1991.
Reid, Calvin. “Kinky Black Hair and Barbecue Bones: Street Life, Social History, and David
Hammons.” Arts Magazine 65 (April 1991): 59–63.
Sill, Robert, Susan Snodgrass, Calvin Reid, and Ralph Rugoff. David Hammons in the Hood.
Springfield: Illinois State Museum, 1994.
KEITH HARING
Gruen, John. Keith Haring: The Authorized Biography. Englewood Cliffs, N.J.: Prentice-Hall, 1991.
Keith Haring: Future Primeval. Normal, Ill.: University Gallery, Illinois State University, 1990.
Kurtz, Bruce D., ed. Keith Haring, Andy Warhol, and Walt Disney. Contributions by Bruce Hamilton
et al. Munich: Prestel, 1992.
Sussman, Elisabeth, and David Frankel. Keith Haring. New York: Whitney Museum of American
Art, 1997.
DAMIEN HIRST
Banville, John, Richard Bradford, and Philip Larkin. Damien Hirst: Superstition. London: Gagosian
Gallery, 2007.
Burn, Gordon. On the Way to Work. New York: Universe, 2002.
Danto, Arthur C. “Damien Hirst.” In Unnatural Wonders: Essays from the Gap Between Art and Life,
53–60. New York: Farrar, Straus, Giroux, 2005.
O’Hagan, Sean. New Religion. London: Other Criteria, 2006.
JASPER JOHNS
Crichton, Michael. Jasper Johns. New York: Harry N. Abrams, 1993.
Francis, Richard. Jasper Johns. New York: Abbeville, 1984.
Jasper Johns: A Retrospective. New York: Harry N. Abrams, in association with Museum of Modern
Art, 1996.
Jasper Johns: Printed Symbols. Introduction by Elizabeth Armstrong, with essays by James Cuno et
al., and an interview by Katrina Martin. Minneapolis: Walker Art Center, 1990.
Orton, Fred. Figuring Jasper Johns. Cambridge, Mass.: Harvard University Press, 1994.
Rosenthal, Mark. Jasper Johns: Work Since 1974. New York: Thames and Hudson, in association
with the Philadelphia Museum of Art, 1988.
RAY JOHNSON
Correspondence: An Exhibition of the Letters of Ray Johnson. Raleigh: North Carolina Museum of Art,
1976.
33
De Salvo, Donna, ed. Ray Johnson: Correspondances. Paris: Flammarion, 1999.
More Works by Ray Johnson, 1951–1991. Guest curated by Phyllis Stigliano and Janice Parente.
Philadelphia: The Gallery, 1991.
Works by Ray Johnson. Essay by David Bourdon. Roslyn Harbor, N.Y.: Nassau County Museum of
Fine Art, 1984.
KIM JONES
Firmin, Sandra, and Julie Joyce. Mudman: The Odyssey of Kim Jones. Los Angeles: Luckman Fine
Arts Complex, California State University, 2007.
Kim Jones: War Paint. New York: Pierogi, 2005.
Nicholson, Geoff. “Kim Jones: Walking Wounded.” Art Review (London), no. 11 (May 2007): 86–
91.
Novak, Linda. “Don’t Cry for Me Argentina: Kim Jones.” TDR 28, no. 1 (Spring 1984): 112–15.
MIKE KELLEY
Cooper, Dennis. “Trauma Club.” Artforum International 39, no. 2 (October 2000): 124–29.
Kelley, Mike. Mike Kelley: Photographs/Sculptures. Tokyo: Wako Works of Art, 2009.
Sussman, Elisabeth, and Richard Armstrong. Mike Kelley: Catholic Tastes. New York: Whitney
Welchman, John C., ed. Mike Kelley: Minor Histories—Statements, Conversations, Proposals. Cambridge,
Mass.: MIT Press, 2004.
Welchman, John C., Isabelle Graw, and Anthony Vidler. Mike Kelley. London: Phaidon, 1999.
VITALY KOMAR AND ALEXANDER MELAMID
Ashton, Dore, ed. Monumental Propaganda. New York: Independent Curators Incorporated, 1994.
Heiliger, Christian, Evelyn Weiss, and Astrid Mania. Komar & Melamid: The Most Wanted, the Most
Unwanted Painting. Ostfildern-Ruit, Germany: Hatje Cantz, 1997.
Hillings, Valerie L. “Komar and Melamid’s Dialogue with (Art) History.” Art Journal 58, no. 4
(1999): 49–61.
Komar & Melamid: Desperately Seeking a Masterpiece. Chiba-shi: Kawamura Memorial Museum of
Art, 2003.
Nathanson, Melvyn B. Komar/Melamid: Two Soviet Dissident Artists. Carbondale: Southern Illinois
Wypijewski, JoAnn, ed. Painting by Numbers: Komar and Melamid’s Scientific Guide to Art. New York:
Farrar Straus Giroux, 1997.
JEFF KOONS
Bonami, Francesco. Jeff Koons. Chicago: Museum of Contemporary Art, 2008.
Jeff Koons. Organized by I. Michael Danoff. Chicago: Museum of Contemporary Art, 1988.
Jeff Koons. Organized by Wim Becren in cooperation with Jeff Koons and Gary McCraw.
Amsterdam: Stedelijk Museum, 1993.
Jeff Koons. San Francisco: Museum of Modern Art, 1992.
The Jeff Koons Handbook. London: Anthony d’Offay Gallery, 1992.
Muthesius, Anjelika. Jeff Koons. Cologne: Benedikt Taschen, 1992.
34
BARBARA KRUGER
Harper, Jenny, and Lita Barrie. Barbara Kruger: The Temporary-Contemporary. Wellington: New
Zealand National Gallery of Art, 1988.
Kruger, Barbara. Remote Control: Power, Cultures, and the World of Appearances. Cambridge, Mass.:
MIT Press, 1993.
Kruger, Barbara, Ann Goldstein, and Rosalyn Deutsche. Barbara Kruger. New York: Whitney
Linker, Kate. Love for Sale: The Words and Pictures of Barbara Kruger. New York: Harry N. Abrams,
1990.
DINH Q . LÊ
Lee, Deanna, and Melissa Chiu. Vietnam, Destination for the New Millennium: The Art of Dinh Q. Lê.
New York: Asia Society, 2005.
Miles, Christopher, and Moira Roth. Dinh Q. Lê: From Vietnam to Hollywood. Seattle: Marquand
Books, 2003.
Roth, Moira. “Obdurate History: Dinh Q. Lê, the Vietnam War, Photography, and Memory.” Art
Journal 60, no. 2 (2001): 38–53.
Spalding, David. “Weaving History: An Interview with Dinh Q. Lê.” ArtAsiaPacific, no. 38 (Fall
2003): 68–70.
SHERRIE LEVINE
Krane, Susan, and Phyllis Rosenzweig. Art at the Edge: Sherrie Levine. Atlanta: High Museum of
Art, 1988.
Sherrie Levine. Zurich: Kunsthalle, 1991.
ROY LICHTENSTEIN
Alloway, Lawrence. Roy Lichtenstein. New York: Abbeville, 1983.
Cowart, Jack. Roy Lichtenstein, 1970–1980. New York: Hudson Hills Press, in association with
Saint Louis Art Museum, 1981.
Waldman, Diane. Roy Lichtenstein. New York: Harry N. Abrams, 1971.
ANNETTE MESSAGER
Bernadac, Marie-Laure, ed. Annette Messager: Word for Word. Trans. Vivian Rehberg. New York:
D.A.P./Distributed Art Publishers, in association with Les Presses du Réel and Violette
Editions, 2006.
Conkelton, Sheryl, and Carol S. Eliel. Annette Messager. New York: Museum of Modern Art, 1995.
Grenier, Catherine. Annette Messager. Paris: Flammarion, 2001.
———. Annette Messager: The Messengers. Munich: Prestel, 2007.
CLAES OLDENBURG
Celant, Germano. A Bottle of Notes and Some Voyages: Claes Oldenburg, Drawings, Sculptures, and LargeScale Projects with Coosje van Bruggen. New York: Rizzoli, 1988.
———. Claes Oldenburg: An Anthology. New York: Solomon R. Guggenheim Museum, 1995.
Claes Oldenburg, Multiples 1964–1990. Frankfurt: Portikus, 1992.
35
Oldenburg, Claes. Injun and Other Histories. New York: Something Else Press, 1966.
———. Raw Notes: Documents and Scripts of the Performances: Stars, Moneyhouse, Massage, The Typewriter
with Annotations by the Author. Halifax: Press of the Nova Scotia College of Art and Design,
1973.
Oldenburg, Claes, and Emmett Williams. Store Days: Documents from The Store (1961) and Ray Gun
Theater (1962). Photography by Robert R. McElroy. New York: Something Else Press, 1967.
Rose, Barbara. Claes Oldenburg. New York: Museum of Modern Art, 1970.
CHARLEMAGNE PALESTINE
Banes, Sally. “Pumping Air (Charlemagne Palestine).” In Subversive Expectations: Performance Art and
Paratheater in New York, 1976–85, 34–35. Ann Arbor: University of Michigan Press, 1998.
Guzmán, Antonio. Charlemagne Palestine: Sacred Bordello. London: Black Dog, 2003.
Stalder, Anselm. “Charlemagne Palestine.” Flash Art (International), no. 121 (March 1985): 28–29.
PINO PASCALI
D’Elia, A. Pino Pascali. Bari: Editori La Terza, 1983.
Pino Pascali. Paris: Musée d’Art Moderne de la Ville de Paris, 1991.
Pino Pascali, 1935–1968. Curated by Fabrizio D’Amico and Simonetta Luy. Milan: A. Mondadori,
1987.
Rubiu, V. Pino Pascali. Rome: De Luca Editore, 1977.
ROBERT RAUSCHENBERG
Hopps, Walter. Robert Rauschenberg: The Early 1950’s. Houston: Menil Collection, Houston Fine
Arts Press, 1991.
Kotz, Mary Lynn. Rauschenberg, Art and Life. New York: Harry N. Abrams, 1990.
Rauschenberg Overseas Culture Interchange. Washington, D.C.: National Gallery of Art, 1991.
Robert Rauschenberg. Washington, D.C.: National Collection of Fine Arts, Smithsonian Institution,
1976.
Robert Rauschenberg: A Retrospective. New York: Harry N. Abrams, in association with Solomon R.
Guggenheim Museum, 1997.
Rosenthal, Nan. Robert Rauschenberg. New York: Abbeville, 1990.
PIERRE RESTANY
Périer, Henri. Pierre Restany: l’alchimiste de l’art. Paris: Éditions Cercle d’Art, 1998.
Restany, Pierre. À 40° au-dessus de Dada. Paris: Galerie J, 1961; Milan: Edizioni Mazzotta, 1988.
———. Avec le Nouveau Réalisme: sur l’autre face de l’art. Nîmes: Éditions Jacqueline Chambrons,
2000.
———. Manifeste des Nouveaux Réalistes. Paris: Dilecta, 2007.
———. Le monde de l’art = The World of Art in 1995. Paris: Organisation des Nations Unies pour
l’éducation, la science et la culture, 1996.
———. Le Nouveau Réalisme. Paris: Union générale d’éditions, 1978.
36
GERHARD RICHTER
Harten, Jürgen, ed. Gerhard Richter: Paintings 1962–1985. Trans. Elisabeth Brockmann, Petra
Kruse, and Eileen Martin, catalog raisonné edited by Dietmar Elger. Cologne: DuMont, 1986.
Nasgaard, Roald. Gerhard Richter Paintings. Ed. Terry A. Neff, essay by I. Michael Danoff,
interview by Benjamin H. D. Buchloh. New York: Thames and Hudson, 1988.
Rainbird, Sean, and Judith Severene, eds. Gerhard Richter. London: Tate Gallery, 1991.
Storr, Robert. Gerhard Richter: Forty Years of Painting. New York: Museum of Modern Art, 2001.
FAITH RINGGOLD
Faith Ringgold, Change: Painted Story Quilts. New York: Bernice Steinbaum Gallery, 1987.
Faith Ringgold: Twenty Years of Painting, Sculpture, and Performance, 1963–1983. New York: Studio
Museum in Harlem, 1984.
Flomenhaft, Eleanor. Faith Ringgold: A 25 Year Survey. Hempstead, N.Y.: FAMLI, 1990.
JAMES ROSENQUIST
Goldman, Judith. James Rosenquist. New York: Viking, 1985.
James Rosenquist: A Retrospective. New York: Solomon R. Guggenheim Museum, 2003.
Tucker, Marcia. James Rosenquist. New York: Whitney Museum of American Art, 1972.
DIETER ROTH
Dieter Roth. Paris: Éditions ARPAP, 1987.
Dieter Roth: Frühe Schriften und typische Scheisse. Introduction by Oswald Wiener. Stuttgart: Edition
Hansjörg Mayer, 1975.
Dieter Roth, Zeichnungen. Texts by Werner Hofmann et al. Hamburg: Kunsthalle, 1987.
Hamilton, Richard, and Dieter Roth. Interfaces. Bielefeld: Kunsthalle, 1979.
Roth, Dieter. Gesammelte Werke. Vols. 1–20, 36, 38–40. Stuttgart: Edition Hansjörg Mayer, 1969–
1986.
———. Gesammelte Werke. Vols. 5–7, 9–12, 15–20, 36. Stuttgart: Edition Hansjörg Mayer, 1970–
1977.
Roth Time: A Dieter Roth Retrospective. New York: Museum of Modern Art; Baden, Switzerland:
Lars Müller Publishers, 2003.
EDWARD RUSCHA
Bois, Yve-Alain. Edward Ruscha: Romance with Liquids: Paintings 1966–1969. Conversation with the
artist by Walter Hopps. New York: Rizzoli, 1993.
Clearwater, Bonnie. Words Without Thoughts Never to Heaven Go. Lake Worth, Fla.: Lannan
Museum, 1988.
Ed Ruscha: Fifty Years of Painting. London: Southbank Centre, 2009.
Edward Ruscha. Paris: Musée National d’Art Moderne, 1989.
Hickey, Dave, and Peter Plagens. The Works of Ed Ruscha: Essays. Introduction by Anne Livet,
foreword by Henry T. Hopkins. New York: Hudson Hills Press; San Francisco: San
Francisco Museum of Art, 1982.
37
NIKI DE SAINT - PHALLE
Bourdon, David, John Cage, and Harry Mathews. Niki at Nassau: Fantastic Vision: Works by Niki
de Saint-Phalle. Roslyn Harbor, N.Y.: Nassau County Museum of Fine Art, 1987.
Mock, Jean-Yves. Niki de Saint-Phalle. Paris: Musée National d’Art Moderne, 1980.
Pontus Hulten, K.G. Niki de Saint-Phalle. Stuttgart: Hatje, 1992.
LUCAS SAMARAS
Kuspit, Donald, Thomas McEvilley, and Roberta Smith. Lucas Samaras—Objects and Subjects,
1969–1986. Curated by Dianne Perry Vanderlip and Deborah Jordy. New York: Abbeville,
1988.
Kuspit, Donald, and Marla Prather. Unrepentant Ego: The Self-Portraits of Lucas Samaras. New York:
Whitney Museum of American Art, 2003.
Levin, Kim. Lucas Samaras. New York: Harry N. Abrams, 1975.
Lifson, Ben. Samaras: The Photographs of Lucas Samaras. New York: Aperture, 1987.
Samaras, Lucas. Crude Delights. New York: Pace Gallery Publications, 1980.
CHÉRI SAMBA
Blazwick, Iwona, ed. Chéri Samba: A Retrospective. Oostende, Belgium: Provinciaal Museum voor
Moderne Kunst, 1991.
Jewsiewicki, Bogumil, and Esther A. Dagan. Chéri Samba: The Hybridity of Art = l’hybridité d’un Art.
Westmount, Canada: Galerie Amrad African Art Publications, 1995.
Magnin, André, ed. J’aime Chéri Samba. Arles: Actes Sud, 2004.
KENNY SCHARF
Cameron, Dan. “Saint Kenny and the Culture Dragon.” Arts 58, nos. 93–95 (January 1984): 93–
95.
Hager, Steven. Art after Midnight: The East Village Scene. New York: St. Martin’s Press, 1986.
Kenny Scharf 1983. New York: Tony Shafrazi Gallery, 1983.
DANIEL SPOERRI
Hahn, Otto. Daniel Spoerri. Paris: Flammarion, 1990.
Spoerri, Daniel. Topographie anecdotée du hasard: An Anecdoted Topography of Chance. Trans. Emmett
Williams. Paris: Éditions Galerie Lawrence, 1962. Reprinted, “re-anecdoted” version with
Robert Filliou and with notes by Emmett Williams, New York: Something Else Press, 1966.
KARA WALKER
Dixon, Annette, Robert Reid-Pharr, and Thelma Golden. Kara Walker: Pictures from Another Time.
Ann Arbor: University of Michigan Museum of Art, 2002.
DuBois Shaw, Gwendolyn. Seeing the Unspeakable: The Art of Kara Walker. Durham, N.C.: Duke
Vergne, Philippe, Sander L. Gilman, Thomas McEvilley, Robert Storr, Kevin Young, and Yasmil
Raymond. Kara Walker: My Complement, My Enemy, My Oppressor, My Love. Minneapolis: Walker
Art Center, 2007.
Walker, Kara. Kara Walker: After the Deluge. New York: Rizzoli, 2007.
38
ANDY WARHOL
The Andy Warhol Museum: The Inaugural Publication. Contributions by Callie Angell et al. Pittsburgh:
The Museum, 1994.
Bastian, Heiner. Andy Warhol: Retrospective. London: Tate Publishing, 2001.
McShine, Kynaston, ed. Andy Warhol: A Retrospective. New York: Museum of Modern Art; Boston:
Little, Brown, 1989.
Warhol, Andy. The Andy Warhol Diaries. Ed. Pat Hackett. New York: Warner, 1989.
———. The Philosophy of Andy Warhol: From A to B and Back Again. New York: Harcourt Brace
Jovanovich, 1975.
Warhol, Andy, and Pat Hackett. POPism: The Warhol ‘60s. New York: Harcourt Brace Jovanovich,
1983.
DAVID WOJNAROWICZ
Blinderman, Barry, ed. David Wojnarowicz: Tongues of Flame. Normal, Ill.: University Galleries,
Illinois State University; New York: Art Publishers, 1990.
Cameron, Dan, and Amy Scholder. Fever: The Art of David Wojnarowicz. New York: Rizzoli, in
association with The New Museum of Contemporary Art, 1998.
CHAPTER 5. ART AND TECHNOLOGY
General Studies
Ascott, Roy, and Carl Eugene Loeffler, eds. “Connectivity: Art and Interactive
Telecommunications.” Special issue, Leonardo 24, no. 2 (1991).
Battcock, Gregory, ed. New Artists Video: A Critical Anthology. New York: E. P. Dutton, 1978.
Benedikt, Michael, ed. Cyberspace: First Steps. Cambridge, Mass.: MIT Press, 1991.
Benthall, Jonathan. Science and Technology in Art Today. New York: Praeger, 1972.
Brett, Guy. Kinetic Art: The Language of Movement. London: Studio Vista; New York: Reinhold
Book Corporation, 1968.
Burnham, Jack. Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of This
Century. New York: George Brazillers, 1968.
“Computers and Art: Issues of Content.” Special issue, Art Journal 49, no. 3 (Fall 1990).
Conley, Verena Andermatt, ed. ReThinking Technologies. Minneapolis: University of Minnesota
Press, 1993.
Constructivist Tendencies: From the Collection of Mr. and Mrs. George Rickey. Santa Barbara: University of
California, Santa Barbara Art Gallery, 1970.
Cubitt, Sean. Timestuff: Video Culture. London: Routledge, 1991.
Davis, Douglas. Art and the Future: A History/Prophecy of the Collaboration Between Science, Technology
and Art. New York: Praeger, 1973.
Doty, Robert M. Light: Object and Image. New York: Whiting, 1968.
Electronic Art. Oxford: Pergamon, 1988.
Fifer, Sally Jo. Illuminating Video: An Essential Guide to Video Art. New York: Aperture, in
association with Bay Press Video Coalition, 1990.
Hanhardt, John G. Video Culture: A Critical Investigation. Rochester, N.Y.: Gibbs M. Smith,
Peregrine Smith Books; Layton, Utah: Visual Studies Workshop Press, 1986.
Jacobs, Linda, ed. Cyberarts: Exploring Art & Technology. San Francisco: Miller Freeman, 1992.
39
Kepes, Gyorgy, ed. The Nature and Art of Motion. New York: George Brazillers, 1965.
Malina, Frank J., ed. Kinetic Art, Theory and Practice: Selections from the Journal Leonardo. New York:
Dover, 1974.
McLuhan, Marshall. The Gutenberg Galaxy: The Making of Typographic Man. Toronto: University of
Toronto Press, 1962.
———. Understanding Media: The Extensions of Man. New York: Signet, 1964.
Penley, Constance, and Andrew Ross, eds. Technoculture. Minneapolis: University of Minnesota
Press, 1991.
Pontus Hulten, K.G. The Machine as Seen at the End of the Mechanical Age. New York: Museum of
Modern Art, 1968.
Projected Images. Texts by Regina Cornwall, Nina Felshin, Martin Friedman, Annette Michelson,
Robert Pincus-Witten, Barbara Rose, and Roberta P. Smith. Minneapolis: Walker Art Center,
1974.
Reichardt, Jasia. Cybernetics, Art, and Ideas. Greenwich, Conn.: New York Graphic Society, 1971.
———. The Computer in Art. London: Studio Vista; New York: Van Nostrand Reinhold, 1971.
Rickey, George. Constructivism: Origins and Evolution. New York: George Brazillers, 1967.
Rosenberg, M. J. The Cybernetics of Art: Reason and Rainbow. New York: Gordon and Breach
Science, 1983.
Schneider, Ira, and Beryl Korot, eds. Video Art: An Anthology. New York: Harcourt Brace
Jovanovich, 1976.
Seitz, William C. The Responsive Eye. New York: Museum of Modern Art, 1986.
Selz, Peter. Directions in Kinetic Sculpture. Berkeley: University of California Press, 1966.
Torr, Karina. Op Art, Stil, Ornament Oder Experiment. Berlin: Mann, 1986.
Video Art. Texts by David Antin, Lizzie Borden, Jack Burnham, and John McHale. Philadelphia:
Institute of Contemporary Art, 1975.
Virilio, Paul. La machine de vision. Paris: Éditions Galileo, 1988.
Artists and Writers
EIJA - LIISA AHTILA
Ahtila, Eija-Liisa. The Cinematic Works. Helsinki: Crystal Eye Ltd., 2003.
Bronfen, Elisabeth, Régis Durand, and Doris Krystof. Eija-Liisa Ahtila. Ostfildern-Ruit,
“Eija-Liisa Ahtila, Franz Ackermann, Dan Graham.” Parkett, no. 68 (2003): 58–97.
Hirvi, Maria, ed. Fantasized Persons and Taped Conversations. Helsinki: Crystal Eye Ltd., 2002.
Philbrick, Jane. “Subcutaneous Melodrama: The Work of Eija-Liisa Ahtila.” PAJ 25, no. 2 (2003):
32–47.
LAURIE ANDERSON
Anderson, Laurie. Stories from the Nerve Bible: A Retrospective, 1972–1992. New York: Harper
Perennial, 1994.
Goldberg, RoseLee. Laurie Anderson. New York: Harry N. Abrams, 2000.
Kardon, Janet. Laurie Anderson, Works from 1969 to 1983. Philadelphia: Institute of Contemporary
Art, University of Pennsylvania, 1983.
40
ROY ASCOTT
Ascott, Roy. “Behaviorist Art and the Cybernetic Vision, Part One.” Cybernetica 9, no. 4 (1966):
247–64.
———. “Behaviorist Art and the Cybernetic Vision, Part Two.” Cybernetica 10, no. 1 (1967): 25–
56.
———. “The Construction of Change.” Cambridge Opinion: Modern Art in Britain 37 (1964): 37–42.
———. “The Cybernetic Stance: My Process and Purpose.” Leonardo 1, no. 2 (1968): 105–12.
———. “From Appearance to Apparition: Communications and Culture in Cybersphere.”
Leonardo Electronic Almanac 2 (Internet, 1993).
———. “Telenota: Art in the Age of Artificial Life.” Leonardo 26, no. 3 (1993): 176–77.
MAURICE BENAYOUN
Benayoun, Maurice. “Art after Technology.” Technology Review (French ed.), no. 7 (2008).
Grau, Oliver. Virtual Art: From Illusion to Immersion. Cambridge, Mass.: MIT Press, 2002.
Popper, Frank. From Technological to Virtual Art. Cambridge, Mass.: MIT Press, 2007.
Wilson, Stephen. “The Virtual World as Metaphor.” In Information Arts: Intersections of Art, Science,
and Technology, 705–8. Cambridge, Mass.: MIT Press, 2003.
JORDAN CRANDALL
Altstatt, Rosanne, ed. Jordan Crandall: Trigger Project. Oldenburg, Germany: Edith-Russ-Haus für
Medienkunst, 2002.
Crandall, Jordan, ed. Under Fire. 1: The Organization and Representation of Violence. Rotterdam: Witte
de With, Center for Contemporary Art, 2004.
———, ed. Under Fire. 2: The Organization and Representation of Violence. Rotterdam: Witte de With,
Center for Contemporary Art, 2005.
Holmes, Brian. “Jordan Crandall: Driving Images = Le Paradoxe du Véhicule.” Parachute, no. 100
(October–December 2000): 56–69.
Weibel, Peter, ed. Jordan Crandall: Drive. Ostfildern-Ruit, Germany: Hatje Cantz, 2003.
PETER D ’ AGOSTINO
D’Agostino, Peter. Alpha, Trans, Chung, a Photographic Model: Semiotics, Film, and Interpretation.
Dayton: University Art Galleries, Wright State University, 1978.
———. Coming and Going: New York (Subway), Paris (Métro), San Francisco (BART), Washington
(METRO). San Francisco: NFS Press, 1982.
D’Agostino, Peter, and Antonio Muntadas, eds. Un/necessary Image. Cambridge, Mass.: MIT
Committee on the Visual Arts, 1982.
D’Agostino, Peter, and David Tafler, eds. Transmission: Toward a Post-Television Culture. New York:
Tanam Press, 1995.
DOUGLAS DAVIS
Davis, Douglas. Art and the Future: A History/Prophecy of the Collaboration between Science, Technology
and Art. New York: Praeger, 1973.
———. Artculture: Essays on the Postmodern. Introduction by Irving Sandler. New York: Harper
and Row, 1977.
41
———. The Five Myths of Television Power, or, Why the Medium Is Not the Message. New York: Simon
and Schuster, 1993.
Davis, Douglas, and Allison Simmons, eds. The New Television: A Public/Private Art: Essays,
Statements, and Videotapes Based on “Open Circuits: An International Conference on the Future of
Television.” Organized by Fred Barzyk, Douglas Davis, Gerald O’Grady, and Willard Van
Dyke for the Museum of Modern Art. Cambridge, Mass.: MIT Press, 1977.
STAN DOUGLAS
Augaitis, Daina, George Wagner, and William Wood. Stan Douglas. Vancouver: Vancouver Art
Gallery, 1999.
Cooke, Lynn, Sianne Ngai, Nancy Shaw, and Neville Wakefield. Double Vision: Stan Douglas and
Douglas Gordon. New York: Dia Center for the Arts, 2000.
Jewesbury, Daniel. “Neither–Or: In Conversation with Stan Douglas.” Black Flash 19, no. 2
(2001): 38–45.
Lütticken, Sven, and Philip Monk. Stan Douglas: Inconsolable Memories. Omaha, Nebr.: Joslyn Art
Museum, 2005.
Watson, Scott, Diana Thater, and Carol J. Clover. Stan Douglas. London: Phaidon, 1998.
FRANK GILLETTE
Frank Gillette. Washington, D.C.: Corcoran Gallery of Art, 1980.
Frank Gillette: Video: Process and Meta-Process. Ed. Judson Rosebush. Syracuse, N.Y.: Everson
Gillette, Frank. Aransas: Axis of Observation. Houston: Points of View, 1978.
GROUPE DE RECHERCHE D ’ ART VISUEL ( GRAV )
Blistene, Bernard, and Catherine Grenier. Morellet. Paris: Centre Georges Pompidou, Musée
National d’Art Moderne, 1986.
Groupe de Recherche d’Art Visuel: Participation: À la recherche d’un nouveau spectateur. Dortmund:
Museum am Ostwall, 1968.
Lemoine, Serge. François Morellet: dessins = Zeichnungen. Grenoble: Musée de Grenoble; Reutlingen:
Stiftung für Konkrete Kunst, 1991.
Sobrino. Paris: Galerie Denise René, 1971.
Yvaral, Paris, avril 1972. Paris: Galerie Denise René, 1972.
LYNN HERSHMAN
James, David, Pierre Restany, Moira Roth, and Stephen Sarrazin. “Lynn Hershman.” Special
issue, Chimaera Monographie 4. Belfort, France: Centre International de Création Vidéo, 1992.
Tromble, Meredith, ed. The Art and Films of Lynn Hershman Leeson: Secret Agents, Private I. Berkeley:
University of California Press; Seattle: Henry Art Gallery, University of Washington, 2005.
Video Viewpoints: Lynn Hershman. New York: Museum of Modern Art, 1991.
GARY HILL
Gary Hill: In Light of the Other. Oxford: Museum of Modern Art, 1993.
42
Hill, Gary. “And If the Right Hand Did Not Know What the Left Hand Is Doing.” In
Illuminating Video: An Essential Guide to Video Art, ed. Doug Hall and Sally Jo Fifer, 91–100.
San Francisco: Aperture and the Bay Area Video Coalition, 1990.
Morgan, Robert C., ed. Gary Hill. Baltimore: Johns Hopkins University Press, 2000.
Quasha, George, and Gary Hill. Gary Hill: Language Willing. Barrytown, N.Y.: Further/Art, in
association with Boise Art Museum, distributed by D.A.P./Distributed Art Publishers, 2002.
Quasha, George, and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona:
Ediciones Poligrafa, 2009.
Vischer, Theodora, ed. Gary Hill: Imagining the Brain Closer Than the Eyes. Basel: Museum für
Gegenwartkunst; Ostfildern-Ruit, Germany: Hatje Cantz, distributed by D.A.P./Distributed
Art Publishers, 1995.
EDUARDO KAC
Dobrila, Peter Tomaz, and Aleksandra Kostic, eds. Eduardo Kac: Teleporting an Unknown State.
Maribor, Slovenia: KIBLA, 1998.
Kac, Eduardo. It’s Not Easy Being Green. New York: Creative Capital, 2003.
———. Signs of Life: Bio Art and Beyond. Cambridge, Mass.: MIT Press, 2006.
———. Telepresence and Bio Art: Networking Humans, Rabbits & Robots. Ann Arbor: University of
Michigan Press, 2005.
———, ed. Media Poetry: An International Anthology. Bristol, UK: Intellect, 2007.
BILLY KLÜVER
Experiments in Art and Technology. Pavilion. Ed. Billy Klüver, Julie Martin, and Barbara Rose.
New York: E. P. Dutton, 1972.
Klüver, Billy. E.A.T. Bibliography, August 12, 1965–January 18, 1980. New York: Experiments in
Art and Technology, 1980.
———. What Are You Working on Now?: A Pictorial Memoir of the 60s. New York: Experiments in
Art and Technology, 1983.
MYRON W . KRUEGER
Krueger, Myron W. Artificial Reality. Reading, Mass.: Addison-Wesley, 1982.
———. Artificial Reality II. Reading, Mass.: Addison-Wesley, 1991.
SHIGEKO KUBOTA
Jacob, Mary Jane, ed. Shigeko Kubota: Video Sculpture. New York: American Museum of the
Moving Image, 1991.
HEINZ MACK
Druckgraphik und Multiples: Mack. Ed. Annette Fulda-Kuhn, comp. Ute Mack. Stuttgart: Edition
Cantz, 1990.
Honisch, Dieter. Mack Skulpturen, 1953–1986. Düsseldorf: Econ, 1986.
Mack, Heinz. Zero-Mack: Der Lichtwald, 1960–1969. Ed. Dierk Stemmler. Monchengladbach:
Städtisches Museum Abteiberg Monchengladbach, 1991.
Wegweiser zu den Werken von Heinz Mack. Ed. Ute Mack. Düsseldorf: Econ, 1992.
43
GUSTAV METZGER
Breitwieser, Sabina, ed. Gustav Metzger: Geschichte Geschichte. Vienna: Generali Foundation;
Metzger, Gustav. Damaged Nature & Auto-destructive Art. London: Coracle Press, 1995.
Stiles, Kristine. “The Destruction in Art Symposium (DIAS): The Radical Social Project of Event
Structured Art.” Ph.D. diss., Berkeley: University of California, 1987.
———. “Metzger’s Fierce, Poignant, and Prescient Manifestos.” In “Rett Kopi Documents the
Future,” special issue of Rett Kopi: A Norwegian Journal of Art and Aesthetics (2006): 157–66.
NAM JUNE PAIK
Hanhardt, John G. The Worlds of Nam June Paik. New York: Solomon R. Guggenheim Museum,
2000.
Hanhardt, John G., Dieter Ronte, Michael Nyman, David A. Ross. Nam June Paik. New York:
Whitney Museum of American Art; London: Norton, 1982.
Nam June Paik: Video ’n’ Videology, 1959–1973. Ed. Judson Rosebush. Photography by Peter
Moore. Syracuse, N.Y.: Everson Museum of Art, 1974.
Nam June Paik: Werke 1940–1976: Musik—Fluxus—Video. Cologne: Kölnischer Kunstverein,
1976.
Stooss, Toni, and Thomas Kellein, eds. Nam June Paik: Video Time/Video Space. New York: Harry
N. Abrams, 1993.
SHIRIN NESHAT
Azari, Shoja Youssefi, and Shirin Neshat. Shirin Neshat, 2002–2005. Milan: Edizioni Charta, 2005.
Gianelli, Ida, Hamid Dabashi, RoseLee Goldberg, Giorgio Verzotti, and Shirin Neshat. Shirin
Neshat. Milan: Edizioni Charta, 2002.
Milani, Farzaneh. Shirin Neshat. Milan: Edizioni Charta, 2001.
Neshat, Shirin. Women of Allah. Turin: Marco Noire Editore, 1997.
Ravenal, John B. “Shirin Neshat: Double Vision.” In Reclaiming Female Agency: Feminist Art History
after Postmodernism, ed. Norma Broude and Mary D. Garrard, 447–58. Berkeley: University of
Schmitz, Britta, and Beatrice E. Stammer, eds. Shirin Neshat. Göttingen, Germany: Steidl, 2005.
Zaya, Octavio, and Hamid Dabashi. Shirin Neshat: The Last Word. Milan: Edizioni Charta, 2005.
ORLAN
Baqué, Dominique. ORLAN, Refiguration, Self-Hybridations: Série Précolombienne. Romainville,
France: Éditions Al Dante, 2001.
Blistène, Bernard, Christine Buci-Glucksmann, Caroline Cros, Régis Durand, Eleanor Heartney,
Laurent Le Bon, Hans Ulrich Obrist, ORLAN, Vivian Rehberg, and Julian Zugazagoitia.
ORLAN: Carnal Art. Paris: Flammarion, 2004.
Hegyi, Lorand, Joerg Bader, and Eugenio Viola. ORLAN: The Narrative. Milan: Edizioni Charta,
2008.
Ince, Kate. ORLAN: Millennial Female. Dress, Body, Culture. Oxford: Berg, 2000.
O’Bryan, C. Jill. Carnal Art: ORLAN’s Refacing. Minneapolis: University of Minnesota Press, 2005.
44
TONY OURSLER
Janus, Elizabeth, and Gloria Moure. Tony Oursler. Barcelona: Ediciones Poligrafa, 2001.
Kaye, Nick. “Video Presence: Tony Oursler’s Media Entities.” PAJ 30, no. 1 (2008): 15-30.
Lodi, Simona, ed. Tony Oursler. Milan: Edizioni Charta, 1998.
Oursler, Tony, ed. The Influence Machine. London: Artangel, 2002.
Rothschild, Deborah Menaker, ed. Tony Oursler: Introjection, Mid-Career Survey, 1976–1999.
Williamstown, Mass.: Williams College Museum of Art, 1999.
MARK PAULINE
See under SURVIVAL RESEARCH LABORATORIES (SRL)
OTTO PIENE
Alexenberg, Melvin L. LightsOROT. Guest curated by Otto Piene and Sylvia Axelrod. Cambridge,
Mass.: Center for Advanced Visual Studies/MIT Press; New York: Yeshiva University
Museum, 1988.
Piene, Otto. More Sky. Cambridge, Mass.: MIT Press, 1973.
Piene, Otto, and Elizabeth Goldring, eds. Centerbeam. Introduction by Lawrence Alloway.
Cambridge, Mass.: Center for Advanced Visual Studies and MIT Press, 1979.
PIPILOTTI RIST
Babias, Marius. “The Rist Risk Factor.” Parkett, no. 48 (1996): 104–8.
Phelan, Peggy, Hans Ulrich Obrist, and Elisabeth Bronfen. Pipilotti Rist. London: Phaidon, 2001.
Pipilotti Rist: Apricots Along the Streets. Madrid: Museo Nacional Centro de Arte Reina Sofia; Zurich:
Scalo, 2001.
Rist, Pipilotti. Himalaya, Pipilotti Rist 50 kg. Cologne: Oktagon Verlag, 1998.
Söll, Änne. Pipilotti Rist. Cologne: DuMont, 2005.
MARTHA ROSLER
Rosler, Martha. If You Lived Here: The City in Art, Theory and Social Activism/A Project. Ed. Brian
Wallis. Seattle: Bay Press, 1991.
———. “Lookers, Buyers, Dealers and Makers: Thoughts on the Audience,” Exposure (Spring
1979). Reprinted in Art after Modernism: Rethinking Representation, ed. Brian Wallis, 311–39. New
York: New Museum; Boston: David R. Godine, 1985.
———. Three Works. Halifax: Press of the Nova Scotia College of Art and Design, 1981.
Rosler, Martha, and M. Catherine de Zegher. Martha Rosler: Positions in the Life World. Cambridge,
ANRI SALA
Bossé, Laurence, Robert Fleck, Julia Garimorth, Hans Ulrich Obrist, and Susanna Pagé. Anri
Sala: When the Night Calls It a Day. Cologne: König, 2004.
Gioni, Massimiliano. “Anri Sala: Unfinished Histories.” Flash Art (International) 34, no. 219 (2001):
104–7.
Godfrey, Mark, Hans Ulrich Obrist, and Liam Gillick. Anri Sala. New York: Phaidon, 2006.
45
Kurtz-Kretzschmar, Ilene, Caroline Bourgeois, Hans Ulrich Obrist, and Anri Sala. Anri Sala, Point
of View: An Anthology of the Moving Image. New York: New Museum of Contemporary Art,
2004.
NICOLAS SCHÖFFER
Habasque, Guy, and Jacques Ménétrier. Nicolas Schöffer [Space, Light, Time]. Introduction by Jean
Cassou and Jacques Ménétrier. Neuchâtel, Switzerland: Griffon, 1963.
Schöffer, Nicolas. La théorie des miroirs. Paris: Belfond, 1982.
Spatiodynamisme, luminodynamisme, chronodynamisme, cybernétique, recherches de 1948 à 1970. Paris:
Galerie Denise René, 1970.
Two Kinetic Sculptors: Nicolas Schöffer and Jean Tinguely. Introduction by Jean Cassou, K.G. Pontus
Hulten, and Sam Hunter. New York: Jewish Museum, 1965.
GERRY SCHUM
Mignot, Dorine, and Ursula Wevers. Gerry Schum. Amsterdam: Stedelijk Museum, 1979.
Petten, Edith, and Rob Dettingmeijer. “Beeldende Kunstenaars en televisie: De activiteiten van
Gerry Schum.” In Utrechtse Kring, Neudeflat. Utrecht: Rijksuniversiteit van Utrecht, 1972.
JEFFREY SHAW
Shaw, Jeffrey. “The Legible City.” In The Legible City: An Interactive Installation by Jeffrey Shaw in
Cooperation with Dirk Groeneveld and Gideon May. Amsterdam: Colophon, 1990.
STELARC
Paffrath, James D., comp. Stelarc: Obsolete Body Suspensions. Davis, Calif.: JP Publishing, 1984.
Stelarc, “Prosthetics, Robotics and Remote Existence: Postevolutionary Strategies.” In Art
Cognition: Pratiques aristiques et sciences cognitive, 44–56, Aix-en-Provence: Cypres / Ecole d’Art,
1994.
SURVIVAL RESEARCH LABORATORIES ( SRL )
Edmondson, Bill. “Mark Pauline.” BOMB 6 (Summer 1983);
http://bombsite.com/issues/6/articles/281.
———. “Survival Research Laboratories: More Dead Animal Jokes.” East Village Eye 6, no. 55
(June 1985): 35ff.
Hertz, Garnet. “Beyond the Realm of Humans: A Discussion with Mark Pauline of Survival
Research Laboratories.” Conceptlab.com (1995); www.conceptlab.com/interviews/pauline.html.
Juno, Andrea, and V. Vale. “Interview with Mark Pauline.” In “Industrial Cultural Handbook,”
special issue of RE/Search 6/7 (1983): 20–41.
Pauline, Mark. “Survival Research Laboratories.” Whitewalls 25 (Spring 1990): 86–89.
Redd, Chris. “Bizarre Machines & Burning Bibles: SRL’s Mark Pauline Speaks Out.” Artvu 5, no.
1 (Spring 1991): 10–15.
Sterling, Bruce. “Is Phoenix Burning.” Wired 4:7 (July 1996);
www.wired.com/wired/archive/4.07/srl.html.
Survival Research Laboratories. Berlin: Vogelsang, 1988.
46
Survival Research Laboratories, SRL: Press Book: Spectacular Mechanical Presentations since 1979. San
Francisco: Survival Research Laboratories, 1995.
Whiting, Sam. “Mark Pauline, Fiery Showman, Now into Machines.” SF Gate, April 26, 2012;
www.sfgate.com/performance/article/Mark-Pauline-fiery-showman-now-into-machines3510577.php#ixzz23zrXWU4M.
TAKIS
Anderson, Wayne V. Takis Evidence of the Unseen. Commentaries by Marcel Duchamp and others.
Takis. Leverkusen: Museum Morsbroich Leverkusen, 1970.
Takis: Monographies. Text by Helena and Nicolas Calas, preface by Pierre Restany. Paris: Éditions
Galilee, 1984.
JEAN TINGUELY
Pardy, Andres, and Klaus Littmann. Jean Tinguely: Restrospectiva. Valencia: Institut Valencià d’Art
Modern, 2008.
Pontus Hulten, K. G. Jean Tinguely: A Magic Stronger Than Death. New York: Abbeville, 1987.
———. Meta/Jean Tinguely. Trans. Mary Whittall. Boston: New York Graphic Society, 1975.
———. Tinguely. Paris: Centre Georges Pompidou, Musée National d’Art Moderne, 1988.
WOODY VASULKA
Cathcart, Linda L. Vasulka: Steina, Machine Vision: Woody, Descriptions: An Exhibition. Buffalo, N.Y.:
Albright-Knox Art Gallery, 1978.
Dunn, David, ed. Eigenwelt der Apparatewelt: Pioneers of Electronic Art. Santa Fe, N.M.: Vasulkas, Inc.,
1992.
Sturken, Maria, ed. Steina and Woody Vasulka: Machine Media. San Francisco: San Francisco
Vasulka, Woody. “Didactic Video (1975).” PAJ 24, no. 2 (2002): 10–11.
Vasulka, Woody, and Peter Weibel, eds. Buffalo Heads: Media Study, Media Practice, Media Pioneers,
1973–1990. Karlsruhe, Germany: ZKM/Center for Art and Media Karlsruhe; Cambridge,
BILL VIOLA
Bill Viola. New York: Whitney Museum of American Art, 1998.
Belisle, Josée. Bill Viola. Montreal: Le Musée, 1993.
London, Barbara, J. Hoberman, and Donald Kuspit. Bill Viola: Installations and Videotapes. New
York: Museum of Modern Art, 1987.
GILLIAN WEARING
Augaitis, Daina. Gillian Wearing: A Trilogy. Vancouver: Vancouver Art Gallery, 2002.
Engberg, Juliana. Gillian Wearing: Living Proof. Melbourne: Australian Centre for Contemporary
Art, 2006.
Ferguson, Russell, Donna M. De Salvo, and John Slyce. Gillian Wearing. London: Phaidon, 1999.
Frankel, D., “ Notes on Gillian Wearing.” Grand Street, no. 73 (Spring 2004): 87–94.
47
Molon, Dominic, and Barry Schwabsky. Gillian Wearing: Mass Observation. Chicago: Museum of
WILLIAM WEGMAN
Kunz, Martin, ed. William Wegman: Paintings, Drawings, Photographs, Videotapes. Essays by Alain
Sayag, Peter Schjeldahl, Peter Weiermair; interview by David Ross. New York: Harry N.
Abrams, 1990.
Lyons, Lisa, and Kim Levin. Wegman’s World. Minneapolis: Walker Art Center, 1982.
Simon, Joan. William Wegman: Funney/Strange. New Haven, Conn.: Yale University Press, in
association with Addison Gallery of American Art, 2006.
PETER WEIBEL
Decker, Edith, and Peter Weibel, eds. Vom Verschwinden der Ferne: Telekommunikation und Kunst.
Cologne: DuMont, 1990.
Peter Weibel: Mise-en-Scène of Art History. Curated by Peter Noever, essay by Jean Baudrillard.
Vienna: Hochschule für Angewandte Kunst: Österreichisches Museum für Angewandte
Kunst, 1989.
Rotzer, Florian, and Peter Weibel, eds. Strategien des Scheins: Kunst, Computer, Medien. Munich: Boer,
1991.
Weibel, Peter. Bildlicht: Malerei zwischen Material und Immaterialität. Contributions by Wolfgang
Drechsler and Peter Weibel. Vienna: Wiener Festwochen, distributed by Europaverlag, 1991.
Weibel, Peter, and Valie Export, eds. Wien: Bildkompendium Wiener Aktionismus und Film. Frankfurt:
Kohlkunstverlag, 1970.
KRZYSZTOF WODICZKO
Counter-Monuments: Krzysztof Wodiczko’s Public Projections. Cambridge, Mass.: MIT Committee on the
Visual Arts, 1987.
Czubak, Bozena, Ewa Lajer-Burcharth, John Rajchman, Anna Muszynska, and Kryzysztof
Wodiczko. Krzysztof Wodiczko: Guests. Milan and Warsaw: Edizioni Charta, in association with
Zacheta National Gallery of Art, 2009.
Deutsch, Rosalyn. “Uneven Development: Public Art in New York City.” October 47 (Winter
1988): 3–52.
Deutsch, Rosalyn, and Ewa Lajer-Burcharth. “A Conversation with Krzysztof Wodiczko.”
October 38 (Fall 1986): 23–51.
Lurie, David V., Krzysztof Wodiczko, Oscar, and Victor. “Homeless Vehicle Project.” October 47
(Winter 1988): 53–76.
Public Address: Krzysztof Wodiczko. Essays by Peter Boswell et al. Minneapolis: Walker Art Center,
1992.
CHAPTER 6. INSTALLATIONS, ENVIRONMENTS, AND SITES
General Studies
Auping, Michael. Common Ground: Five Artists in the Florida Landscape: Hamish Fulton, Helen and
Newton Harrison, Michael Singer, Alan Sonfist. Sarasota: John and Mable Ringling Museum of
Art, 1982.
48
Beardsley, John. Earthworks and Beyond. New York: Abbeville, 1989.
———. Probing the Earth. Washington, D.C.: Smithsonian Institution, 1977.
Burnham, Jack. Great Western Salt Works: Essays on the Meaning of Post-Formalist Art. New York:
George Brazillers, 1974.
Butterfield, Jan. The Art of Light and Space. New York: Abbeville, 1993.
Commoner, Barry. The Closing Circle: Nature, Man and Technology. New York: Alfred Knopf, 1975.
Earth Art. Ithaca, N.Y.: Andrew Dickson White Museum, Cornell University, 1970.
Earthworks: Land Reclamation as Sculpture. Seattle: Seattle Art Museum, 1979.
Gelburd, Gail Enid, ed. Creative Solutions to Ecological Issues. New York: Council for Creative
Projects, 1993.
Kepes, Gyorgy, ed. Arts of the Environment. New York: George Brazillers, 1972.
Land Marks. Annandale-on-Hudson: Edith C. Blum Art Institute, Bard College, 1984.
Lippard, Lucy. Overlay. New York: Pantheon, 1983.
Mailer, Norman. The Art of Graffiti. New York: Praeger, 1974.
Matilsky, Barbara C. Fragile Ecologies. New York: Rizzoli, 1992.
Raven, Arlene, ed. Art in the Public Interest. Ann Arbor: UMI Press, 1989.
Sonfist, Alan, ed. Art in the Land. New York: E. P. Dutton, 1983.
Star Axis—Charles Ross. Albuquerque: University of New Mexico, 1992.
Van de Marck, Jan. Herbert Mayer, from Type to Landscape: Designs, Projects and Proposals: 1923–1973.
Hanover, N.H.: Dartmouth College Museum, 1977.
Wechsler, Lawrence. Seeing Is Forgetting: The Name of the Things One Sees. Berkeley: University of
Weibel, Peter, and Gregor Jansen. Light Art from Artifical Light: Light as Medium in 20th and 21st
Century Art. Ostfildern-Ruit, Germany: Hatje Cantz, 2006.
Yard, Sally, ed. Sitings. La Jolla, Calif.: La Jolla Museum of Contemporary Art, 1986.
Artists and Writers
ALICE AYCOCK
Aycock, Alice. Projects and Proposals 1971–1978. Allentown, Pa.: Muhlenberg College Center for
the Arts, 1978.
Fry, Edward. Alice Aycock, Projects 1979–1981. Tampa: University of South Florida, 1981.
CHRISTIAN BOLTANSKI
Boltanski, Christian. Reconstructions. London: Whitechapel Gallery, 1990.
Gumpert, Lynn, and Mary Jane Jacob. Christian Boltanski: Lessons of Darkness. Chicago: Museum of
EDUARDO CHILLIDA
Barañano, Kosme M. de. Chillida: 1948–1998. Madrid: El Museo Nacional Centro de Arte Reina
Sofia, 1999.
Bazal, Jesus. The Comb of the Wind: Eduardo Chillida and Luis Peña Gancheguy. Pamplona: Q Editions,
1986.
Paz, Octavio. Chillida. Paris: Maeght, 1979.
Selz, Peter. Chillida. New York: Harry N. Abrams, 1986.
49
CHRISTO
Bourdon, David. Christo. New York: Harry N. Abrams, 1972.
Donovan, Molly. Christo and Jeanne-Claude in the Vogel Collection. Washington, D.C.: National
Gallery of Art; New York: Harry N. Abrams, 2002.
Spies, Werner, and Wolfgang Volz. The Running Fence Project. New York: Harry N. Abrams, 1977.
Vaizey, Marina. Christo. New York: Rizzoli, 1990.
JOSEPH CORNELL
Ashton, Dore. A Cornell Album. New York: Viking, 1974. Reprinted, Da Capo Press, 1989.
Hartigan, Lynda Roscoe. Joseph Cornell: Navigating the Imagination. New Haven, Conn.: Yale
University Press; San Francisco: San Francisco Museum of Modern Art, 2006.
Waldman, Diane. Joseph Cornell. New York: George Brazillers, 1977.
WALTER DE MARIA
Walter De Maria. Rotterdam: Museum Boymans van Reumingen, 1984.
Walter De Maria: 360° I Ching/64 Sculptures. Paris: Centre Georges Pompidou, Musée National
d’Art Moderne, 1981.
AGNES DENES
Agnes Denes: A Retrospective. Ithaca: Herbert F. Johnson Museum of Art, Cornell University, 1992.
Agnes Denes: Art for the Third Millennium: Creating a New World View. Budapest: Ludwig Museum,
2008.
Denes, Agnes. Book of Dust. Rochester: Visual Studies Workshop Press, 1989.
HELEN MAYER HARRISON AND NEWTON HARRISON
Harrison, Helen Mayer, and Newton. The Lagoon Cycle. Ithaca, N.Y.: Herbert F. Johnson Museum
of Art, Cornell University, 1985.
MONA HATOUM
Brett, Guy, Michael Archer, Catherine de Zegher, and Mona Hatoum. Mona Hatoum. London:
Phaidon, 1997.
Goetz, Ingveld, Rainald Schumacher, and Larissa Michelberger, eds. Mona Hatoum. OstfildernRuit, Germany: Hatje Cantz, 2011.
Heinrich, Christoph. Mona Hatoum: Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3 Stockholm
Konsthall. Ostfildern-Ruit, Germany: Hatje Cantz, 2004.
Heon, Laura Steward, Janine Antoni, and Jo Glencross. Mona Hatoum: Domestic Disturbance. North
Adams, Mass.: MASS MoCA, 2001.
Morgan, Jessica, and Dan Cameron. Mona Hatoum. Chicago: Museum of Contemporary Art,
1997.
Said, Edward W., and Sheena Wagstaff. Mona Hatoum: The Entire World as a Foreign Land. London:
Tate, 2000.
50
MICHAEL HEIZER
Koshalek, Richard, ed. Michael Heizer: Double Negative. Los Angeles: The Museum of
Michael Heizer/Actual Size. Detroit: Institute of Art, 1971.
NICHOLAS HLOBO
Gevisser, Mark, Kopano Ratele, and Jen Mergel. Nicholas Hlobo: Standard Bank Young Artist Award
2009. Cape Town: Michael Stevenson, 2009.
Hlobo, Nicholas. Izele. Cape Town: Michael Stevenson, 2006.
Perryer, Sophie, ed. Nicholas Hlobo: Kwatsityw’iziko. Cape Town: Michael Stevenson, 2008.
NANCY HOLT
Holt, Nancy. “Sun Tunnels,” Artforum 15, no. 8 (April 1977): 32–37.
PIERRE HUYGHE
Christov-Bakargiev, Carolyn. Pierre Huyghe. Milan: Skira, 2004.
Huyghe, Pierre. “I Jedi (Devil’s Tower).” In Point of View: An Anthology of the Moving Image, prod.
Ilene Kurtz-Kretzschmar and Caroline Bourgeois. DVD. New York: New Museum of
Huyghe, Pierre, and Douglas Coupland. School Spirit. Paris: Dis voir, 2003.
Huyghe, Pierre, and Philippe Parreno, eds. No Ghost Just a Shell. Cologne: König, 2003.
Pierre Huyghe: Celebration Park. Paris: Musée d’art moderne de la ville de Paris/ARC, 2006.
ROBERT IRWIN
Irwin, Robert. Being and Circumstance. Larkspur Landing, Calif.: Lapis Press, 1985.
Koshalek, Richard, ed. Robert Irwin. Los Angeles: The Museum of Contemporary Art, 1993.
Wechsler, Lawrence. Seeing and Forgetting the Name of the Thing Once Seen: A Life of the Contemporary
Artist Robert Irwin. Berkeley: University of California Press, 1982.
ALFREDO JAAR
Balken, Debra Bricker. Alfredo Jaar: Lament of the Images. Cambridge: List Visual Arts Center,
Massachusetts Institute of Technology, 1999.
Drake, Willie Avon. Alfredo Jaar: Geography = War. Richmond: Anderson Gallery, Virginia
Commonwealth University and the Virginia Museum of Fine Arts, 1991.
Grynsztejn, Madeleine. Alfredo Jaar. La Jolla, Calif.: La Jolla Museum of Contemporary Art, 1990.
Jacob, Mary Jane, and Nancy Princenthal. Alfredo Jaar: The Fire This Time: Public Interventions, 1979–
2005. Milan: Edizioni Charta, 2005.
ILYA KABAKOV
Felix, Zdenek, ed. Ilya Kabakov: The Text as the Basis of Visual Expression. Cologne: Oktagon Press,
2000.
Groys, Boris. Ilya Kabakov: The Man Who Flew into Space from His Apartment. London: Afterall
Books, distributed by MIT Press, 2006.
Groys, Boris, David A. Ross, and Iwona Blazwick. Ilya Kabakov. London: Phaidon, 1998.
51
Kabakov, Ilya. 5 Albums. Installation Operation Room (Mother and Son). Helsinki: Museum of
Contemporary Art; Oslo: National Museum of Contemporary Art, 1994.
Kellein, Thomas, and Björn Egging, eds. An Alternative History of Art: Rosenthal, Kabakov, Spivak.
Cleveland: Museum of Contemporary Art; Bielefeld, Germany: Kunsthalle Bielefeld/Kerber
Verlag, 2005.
Martin, Jean-Hubert, and Claudia Jolles. Ilya Kabakov: Okno, das Fenster, the Window. Bern: Benteli
Verlag, 1985.
Meyer, Werner, ed. Ilya Kabakov: A Universal System for Depicting Everything. Düsseldorf: Richter
Verlag, 2002.
Stooss, Toni, ed. Ilya Kabakov: Installations, 1983–2000. Bern: Kunstmuseum Bern; Düsseldorf:
Richter Verlag, 2003.
Wallach, Amei. Ilya Kabakov: The Man Who Never Threw Anything Away. New York: Harry N.
Abrams, 1996.
EDWARD KIENHOLZ
Hopkins, Henry T., ed. Edward and Nancy Kienholz—Human Scale. San Francisco: Museum of
Modern Art, 1984.
Hopps, Walter. Kienholz: A Retrospective. New York: Whitney Museum of American Art; London:
Pincus, Robert L. On a Scale That Competes with the World: The Art of Edward and Nancy Kienholz.
Berkeley: University of California Press, 1990.
FREDERICK KIESLER
Frederick Kiesler: Environmental Art. New York: Solomon R. Guggenheim Museum, 1964.
Phillips, Lisa. Frederick Kiesler. New York: Whitney Museum of American Art, 1989.
MAYA LIN
Andrews, Richard, and John Beardsley. Maya Lin: Systematic Landscapes. Seattle: Henry Art Gallery,
University of Washington; New Haven, Conn.: Yale University Press, 2006.
Brenner, Ann, ed. Maya Lin: Public/Private. Columbus: Wexner Center for the Arts, 1994.
RICHARD LONG
Fuchs, R. H. Richard Long. New York: Solomon R. Guggenheim Museum, 1986.
Long, Richard. Walking in Circles. New York: George Brazillers, 1991.
Wallis, Clarrie. Richard Long: Heaven and Earth. London: Tate Britain, 2009.
GORDON MATTA - CLARK
Jacob, Mary Jane. Gordon Matta-Clark: A Retrospective. Chicago: Museum of Contemporary Art,
1985.
Sussman, Elisabeth. Gordon Matta-Clark: You Are the Measure. New York: Whitney Museum of Art;
New Haven, Conn.: Yale University Press, 2007.
LOUISE NEVELSON
Friedman, Martin. Louise Nevelson: Wood Sculptures. New York: E. P. Dutton, 1973.
52
Gordon, John. Louise Nevelson. New York: Whitney Museum of American Art, 1967.
Lipman, Jean. Nevelson’s World. New York: Viking, 1978.
Rapaport, Brooke Kamin, Arthur Coleman Danto, and Gabriel de Guzman. The Sculpture of Louise
Nevelson: Constructing a Legend. New York: Jewish Museum of New York; New Haven, Conn.:
Yale University Press, 2007.
ISAMU NOGUCHI
Ashton, Dore. Noguchi: East and West. New York: Alfred Knopf, 1992.
Fletcher, Valerie J. Isamu Noguchi: Master Sculptor. London: Scala Publications, 2004.
Friedman, Martin. Noguchi’s Imaginary Landscapes. Minneapolis: Walker Art Center, 1978.
Noguchi, Isamu, and R. Buckminster Fuller. A Sculptor’s World. New York: Harper and Row,
1968.
DENNIS OPPENHEIM
Celant, Germano. Dennis Oppenheim. Milan: Edizioni Charta, 1997.
Deming, Diane. Dennis Oppenheim: Galloping through the West. Reno: Nevada Museum of Art, 2003.
Dennis Oppenheim Retrospective—Works. Montreal: Musée d’Art Contemporain, 1978
Hegyi, Lóránd, and Alberto Fiz. Dennis Oppenheim. Milan: Silvana Editoriale, 2012.
Heiss, Alanna. Dennis Oppenheim: Selected Works 1967–90: And the Mind Grew Fingers. New York:
Harry N. Abrams, 1992.
Paparoni, Demetrio. Dennis Oppenheim: Project Drawings. Turin: In Arco Books, 2005.
GABRIEL OROZCO
Bois, Yve-Alain, ed. Gabriel Orozco. Cambridge, Mass.: MIT Press, 2009.
Bois, Yve-Alain, Benjamin H. D. Buchloch, and Briony Fer. Gabriel Orozco. London: Thames and
Hudson; Mexico City: Museo del Palacio de Bellas Artes, 2006.
Buchloh, Benjamin H. D., and Alma Ruiz. Gabriel Orozco. Los Angeles: Museum of
Fer, Briony, Benjamin H. D. Buchloh, and Rochelle Steiner. Gabriel Orozco. London: Serpentine
Gallery; Cologne: König, 2004.
Morgan, Jessica. Gabriel Orozco. London: Tate, 2011.
Orozco, Gabriel, Mia Fineman, Phyllis D. Rosenzweig, and Shirin Neshat. Gabriel Orozco:
Photographs. Washington, D.C.: Hirshhorn Museum and Sculpture Garden, Smithsonian
Museum, 2004.
Temkin, Ann. Gabriel Orozco: Photogravity. Philadelphia: Philadelphia Museum of Art, 1999.
Temkin, Ann, Briony Fer, and Benjamin H. D. Buchloh. Gabriel Orozco. New York: Museum of
Modern Art, 2009.
DAN PERJOVSCHI
Babias, Marius, and Sabine Hentzsch, eds. Dan Perjovschi: Postmodern Ex-Communist. Cluj, Romania:
Idea Design & Print, 2007.
Kulturkontakt Austria. Dan Perjovschi and Nedko Solakov: Walls and Floor (Without the Ceiling).
Nuremberg: Verlag für Moderne Kunst, 2008.
Stiles, Kristine. “Remembrance, Resistance, Reconstruction: The Social Value of Lia and Dan
Perjovschi’s Art.” In IDEA [Cluj, Romania] 19 (March 2005): n.p. Reprinted in European
53
Influenza, ed. Marius Babias (Venice: Romanian Pavillon, La Biennale de Venezia, 2005): 574–
612.
———. “Shaved Heads and Marked Bodies: Representations from Cultures of Trauma.” In
Stratégie II: Peuples Méditerranéens [Paris], no. 64–65 (July–December 1993): 95–117. Reprinted
with a new afterword in Talking Gender: Public Images, Personal Journeys, and Political Critiques, ed.
Jean O’Barr, Nancy Hewitt, and Nancy Rosebaugh, 36–64. Chapel Hill: University of North
Carolina Press, 1996.
———, ed. States of Mind: Dan & Lia Perjovschi. Durham, N.C.: Nasher Museum of Art at Duke
University, distributed by Duke University Press, 2007.
DORIS SALCEDO
Bal, Mieke. Of What One Cannot Speak: Doris Salcedo’s Political Art. Chicago: University of Chicago
Press, 2010.
Bal, Mieke, Achim Borchardt-Hume, Paul Gilroy, and Eyal Weizman. Doris Salcedo: Shibboleth.
London: Tate Publishing, 2007.
Cameron, Dan, ed. Doris Salcedo: Unland. New York: New Museum of Contemporary Art, 1998.
Merewether, Charles. “Community and Continuity: Naming Violence in the Work of Doris
Salcedo.” Third Text 24 (Autumn 1993): 35–44.
Princenthal, Nancy, Carlos Basualdo, and Andreas Huyssen. Doris Salcedo. London: Phaidon,
2000.
YINKA SHONIBARE
Guldemond, Jaap, Gabriele Mackert, and Barbera van Kooij, eds. Yinka Shonibare: Double Dutch.
Rotterdam: Museum Boijmans Van Beuningen, 2004.
Hynes, Nancy, and John Picton. “Yinka Shonibare.” African Arts 34, no. 3 (Autumn 2001): 60–
73, 93–95.
Kent, Rachel, Robert Carleton Hobbs, and Anthony Downey. Yinka Shonibare, MBE. Munich:
Prestel, 2008.
Landau, Suzanne. Yinka Shonibare: Double Dress. Jerusalem: Israel Museum, 2002.
Yinka Shonibare: Jardin d’amour = Yinka Shonibare: Garden of Love. Paris: Musée du quai Branly, in
association with Flammarion, 2007.
CHARLES SIMONDS
Neff, John H. Charles Simonds. Chicago: Museum of Contemporary Art, 1981.
ROBERT SMITHSON
Hobbs, Robert. Robert Smithson: Sculpture. Ithaca, N.Y.: Cornell University Press, 1981.
Smithson, Robert. The Writings of Robert Smithson: Essays with Illustrations. Ed. Nancy Holt. New
York: New York University Press, 1979.
Tsai, Eugene, ed. Robert Smithson. Berkeley: University of California Press, 2004.
ALAN SONFIST
Sonfist, Alan. Autobiography of Alan Sonfist. Ithaca, N.Y.: Herbert F. Johnson Museum of Art,
Cornell University, 1975.
54
JAMES TURRELL
Adcock, Craig. James Turrell: The Art of Light and Space. Berkeley: University of California Press,
1990.
Brown, Julia, ed. Occluded Front: James Turrell. Larkspur Landing, Calif.: Lapis Press, 1985.
Wortz, Melinda. Light and Space. New York: Whitney Museum of American Art, 1980.
RACHEL WHITEREAD
Bradley, Fiona, ed. Rachel Whiteread: Shedding Life. New York: Thames and Hudson, 1996.
Dennison, Lisa, and Craig Houser, eds. Rachel Whiteread: Transient Spaces. New York: Guggenheim
Museum Publications, 2001.
Mullins, Charlotte. RW: Rachel Whiteread. London: Tate, 2004.
Neri, Louise. Looking Up: Rachel Whiteread’s Water Tower. New York: Public Art Fund, 1999.
Townsend, Chris, ed. The Art of Rachel Whiteread. London: Thames and Hudson, 2004.
Wood, Catherine, and Gordon Burn. Rachel Whiteread: Embankment. London: Tate, 2005.
FRED WILSON
Berger, Maurice, Jennifer A. González, and Fred Wilson. Fred Wilson: Objects and Installations,
1979–2000. Baltimore: Center for Art and Visual Culture, University of Maryland Baltimore
County, 2001.
Corrin, Lisa G., ed. Mining the Museum: An Installation. Baltimore: Contemporary; New York: New
Press, distributed by W. W. Norton, 1994.
Sims, Patterson, and Fred Wilson. The Museum: Mixed Metaphors, Fred Wilson. Seattle: Seattle Art
Museum, 1993.
Thompson, Barbara, Mary K. Coffey, and Jessica Tarahata Hagedorn. Fred Wilson: So Much
Trouble in the World—Believe It or Not! Hanover, N.H.: Hood Museum of Art, Dartmouth
College, 2006.
Tomii, Reiko, and Kathleen M. Friello, eds. Fred Wilson: Speak of Me as I Am: The United States
Pavilion, 50th International Exhibition of Art, The Venice Biennale. Cambridge: List Visual Arts
Center, Massachusetts Institute of Technology, 2003.
ANDREA ZITTEL
Felix, Zdenek, ed. Personal Programs. Ostfildern-Ruit, Germany: Hatje Cantz, 2000.
Goetz, Ingvild, and Rainald Schumacher, eds. Andrea Zittel: Sammlung Goetz. Munich: Sammlung
Goetz, 2003.
Julin, Richard. Andrea Zittel: Lay of My Land. New York: Prestel, 2011.
Morsiani, Paola, and Trevor Smith, eds. Andrea Zittel: Critical Space. Munich: Prestel, 2005.
Vendrame, Simona, ed. Andrea Zittel. Milan: Tema Celeste, 2002.
Vischer, Theodora, ed. Andrea Zittel: Gouachen und Illustrationen. Göttingen, Germany: Steidl, 2008.
CHAPTER 7. PROCESS
General Studies
Burnham, Jack. Great Western Salt Works: Essays on the Meaning of Post-Formalist Art. New York:
George Brazillers, 1974.
55
———. The Structure of Art. Revised edition. New York: George Brazillers, 1973.
Celant, Germano. Conceptual Art, Arte Povera, Land Art. Turin: Galeria Civica d’Arte Moderna,
1970.
———. The Knot: Arte Povera at P.S.1. New York: P.S.1, The Institute for Art and Urban
Resources, and Umberto Allemandi, 1985.
Concept Art, Minimal, Arte Povera, Land Art. Stuttgart: Edition Cantz, 1990.
Documenta 5. Kassel: Museum Fridericianum, 1972.
Gablik, Suzi. The Reenchantment of Art. London: Thames and Hudson, 1991.
Hofmann, Klaus. Kunst-im-Kopf: Aspekte der Realkunst—Expansion, Reduktion, Natur-Kunst,
Destruktion, Ich-Kunst, Kunst-im-Kopf. Cologne: DuMont Schauberg, 1972.
Lippard, Lucy R. Overlay: Contemporary Art and the Art of Prehistory. New York: Pantheon, 1983.
Morgan, Robert. Concept-Decoratif, Anti-formalist Art of the 70’s. New York: Nathan Contemporary,
1990.
Muller, Gregoire, and Gianfranco Gorgoni. The New Avant-Garde: Issues for the Art of the Seventies.
New York: Praeger, 1972.
Pincus-Witten, Robert. Postminimalism. London: Out of London Press, 1977.
———. Postminimalism into Maximalism: American Art, 1966–1986. Ann Arbor: UMI Research
Press, 1987.
Preronistoria 1966–1969: minimal art, pittura sistemica, arte povera, land art, conceptual art, body art, arte
ambientale e nuovi media. Florence, 1976.
Situation Kunst für Max Imdahl: Kunstsammlungen der Ruhr-Universität Bochum: Gotthard Braubner,
Norbert Kricke, Maria Nordman, David Rabinowitch, Arnulf Rainer, Jan S. Schoonhoven und Richard
Serra. Düsseldorf: Richter, 1992.
Szeeman, Harald. When Attitudes Become Form/Works—Concepts—Processes—Situations—Information,
Live in Your Head. Bern: Kunsthalle, 1969.
Artists and Writers
LYNDA BENGLIS
Krane, Susan. Lynda Benglis, Dual Natures. Atlanta: High Museum of Art; Seattle: University of
Washington Press, 1990.
Lynda Benglis. Tucson: The Museum, 1981.
Lynda Benglis. Paris: Les Presses du Réel; Dublin: Irish Museum of Modern Art, 2009.
Ratcliff, Carter. Lynda Benglis, Keith Sonnier: A Ten Year Retrospective, 1977–1987. Ed. Audry
Hammill. Alexandria, La.: Alexandria Museum of Art, 1987.
Sculpture on the Wall. Amherst: University Gallery, Fine Arts Center, University of Massachusetts,
1980.
JOSEPH BEUYS
Adriani, Gotz, Winfried Konnertz, Karin Thomas, eds. Joseph Beuys: Life and Works. Trans.
Patricia Lech. Woodbury, N.Y.: Barron’s, 1979.
Beuys, Joseph, et al. In Memoriam, Joseph Beuys: Obituaries, Essays, Speeches. Trans. Timothy Nevill.
Bonn: Inter Nationes, 1986.
Kuoni, Carin. Energy Plan for the Western Man: Writings by and Interviews with the Artist: Joseph Beuys in
America. New York: Four Walls Eight Windows, 1990.
56
Loers, Veit, and Pia Witzmann, eds. Joseph Beuys: Documenta, Arbeit. Kassel: Museum
Fridericianum, 1993.
Moffitt, John F. Occultism in Avant-Garde Art: The Case of Joseph Beuys. Ann Arbor: UMI Research
Press, 1988.
Rose, Bernice, and Ann Temkin. Thinking Is Form: The Drawings of Joseph Beuys. Contribution by
Dieter Koepplin. Philadelphia: Philadelphia Museum of Art; New York: Museum of Modern
Art, 1993.
Schneede, Uwe M. Joseph Beuys, die Aktionen: Kommentiertes Werkverzeichnis mit fotografischen
Dokumentationen. Ostfildern-Ruit, Germany: Hatje Cantz, 1994.
Tisdall, Caroline. Joseph Beuys. New York: Solomon R. Guggenheim Museum, 1979.
CAI GUO - QIANG
Basualdo, Carlos, David Elliott, and Marion Boulton. Cai Guo-Qiang: Fallen Blossoms. Philadelphia:
The Fabric Workshop, 2010.
Bradley, Fiona, ed. Cai Guo-Qiang: Life Beneath the Shadows. Edinburgh: Fruitmarket Gallery,
distributed by Art Data, 2002.
Dawei, Fei, and Andrei Ujica. Cai Guo-Qiang. New York: Thames and Hudson, 2000.
Friis-Hansen, Dana, Octavio Zaya, and Takashi Serizawa. Cai Guo-Qiang. London: Phaidon, 2002.
Krens, Thomas, and Alexandra Munroe, eds. Cai Guo-Qiang: I Want to Believe. New York:
Solomon R. Guggenheim Museum, distributed by D.A.P./Distributed Art Publishers, 2008.
Zhang, Zhaohui. Where Heaven and Earth Meet: Xu Bing & Cai Guo-Qiang. Hong Kong: Timezone
8, distributed by D.A.P./Distributed Art Publishers, 2005.
GERMANO CELANT
Art Povera. New York: Praeger, 1969.
Celant, Germano. Arte povera = Art povera. Milan: Electa, 1985.
Celant, Germano, and Carolyn Christov-Bakargiev. Arte Povera: Art from Italy 1967–2002. Sydney:
Museum of Contemporary Art, 2002.
KATHRYN CLARK
Johnson, W. R. Lilac Wind. Poems on a pulp painting made by Clair Van Vliet with Kathryn
Clark. Philadelphia: Philadelphia Museum of Art; New York: Museum of Modern Art, 1993.
PINCHAS COHEN GAN
Beesch, Ruth K., Kristine Stiles, and Peter Selz. Figure, Form, Formula: The Art of Pinchas Cohen
Gan. Greensboro, N.C.: Weatherspoon Art Gallery, 1996.
Fischer, Yona. Pinchas Cohen Gan: Activities. Jerusalem: Israel Museum, 1970.
Omer, Mordechai. Pinchas Cohen Gan: Prints 1968–1988. Ramat Gan: Museum of Israeli Art, 1988.
Pinchas Cohen Gan. Essays by Sara Breitberg and Marc Scheps. Tel Aviv: Tel Aviv Museum, 1978.
Pinchas Cohen Gan: Works on Paper, 1969–1992. Essays by Yona Fischer, Talia Rapaport, Sarit
Shapir, Michael Kessus Gedalyovich, and Pinchas Cohen Gan. Tel Aviv: Tel Aviv Museum
of Art, 1992.
57
JAN DIBBETS
Fuchs, R. H., and M. M. M. Vos. Jan Dibbets. Introduction by Martin Friedman. Minneapolis:
Walker Art Center; New York Rizzoli, 1987.
Jan Dibbets. Paris: ARC, Musée d’Art Moderne de la Ville de Paris, 1980.
Jan Dibbets—Interior Light: Works on Architecture 1969–1990. Essays by Rudi Fuchs and Gloria
Moure. New York: Rizzoli, 1991.
Reise, Barbara, and M. M. M. Vos. Jan Dibbets. Edinburgh: Edinburgh Scottish Arts Council,
1976.
PATRICK DOUGHERTY
Alessandro, Rocca. “Patrick Dougherty.” In Natural Architecture, 160–71. New York: Princeton
Architectural Press, 2007.
Dougherty, Patrick. Patrick Dougherty. Chapel Hill, N.C.: Patrick Dougherty, 2008.
Ferris, Alison, and Linda Muehlig. Natural Magic: The Art of Patrick Dougherty. Sheboygan, Wisc.:
John Michael Kohler Arts Center, 2002.
Grande, John K. “Yardworking: Patrick Dougherty.” In Art Nature Dialogues: Interviews with
Environmental Artists, 15–24. Albany: State University of New York Press, 2004.
Patrick Dougherty: Documentation of Shelters of Transition. Raleigh: North Carolina Museum of Art,
1989.
OLAFUR ELIASSON
Eliasson, Olafur, Ismail Soyugenc, and Richard Torchia. Olafur Eliasson: Your Colour Memory.
Glenside, Penn.: Arcadia University Art Gallery, 2006.
Grynsztejn, Madeleine, ed. Take Your Time: Olafur Eliasson. San Francisco: San Francisco Museum
of Modern Art, distributed by Thames and Hudson, 2007.
Grynsztejn, Madeleine, Daniel Birnbaum, and Michael Speaks. Olafur Eliasson. London: Phaidon,
2002.
Tuyl, Gijs van, and Holger Broeker. Olafur Eliasson. Your Lighthouse: Works with Light, 1991–2004.
Ostfilden, Germany: Hatje Cantz, 2004.
Weibel, Peter, ed. Olafur Eliasson. Surroundings Surrounded: Essays on Space and Science. Graz: Neue
Galerie am Landesmuseum Joanneum; Cambridge, Mass.: MIT Press, 2001.
BARRY FLANAGAN
Barry Flanagan: Sculpture. London: British Council, 1982.
Barry Flanagan: Sculpture 1966–1976. Eindhoven: Van Abbemuseum, 1977.
Barry Flanagan: A Visual Invitation: Sculpture 1967–1987. Newcastle upon Tyne: Tyne and Wear
Museums Service and British Council, 1987.
SAM GILLIAM
Binstock, Jonathan P. Sam Giliam: A Retrospective. Berkeley: University of California Press;
Washington, D.C.: Corcoran Gallery of Art.
Red & Black to “D”: Paintings by Sam Gilliam. New York: Museum in Harlem, 1982.
Sam Gilliam, Paintings, 1950–1975. Washington, D.C.: Fendrick Gallery, 1975.
58
NANCY GRAVES
Balken, Debra Bricker. Nancy Graves, Painting, Sculpture, Drawing, 1980–1985. Poughkeepsie, N.Y.:
Vassar College Art Gallery, 1986.
Carmean, E. A., Jr., et al. The Sculpture of Nancy Graves: A Catalogue Raisonné. New York: Hudson
Hills Press, in association with Fort Worth Art Museum, 1987.
Nancy Graves: A Survey 1969/1980. Essay by Linda L. Cathcart. Buffalo, N.Y.: Albright-Knox
Gallery, 1980.
ANN HAMILTON
Ann Hamilton. La Jolla, Calif.: San Diego Museum of Contemporary Art, 1991.
Bruce, Chris, and Buzz Spector. Ann Hamilton. Seattle: Henry Art Gallery, University of
Washington, 1992.
EVA HESSE
Barrette, Bill. Eva Hesse: Sculpture: Catalogue Raisonné. New York: Timken, 1989.
Cooper, Helen A. Eva Hesse: A Retrospective. Ed. Lesley K. Baier, essays by Maurice Berger et al.
New Haven, Conn.: Yale University Art Gallery and Press, 1992.
Eva Hesse. London: Tate Publishing, 2002.
Eva Hesse: A Memorial Exhibition. New York: Solomon R. Guggenheim Museum, 1972.
Lippard, Lucy R. Eva Hesse. New York: New York University Press, 1976.
———. Eva Hesse. New York: Da Capo Press, 1992.
SUSAN HILLER
Einzig, Barbara, ed. Thinking about Art: Conversations with Susan Hiller. Manchester, UK:
Manchester University Press, 1996.
Fisher, Jean. Susan Hiller. The Revenants of Time: An Essay. London: Matt’s Gallery, 1990.
———. “Elan and Other Invocations.” In Inside the Visible: An Elliptical Traverse of TwentiethCentury Art in, of, and from the Feminine, ed. M. Catherine de Zegher, 257–65. Cambridge, Mass.:
MIT Press, 1996.
Gallagher, Ann, ed. Susan Hiller. London: Tate, 2011.
Lingwood, James, ed. Susan Hiller. Recall: Selected Works, 1969–2004. Gateshead, UK: Baltic, 2004.
REBECCA HORN
Rebecca Horn. Essays by Germano Celant et al., interviews by Germano Celant and Stuart Morgan,
texts by Rebecca Horn. New York: Solomon R. Guggenheim Museum, distributed by Rizzoli,
1993.
Rebecca Horn: Diving Through Buster’s Bedroom. Los Angeles: Museum of Contemporary Art; Milan:
Fabbri Editori, 1990.
JANNIS KOUNELLIS
Jacob, Mary Jane. Jannis Kounellis. Essay by Thomas P. McEvilley. Chicago: Museum of
Contemporary Art and Arnoldo Mondadori Editore, 1986.
Jannis Kounellis: Frammenti di memoria. Ed. Carl Haenlein; texts by Carsten Ahrens et al. Winterthur:
Kunstmuseum Winterthur, 1991.
59
Jannis Kounellis in the Neue Nationalgalerie. Ostfildern-Ruit, Germany: Hatje Cantz, 2008.
Kounellis. Curated by Germano Celant. Milan: Fabbri Editori, 1992.
Moure, Gloria. Kounellis. Trans. Richard-Lewis Rees, texts by Bruno Cora et al. New York:
Rizzoli, 1990.
BARRY LE VA
Accumulated Vision: Barry Le Va. Philadelphia: Institute of Contemporary Art, University of
Pennsylvania, 2005.
Barry Le Va: Staatliche Graphische Sammlung München, Museum Morsbroich Leverkusen. Ed. F. Carlo
Schmidt, English texts translated by Benjamin Schwarz, German texts translated by John
Ormrod. Stuttgart: Edition Cantz, 1993.
King, Elaine A. Barry Le Va, 1966–1988. Essay by Klaus Kertess. Pittsburgh: Carnegie-Mellon
Art Gallery and Carnegie-Mellon University Press, 1988.
Le Va, Barry. Four Consecutive Installations and Drawings, 1967–1978. New York: New Museum,
1978.
MARIO MERZ
Celant, Germano. Mario Merz. New York: Solomon R. Guggenheim Museum; Milan: Rizzoli,
1989.
Mario Merz. Introduction by Beatrice Merz. Florence: Hopefulmonster, 1990.
Mario Merz at MOCA. Milan: Fabbri Editori, 1989.
ROBERT MORRIS
Berger, Maurice. Labyrinths: Robert Morris, Minimalism, and the 1960s. New York: Harper and Row,
1989.
Krauss, Rosalind. Robert Morris: The Mind/Body Problem. New York: Solomon R. Guggenheim
Museum and Rizzoli International, 2004.
Morris, Robert. Continuous Project Altered Daily: The Writings of Robert Morris. Cambridge, Mass.:
MIT Press; New York: Solomon R. Guggenheim Museum, 1993.
Robert Morris: Selected Works, 1970–1980. Essay by Marti Mayo. Houston: Contemporary Art
Museum, 1981.
Sultan, Terry. Inability to Endure or Deny the World: Representation and Text in the Work of Robert Morris.
Ed. Christopher C. French, introduction by Barbara Rose. Washington, D.C.: Corcoran
Gallery of Art, 1990.
TERESA MURAK
Joliet, André, and Jaromir Jedliński. Bajka I “Baszta Czarownic.” Słupsk: Biuro Wystaw
Artystycznych, 1992.
Murak, Teresa. Teresa Murak, 1974–1978. Warsaw: Teresa Murak, 1978.
Supinska-Polit, Edyta. “Seed and Growth: The Art of Teresa Murak.” In The Creative Matrix of the
Origins: Dynamisms, Forces and the Shaping of Life, ed. Anna-Teresa Tymieniecka, 317–26.
Dordrecht: Kluwer Academic, 2002.
Teresa Murak: Dämmern und Werden. Leipzig: Polnisches Institut, 1995.
60
BRUCE NAUMAN
Basualdo, Carlos. Bruce Nauman: Topological Gardens. Philadelphia: Philadelphia Museum of Art,
2009.
“Bruce Nauman.” Special issue, Avalanche 2 (Winter 1971).
Bruce Nauman: Exhibition Catalogue and Catalogue Raisonné. Essays by Neal Benezra et al., ed. Joan
Simon with Janet Jenkins and Toby Kamps. Minneapolis: Walker Art Center, 1994.
Bruce Nauman: Work from 1965 to 1972. Essays by Jane Livingston and Marcia Tucker. Los
Angeles: Los Angeles Museum of Art; New York: Praeger, 1973.
Richardson, Brenda. Bruce Nauman: Neons. Baltimore: Baltimore Museum of Art, 1982.
Van Bruggen, Coosje. Bruce Nauman. New York: Rizzoli, 1988.
GIUSEPPE PENONE
Bradley, Jessica. Giuseppe Penone. Ottawa: National Gallery of Canada, 1983.
Celant, Germano. Giuseppe Penone. Milan: Electa, 1989.
Grenier, Catherine. Giuseppe Penone. Paris: Éditions du Centre Pompidou, 2004.
Recht, Roland. Penone: L’espace de la main. Introduction by Franchita Mirella Cattani. Strasbourg:
Éditions les Musées de la Ville de Strasbourg, 1991.
MARTIN PURYEAR
Benzra, Neal David. Martin Puryear. Essay by Robert Storr. Chicago: Art Institute of Chicago;
New York: Thames and Hudson, 1991.
Davies, Hugh M., and Helaine Posner. Martin Puryear. Amherst: University Gallery, University of
Massachusetts at Amherst, 1984.
Elderfield, John, and Michael Auping. Martin Puryear. New York: Museum of Modern Art, 2007.
JOLENE RICKARD
Hufnagel, Amy. Jolene Rickard: Cracked Shell. Syracuse, N.Y.: Robert B. Menschel Photography
Gallery, Syracuse University, 1994.
Kasprycki, Sylvia S., and Doris I. Stambrau, eds. Lifeworlds-Artscapes: Contemporary Iroquois Art.
Frankfurt: Museum der Weltkulturen, 2003.
Rice, Ryan. Oh So Iroquois. Ottawa: Ottawa Art Gallery / ABC Art Books Canada, 2008.
Rickard, Jolene. “Sovereignty: A Line in the Sand.” In Strong Hearts: Native American Visions and
Voices, ed. Peggy Roalf, 51–59. New York: Aperture, 1995.
Sholette, Gary. Red River Crossing. New York: The Swiss Institute, 1996.
Walkingstick, Kay, and Nancy E. Green. Cultural Signs in Contemporary Native American Art. Ithaca,
N.Y.: Herbert F. Johnson Museum of Art, 1994.
ROBERT RYMAN
Robert Ryman. New York: Dia Art Foundation, 1988.
Robert Ryman, Versions. Ed. Christel Sauer and Urs Raussmuller. Zurich: R. Ryman, 1992.
Storr, Robert. Robert Ryman. London: Tate Gallery, 1993.
Waldman, Diane. Robert Ryman. New York: Solomon R. Guggenheim Museum, 1972.
61
RICHARD SERRA
Bois, Yve-Alain, et al. Richard Serra. Ed. Ernst-Gerhard Guse. New York: Rizzoli, 1987.
Krauss, Rosalind E. Richard Serra: Sculpture. Ed. and with an introduction by Laura Rosenstock.
Essay by Douglas Crimp. New York: Museum of Modern Art, 1986.
McShine, Kynaston, Lynne Cooke, John Rajchman, and Benjamin Buchloh. Richard Serra
Sculpture: Forty Years. New York: Museum of Modern Art, 2007.
Public Art, Public Controversy: The Tilted Arc on Trial. Ed. Sherill Jordan et al. New York: American
Council for the Arts, 1987.
Richard Serra, Interviews, Etc., 1970–1980. Written and compiled in collaboration with Clara
Weyergraf. Yonkers: Hudson River Museum, distributed by Art Catalogues, 1980.
Richard Serra: Props. Exhibition and catalog conceived by Richard Serra and Christoph Brockhaus,
trans. Kathy Funk-Roos et al. Duisburg: Wilhelm Lehmbruck Museum; Düsseldorf: Richter,
1994.
Richard Serra: Running Arcs (For John Cage). Ed. Ulrich Krempel, trans. John Brogden. Düsseldorf:
Kunstsammlung Nordhein-Westfalen, 1992.
Weyergraf-Serra, Clara, and Martha Buskirk, eds. The Destruction of Tilted Arc: Documents.
Introduction by Richard Serra. Cambridge, Mass.: MIT Press, 1991.
BONNIE ORA SHERK
Burnham, Linda Frye. “Between the Diaspora and the Crinoline: An Interview with Bonnie
Sherk.” High Performance (Fall 1981): 49–71.
Sherk, Bonnie Ora. “The Creation of ‘A Living Library™’: An International Network of
Interactive Life Frames.” Leonardo 24, no. 2 (1991): 223–226.
———. Evolution of Life Frames: Bonnie Ora Sherk, 1970–Present. New York: Bonnie Sherk, 2002.
MARK THOMPSON
“Ein Geteiltes Haus.” In Ressource Kunst: Die Elemente neu gesehen, ed. Georg Jappe. Cologne:
DuMont, 1989.
RIRKRIT TIRAVANIJA
Grassi, Francesca, ed. Rirkrit Tiravanija: A Retrospective (Tomorrow Is Another Fine Day). Zurich:
JRP/Ringier, 2007.
Hainley, Bruce. “Where Are We Going? And What Are We Doing? Rirkrit Tiravanija’s Art of
Living.” Artforum International 34, no. 6 (February 1996): 54–59, 98.
Kittelmann, Udo, ed. Rirkrit Tiravanija: Untitled, 1996 (Tomorrow Is Another Day). Cologne: Salon,
1997.
Möntmann, Nina. Kunst als sozialer Raum: Andrea Fraser, Martha Rosler, Rirkrit Tiravanija, Renée
Green. Kunstwissenschaftliche Bibliothek, 18. Cologne: König, 2002.
Parreno, Philippe, Andreas Spiegl, and Mattias Hermann. Rirkrit Tiravanija: Secession. Cologne:
König, 2003.
Tiravanija, Rirkrit, Antoinette Aurell, and Thomas Kellein. Rirkrit Tiravanija: Cook Book, Just Smile
and Don’t Talk. Bangkok: River Books Press, 2010.
62
RICHARD TUTTLE
Grynsztejn, Madeleine. The Art of Richard Tuttle. San Francisco: San Francisco Museum of
Modern Art; New York: D.A.P./Distributed Art Publishers, 2005.
Richard Tuttle. Trans. Stephen Reader, editorial assistance by Klaus Flemming, bibliography by
Elisabeth Nobel Cunnick. Monchengladbach: Städtisches Museum Abteiberg
Monchengladbach, 1985.
Richard Tuttle. Essay by Dietmar Elger. Hannover: Sprengel Museum, 1990.
Richard Tuttle. Valencia: IVAM Centre Julio González, 1991.
Richard Tuttle: Chaos, Die/the Form. Ed. Jochen Poetter. Stuttgart: Edition Cantz, 1993.
Tucker, Marcia. Richard Tuttle. New York: Whitney Museum of American Art, 1975.
MIERLE LADERMAN UKELES
Hagen, Patty. “Mierle Ukeles.” Issue—A Journal for Artists 5 (Winter 1986).
Phillips, Patricia. “Public Art: Waste Not.” Art in America 77, no. 2 (February 1989): 47–51.
Woods, Randy. “The Art of Waste Transfer.” Waste Age (August 1991): 36–42.
JEFF WALL
Brougher, Kerry. Jeff Wall. Los Angeles: Museum of Contemporary Art, 1997.
Duve, Thierry de, Arielle Pélenc, and Boris Groys. Jeff Wall. London: Phaidon, 1996.
Duve, Thierry de, Arielle Pélenc, Boris Groys, Jean-François Chevrier, and Mark Lewis. Jeff Wall:
Complete Edition. London: Phaidon, 2009.
Fer, Briony. “The Space of Anxiety: Sculpture and Photography in the Work of Jeff Wall.” In
Sculpture and Photography: Envisioning the Third Dimension, ed. Geraldine A. Johnson, 234–46.
Cambridge: Cambridge University Press, 1998.
Galassi, Peter, and James Rondeau. Jeff Wall. New York: Museum of Modern Art, distributed by
D.A.P./Distributed Art Publishers, 2007.
Jeff Wall: Selected Essays and Interviews. New York: Museum of Modern Art, distributed by
D.A.P./Distributed Art Publishers, 2007.
FRANZ ERHARD WALTHER
Duckers, Alexander, with Uwe Wieczorek. Franz Erhard Walther. Berlin: Kupferstichkabinett,
Staatliche Museen Preussischer Kulturbesitz, 1989.
Franz Erhard Walther: Arbeiten 1969–1976. Ed. Franz Erhard Walther and Gotz Adriani, trans.
Dennis S. Clarke and Mario Lino. Tübingen: G. Adriani, 1977.
Franz Erhard Walther: Ich bin die Skulptur: Wandformationen 1978–1985 und Zeichnungen. Exhibition
and catalog by Wilhelm Bojescul and Franz Erhard Walther. Braunschweig: Der Kunstverein,
1986.
Lange, Suzanne. Der 1. Werkstatz (1963–1969) von Franz Erhard Walther. Trans. Barbara Norden.
Frankfurt: Museum für Modern Kunst, 1991.
Lingner, Michael. Zwischen Kern und Mantel: Franz Erhard Walther und Michael Lingner im Gesprach
über Kunst. Klagenfurt: Ritter, 1985.
63
CHAPTER 8. PERFORMANCE ART
General Studies
Aloi, Giovanni. Art and Animals. London: I. B. Tauris, 2011.
Battcock, Gregory, and Robert Nickas, eds. The Art of Performance: A Critical Anthology. New York:
E. P. Dutton, 1984.
Bronson, AA, and Peggy Gale, eds. Performance by Artists. Toronto: Art Metropole, 1979.
Carr, C. On Edge: Performance at the End of the Twentieth Century. Hanover, N.H., and London:
University Press of New England, 1993.
Certeau, Michel de. The Practice of Everyday Life. Berkeley: University of California Press, 1988.
Dupuy, Jean, ed. Collective Consciousness: Art Performances in the Seventies. New York: Performing Arts
Journal Publications, 1980.
“East Village Performance.” Special issue, Drama Review 29, no. 1 (Spring 1985).
Goldberg, RoseLee. Performance: Live Art since the ’60s. New York: Thames and Hudson, 2004.
———. Performance Art: From Futurism to the Present. 3rd edition. New York: Thames and Hudson,
2011.
Gray, John, ed. Action Art: A Bibliography of Artists’ Performance from Futurism to Fluxus and Beyond.
Westport, Conn.: Greenwood Press, 1993.
Hansen, Al. A Primer of Happenings and Time/Space Art. New York: Something Else Press, 1965.
Healthfield, Adrian, and Hugo Glendinning. Live: Art and Performance. London: Tate Publishing,
2004.
Hendricks, Jon, ed. Fluxus Codex. Detroit: Gilbert and Lila Silverman Fluxus Collection; New
York: Harry N. Abrams, 1988.
Henri, Adrian. Total Art: Environments, Happenings, and Performance. New York: Praeger, 1974.
In the Spirit of Fluxus. Minneapolis: Walker Art Center, 1993.
Kirby, Michael. The Art of Time: Essays on the Avant-Garde. New York: E. P. Dutton, 1969.
———. Happenings: An Illustrated Anthology. New York: E. P. Dutton, 1966.
Kostelanetz, Richard. On Innovative Performance(s): Three Decades of Recollections on Alternative Theatre.
Jefferson, N.C.: McFarland, 1994.
———. The Theatre of Mixed Means: An Introduction to Happenings, Kinetic Environments, and Other
Mixed Means Performances. New York: Dial, 1968.
Kultermann, Udo. Art and Life. Trans. J. W. Gabriel. New York: Praeger, 1971.
Lippard, Lucy R. Get the Message? A Decade of Art for Social Change. New York: E. P. Dutton, 1984.
Montano, Linda M. Performance Artists Talking in the Eighties. Berkeley: University of California
Press, 2001.
Outside of the Frame: Performance and the Object, A Survey History of Performance Art in the USA Since
1950. Cleveland: Center for Contemporary Art, 1994.
Popper, Frank. Art, Action and Participation. New York: New York University Press, 1975.
Roth, Moira, ed. The Amazing Decade: Women and Performance Art in America 1970–1980. Los
Angeles: Astro Artz, 1983.
Sayre, Henry. The Object of Performance: The American Avant-Garde Since 1970. Chicago: University of
Chicago Press, 1989.
Sohm, Hanns, ed. Happening & Fluxus. Cologne: Kölnischer Kunstverein, 1970.
64
Artists and Writers
MARINA ABRAMOVIĆ AND ULAY
Abramovi+, Marina. Sur la voie. Paris: Centre Georges Pompidou, Musée National d’Art Moderne,
1990.
Abramovi+, Marina, and Ulay. Modus Vivendi: Ulay and Marina Abramovi+: 1980–85. Eindhoven:
Van Abbemuseum, 1985.
Abramovi+, Marina, Ulay, and Dorine Mignot. The Lovers. Amsterdam: Stedelijk Museum, 1989.
Fototot: Ulay, 1975–1977. Zagreb: Galerija suvremene umjetnosti, 1977.
Marina Abramovi+. Ed. Friedrich Meschede, texts by Bojana Pejic and Doris von Drathen, trans.
Olaf Kuhl et al. Stuttgart: Edition Cantz, 1993.
Stiles, Kristine. Marina Abramovi+. London: Phaidon, 2008.
Von Chaos und Ordnung der Seele: Ein Austellungsprojeckt zeitgenossischer Kunst der Psychiatrischen Klinik
der Universität Mainz, 2.4.–10.5.1987. Marina Abramovi+ et al., ed. Peter Weiermair. Mainz: Die
Klinik, 1987.
VITO ACCONCI
Diacono, Mario. Vito Acconci: Dal testo-azione al corpo come testo. New York: Out of London Press
and A. H. Minters, 1975.
Kirshner, Judith Russi. Vito Acconci: A Retrospective, 1969 to 1980. Chicago: Museum of
Linker, Kate. Vito Acconci. New York: Rizzoli, 1993.
“Vito Acconci.” Special issue, Avalanche 6 (Fall 1972).
ELEANOR ANTIN
The Angel of Mercy. La Jolla, Calif.: La Jolla Museum of Contemporary Art, 1977.
Antin, Eleanor. Being Antinova. Los Angeles: Astro Artz, 1983.
Fox, Howard N. Eleanor Antin. Los Angeles: Los Angeles County Museum of Art, 1999.
Gumpert, Lynn, and Ned Rifkin. Persona: Eleanor Antin . . . Marital Westburg. New York: New
Museum, 1981.
RASHEED ARAEEN
Araeen, Rasheed. “A New Beginning: Beyond Postcolonial Cultural Theory and Identity
Politics.” In The Third Text Reader: On Art, Culture, and Theory, ed. Rasheed Araeen, Sean
Cubitt, and Ziauddin Sardar, 333–45. London: Continuum, 2002.
———. “The Other Immigrant: The Experiences and Achievements of Afro-Asian Artists in the
Metropolis.” In Race-ing Art History: Critical Readings in Race and Art History, ed. Kymberly N.
Pinder, 359–70. New York: Routledge, 2002.
Payne, Antonia, and Angela Kingston, eds. From Modernism to Postmodernism: Rasheed Araeen, A
Retrospective, 1959–1987. Birmingham: Ikon Gallery, 1987.
Rasheed Araeen: Solo Exhibition. London: South London Gallery, 1994.
RON ATHEY
Athey, Ron. “Artist’s Notes.” In Out of Character: Rants, Raves, and Monologues from Today’s Top
Performance Artists, ed. Mark Russell, 32–37. New York: Bantam Books, 1997.
65
———. “Deliverance.” In Acting on AIDS: Sex, Drugs, and Politics, ed. Joshua Oppenheimer and
Helena Reckitt, 430–44. London: Serpent’s Tail, 1997.
———. “Gifts of the Spirit.” In Unnatural Disasters: Recent Writings from the Golden State, ed. Nicole
Panter, 70–80. San Diego: Incommunicado Press, 1996.
———. “Raised in the Lord.” L.A. Weekly (June 30–July 6, 1995), 20–25.
Gund, Catherine. Hallelujah! Ron Athey: A Story of Deliverance. DVD. [New York]: Aubin Pictures,
1999.
Johnson, Dominic, ed. Pleading in the Blood: The Art of Ron Athey. London: Live Art Development
Agency; Cambridge, Mass.: MIT Press, forthcoming 2013.
McGrath, John Edward. “Trusting in Rubber: Performing Boundaries during the AIDS
Epidemic.” TDR 39, no. 2 (1995): 21–39.
MATTHEW BARNEY
Aitken, Doug. “Matthew Barney.” In Broken Screen: 26 Conversations with Doug Aitken: Expanding the
Image, Breaking the Narrative, ed. Noel Daniel, 60–73. New York: D.A.P./Distributed Art
Publishers, 2005.
Barney, Matthew. Matthew Barney: Drawing Restraint, Vol. 1, 1987–2002. Cologne: König, 2005.
———. Matthew Barney: Drawing Restraint, Vol. 2, 2005. Tokyo: Takashi Asai UPLINK, 2005.
———. Matthew Barney: Drawing Restraint, Vol. 3, 1987–2005. Seoul: Leeum Samsung Museum of
———. Matthew Barney: Drawing Restraint, Vol. 4. New York: JMc & GHB Editions, 2007.
———. Matthew Barney: Drawing Restraint, Vol. 5, 1987–2007. Cologne: König, 2007.
Spector, Nancy, ed. Matthew Barney: The Cremaster Cycle. New York: Solomon R. Guggenheim
Museum, 2002.
JERZY BERE Ś
Bereś, Jerzy, et al. XIV Wystawa Grupy Krakowskiej. Kraków: Galeria Krzysztofory, 1977.
Hanusek, Jerzy, Klara Kemp-Welch, and Maria Anna Potocka. Jerzy Bereś: Sztuka zgina życie / Art
Bends Life. Kraków: Bunkier Sztuki, 2007.
Jerzy Bereś. Bochum, Germany: Museum Bochum, 1971.
GÜNTER BRUS
Amanhauser, Hildegund, and Dieter Ronte. Der Überblick: Günter Brus. Introduction by Günter
Brus. Salzburg: Residenz, 1986.
Francis, Mark, ed. Günter Brus: Bild-Dichtungen. Trans. Dennis Clarke. London: Whitechapel
Gallery, 1980.
Grillet, Thierry, ed. Günter Brus: Limite du Visible. Paris: Editions du Centre Pompidou, 1993.
Günter Brus: Augensternstünden. Eindhoven: Van Abbemuseum, 1984.
Klocker, Hubert, ed. Wiener Aktionismus Vol. II: Der zertrummerte Spiegel: Wien 1960–1971: Günter
Brus, Otto Mühl, Hermann Nitsch und Rudolf Schwarzkogler. Trans. Alfred M. Fischer, essay by
Hubert Klocker. Klagenfurt: Ritter, 1989.
Schwarz, Dieter, and Veit Loers, eds. Wiener Aktionismus Vol. I: Von der Aktionsmalerei zum
Aktionismus: Wien 1960–1965: Günter Brus, Adolf Frohner, Otto Mühl, Hermann Nitsch, Alfons
Schilling und Rudolf Schwarzkogler. Trans. Keith Hartley, Camilla Nielsen, and Werner Robitsch.
Klagenfurt: Ritter, 1988.
66
CHRIS BURDEN
Ayres, Anne, and Paul Schimmel. Chris Burden: A Twenty Year Survey. Essays by Donald Kuspit.
Newport Beach, Calif.: Newport Harbor Art Museum, 1988.
Hoffman, Fred, John Berger, Kristine Stiles, and Paul Schimmel. Chris Burden. Newcastle upon
Tyne, UK: Merrell and Locus +, 2007.
Site Strategies: Terry Allen, Chris Burden, Terry Fox. Oakland: Oakland Museum Art Department,
1983.
JOHN CAGE
Cage, John. Empty Words: Writings ’73–’78. Middletown, Conn.: Wesleyan University Press, 1979.
———. John Cage, Writer: Previously Uncollected Pieces. Selected and introduced by Richard
Kostelanetz. New York: Limelight, 1993.
———. Silence: Lectures and Writings. Middletown, Conn.: Wesleyan University Press, 1961.
———. A Year from Monday: New Lectures and Writings. Middletown, Conn.: Wesleyan University
Press, 1967.
Cage, John, and Daniel Charles. For the Birds: John Cage in Conversation with Daniel Charles. Boston:
Marion Boyars, 1981.
Gena, Peter, Jonathan Brent, and Don Gillespie, eds. A John Cage Reader: In Celebration of His 70th
Birthday. New York: Peters, 1992.
Kostelanetz, Richard. Conversing with Cage. New York: Limelight, 1994.
Kostelanetz, Richard, ed. John Cage: An Anthology. New York: Da Capo Press, 1991.
Perloff, Marjorie, and Charles Junkerman, eds. John Cage: Composed in America. Chicago: University
of Chicago Press, 1994.
Revill, David. The Roaring Silence: John Cage, A Life. New York: Arcade, 1992.
Schadler, Stefan, and Walter Zimmerman, eds. John Cage, Anarchic Harmony: Ein Buch der Frankfurt
Feste ’92. Mainz and New York: Schott, 1992.
THERESA HAK KYUNG CHA
Cha, Theresa Hak Kyung. Dictée. Berkeley: University of California Press, 2001.
Cheng, Anne Anlin. “History In/Against the Fragment.” In The Melancholy of Race, 139–68. New
York: Oxford University Press, 2001.
Eileraas, Karina. “Misrecognizing the Family Album: Blood, Fantasy, and Nationality in the
Works of Hélène Cixous and Theresa Hak Kyung Cha.” In Between Image and Identity:
Transnational Fantasy, Symbolic Violence, and Feminist Misrecognition, 81–122. Lanham, Md.:
Lexington Books, 2007.
Kang, Hyun Yi, Norma Alarcón, and Elaine H. Kim. Writing Self, Writing Nation: A Collection of
Essays on Dictée by Theresa Hak Kyung Cha. Berkeley, CA: Third Woman Press, 1994.
Lewallen, Constance M., ed. Exilée/Temps Morts: Selected Works. Berkeley: University of California
Press and Berkeley Art Museum and Pacific Film Archive, 2009.
Lewallen, Constance, Lawrence Rinder, and T. Minh-Ha Trinh. The Dream of the Audience: Theresa
Hak Kyung Cha (1951–1982). Berkeley: University of California Berkeley Art Museum and
GUY DEBORD
See under SITUATIONIST INTERNATIONAL
67
JIMMIE DURHAM
Hill, Cecilia Fajardo. In and Out of “the Primitive”: Postcolonialism and Contemporary Art Practice: Jimmy
Durham and José Bedia in Context. Colchester, UK: University of Essex, 2003.
Ingberman, Jeanette. Jimmie Durham: The Bishop’s Moose and the Pinkerton Man. New York: Exit Art,
1989.
Jimmy Durham: Essence. Zurich: De Pury & Luxembourg, 2007.
MIKLÓS ERDÉLY
Beke, László. “Film on Moebius Strip: On Miklós Erdély’s Activities.” In Free Worlds: Metaphors
and Realities in Contemporary Hungarian Art, ed. Roald Nasgaard and Clara Hargittay, 59–68.
Toronto: Art Gallery of Ontario, 1991.
Erdély, Miklós. “Art as Empty Sign.” Translated by Varga András Bálint in GedächtnisRaume:
Hommage für Miklós Erdély, 39–41. Berlin: Künstlerhaus Bethanien, 1992.
Erdély, Miklós. A filmről (filmelméleti írások, forgatókönyvek, filmtervek, kritikák): válogatott írások II.
Budapest: Balassi Kiadó/BAE Tartóshullám/Intermedia, 1995.
Erdély, Miklós. “Solidarity Action.” In Art Always Has Its Consequences: Artists’ Texts from Croatia,
Hungary, Poland, Serbia, 1947–2009, ed. tranzit.hu, 165. Berlin: Sternberg Press, 2010.
Erdély Miklós (1928–1986). Székesfehérvár: István Király Múzeum, 1991.
Hoptman, Laura, and Tomas Pospiszy, eds. Primary Documents: A Sourcebook for Eastern and Central
European Art since the 1950s. Cambridge, Mass.: MIT Press, 2002.
Hornyik, Sándor and Annamária Szőke. Kreativitási gyakorlatok, FAFEJ, INDIGO: Erdély Miklós
művészetpedagógiai tevékenysége 1975–1986. Budapest: MTA-Gondolat, 2008.
IRWIN. East Art Map: Contemporary Art and Eastern Europe. London: Afterall Books, 2006.
Piotrowski, Piotr. In the Shadow of Yalta: Art and the Avant-garde in Eastern Europe, 1945–1989.
London: Reaktion Books, 2011.
VALIE EXPORT
Export, Valie. “Aspects of Feminist Action.” New German Critique 47 (Spring 1989).
Kunst mit Eigen-Sinn: Aktuelle Kunst von Frauen: Texte und Dokumentation. Ed. Silvia Eiblmayr, Valie
Export, Monika Prischl-Maier. Vienna: Locker, 1985.
Lamb-Faffelberger, Margarete. Valie Export und Elfriede Jelinek im Spiegel der Presse: Zur Rezeption der
feministischen Avantgarde Osterreichs. New York: P. Lang, 1992.
Mueller, Roswitha. Valie Export: Fragments of the Imagination. Bloomington: Indiana University
Press, 1994.
Prammer, Anita. Valie Export: Eine multimediale Kunstlerin. Vienna: Wiener Frauenverlag, 1988.
Valie Export: Dokumentations-Ausstellung des osterreichischen Beitrags zur Biennale Venedig 1980. Vienna:
Das Ministerium, 1980.
ROBERT FILLIOU
Filliou, Robert. A Filliou Sampler. New York: Something Else Press, 1967.
Das immerwährende Ereignis zeigt Robert Filliou = The Eternal Network Presents Robert Filliou = La Fête
permanente présente Robert Filliou. Hannover: Sprengel Museum, 1984.
Robert Filliou. Paris: Centre Georges Pompidou, Musée National d’Art Moderne, 1991.
Robert Filliou 1926–1987: Zum Gedächtnis. Ed. Hans-Werner Schmidt. Düsseldorf: Städtische
Kunsthalle, 1988.
68
KAREN FINLEY
Brew, Kathy. “Karen Finley.” Shift 2, no. 3 (1988): 30–35.
Carr, C. “Unspeakable Practices, Unnatural Acts: The Taboo Art of Karen Finley.” Village Voice
31, no. 25 (June 24, 1986): 17–20, 86.
Finley, Karen. Enough is Enough: Weekly Meditations for Living Dysfunctionally. New York: Poseidon,
1993.
COCO FUSCO
Fusco, Coco. The Bodies That Were Not Ours, and Other Writings. New York: Routledge, 2001.
———. English Is Broken Here: Notes on Cultural Fusion in the Americas. New York: New Press,
1995.
———. A Field Guide for Female Interrogators. Westminster, Md.: Seven Stories Press, 2008.
———. “The Other History of Intercultural Performance.” TDR 38, no. 1 (1994): 143–67.
———, ed. Corpus Delecti: Performance Art of the Americas. New York: Routledge, 2000.
Taylor, Diana. “A Savage Performance: Guillermo Gómez-Peña and Coco Fusco’s ‘Couple in the
Cage.’” TDR 42, no. 2 (1998): 160–75.
GYÖRGY GALÁNTAI AND JÚLIA KLANICZAY
Galántai, György. “Pooling the Arts: The Artpool Art Research Centre.” New Hungarian Quarterly
33, no. 125 (Spring 1992): 96–100.
Galántai, György, and Júlia Klaniczay. AL: Artpool Letter. Budapest: György Galántai, 1983–1984.
———. Artpool: Art Research Center Budapest. www.artpool.hu/Artpool.html.
———, eds. Galántai: Lifeworks, 1968–1993. Budapest: Artpool, 1996.
Stepken, Angelika. György Galántai. Berlin: Berliner Künstlerprogramm des DAAD, 1989.
Timár, Katalin. “Fax- und Mailart des Artpool im Wandel politischer Systeme (Fax- and Mail Art
of the Artpool in the Change of Political Systems).” In In Control: Mensch - Interface - Maschine,
ed. Eva Ursprung, 72–74. Graz: Kunstverein W.A.S., 1994.
Tumbas, Jasmina. “International Hungary! György Galántai’s Networking Strategies.” In “Artist’
Networks in Latin America and Eastern Europe,” special section of ARTMargins 1, no. 2–3
(Fall 2012); 78–106.
REGINA JOSÉ GALINDO
Cazali, Rosina, Fernando Castro Flórez, and Eugenio Viola. Regina José Galindo. Milan: Silvana
Editoriale, 2011.
Drury, Brenna Caitlin. “Disquieting the Structures in the Work of Regina José Galindo, Patricia
Belli, and Joane Cardinal-Schubert.” MA thesis, University of New Mexico, 2006.
Goldman, Francisco. “Regina José Galindo.” Bomb 94 (Winter 2005): 38–44.
Meneguzzo, Marco. “Regina José Galindo.” Artforum International 46, no. 5 (January 2008): 296.
Savorelli, Livia, ed. Regina José Galindo. Milan: Vanilla Edizioni, 2006.
GUILLERMO GÓMEZ - PEÑA
Gómez-Peña, Guillermo, and Enrique Chayoga. Friendly Cannibals. San Francisco: Artspace
Books, 1996.
69
Gómez-Peña, Guillermo, and Jeff Kelley, eds. The Border Arts Workshop: Documentation of Five Years
of Interdisciplinary Art Projects Dealing with U.S.–Mexico Border Issues, 1984–1989. New York:
Artists Space Museum of Contemporary Art, 1989.
Gómez-Peña, Guillermo, and Roberto Sifuentes. Exercises for Rebel Artists: Radical Performance
Pedagogy. New York: Routledge, 2011.
Neustadt, Robert. “(Con)fusing Cultures: Guillermo Gómez-Peña and the Transgression of
Borders.” Mattoid 52–53 (1998): 65–79.
Taylor, Diana. “A Savage Performance: Guillermo Gómez-Peña and Coco Fusco’s ‘Couple in the
Cage.’” TDR 42, no. 2 (1998): 160–75.
Velasco, Juan. “Performing Multiple Identities: Guillermo Gómez-Peña and His ‘Dangerous
Border Crossings.’” In Latino/a Popular Culture, ed. Michelle Habell-Pallán and Mary Romero,
208–24. New York: New York University Press, 2002.
DICK HIGGINS
Higgins, Dick. A Dialectic of Centuries: Notes Towards a Theory of the New Arts. New York: Printed
Editions, 1978.
———. foew&onbwhnw: A Grammar of the Mind and a Phenomenology of Love and a Science of the Arts as
Seen by a Stalker of the Wild Mushroom. New York: Something Else Press, 1969.
———. Horizons: The Poetics and Theory of the Intermedia. Carbondale: Southern Illinois University
Press, 1984.
———. Pattern Poetry: Guide to an Unknown Literature. Appendices on Chinese pattern poetry by
Herbert Francke, comparative study on the Citrakavyas of Sanskrit and the Prakrits by
Kalanath Jha. Albany: State University of New York Press, 1987.
TEHCHING HSIEH
Heathfield, Adrian, and Tehching Hsieh. Out of Now: The Lifeworks of Tehching Hsieh. Cambridge,
Tucker, Marcia. Choices: Making an Art of Everyday Life. New York: New Museum, 1986.
JOAN JONAS
Crimp, Douglas. Joan Jonas: Scripts and Descriptions, 1968–1982. Berkeley: University Art Museum,
University of California, 1983.
Daneri, Anna, and Cristina Natalicchio, eds. Joan Jonas. Milan: Edizioni Charta, 2007.
Morgan, Susan. Joan Jonas: I Want to Live in the Country (and Other Romances). London: Afterall
Books, distributed by MIT Press, 2006.
Schmidt, Johann-Karl, ed. Joan Jonas: Performance Video Installation, 1968-2000. Ostfildern-Ruit,
Smith, Valérie, and Warren Niesluchowski, eds. Joan Jonas: Five Works. New York: Queens
ALLAN KAPROW
Allan Kaprow: Activity—Documente 1968–1976. Bremen: Ausstellung Kunsthalle, 1976.
Demetrion, James T. Allan Kaprow. Pasadena: Castle Press, 1967.
John Cage, Allan Kaprow, George Brecht . . . . Florence: Galleria Vivita, 1988.
70
Kaprow, Allan. Collagen, Environments, Videos, Broschuren, Geschichten, Happening- und ActivityDokumente, 1956–1986. Dortmund: Museum am Ostwall, 1986.
———. Essays on the Blurring of Art and Life. Ed. Jeff Kelley. Berkeley: University of California
Press, 1993.
Kelley, Jeff. Childsplay: The Art of Allan Kaprow. Berkeley: University of California Press, 2004.
Meyer-Hermann, Eva, Andrew Perchuk, and Stephanie Rosenthal, eds. Allan Kaprow: Art as Life.
Los Angeles: Getty Research Institute, 2008.
MILAN KNÍ Ž ÁK
Aktual Schmuck in Czechoslovakia. London: Beau Geste Press, 1974.
Knížák, Milan. Básne, 1954–1990. Havířov: Nakl. M.U.K.L., 1991.
———. Cestopisy. Prague: Radost, 1990.
———. Milan Knížák, 1965–86: Kleider auf den Körper gemalt. Hannover: Sprengel Museum, 1987.
Milan Knížák: Czech Artist in Prague Sentenced for 2 Years in Prison! Stuttgart: Albrecht D., 1974.
KATARZYNA KOZYRA
Folie, Sabine. Das unmögliche Theater: Performativität im Werk von Pawel Althamer, Tadeusz Kantor,
Katarzyna Kozyra, Robert Kusmirowski und Artur Zmijewski = The Impossible Theater: Performativity in
the Works of Pawel Althamer, Tadeusz Kantor, Katarzyna Kozyra, Robert Kusmirowski and Artur
Zmijewski. Vienna: Kunsthalle, 2005.
Wróblewska, Hanna, ed. Katarzyna Kozyra: In Art Dreams Come True. Ostfildern-Ruit, Germany:
Hatje Cantz, 2007.
———, ed. Katarzyna Kozyra: The Men’s Bathhouse; XLVIII International Biennale of the Visual Arts,
Venice, 12 June–7 November 1999, Polish Pavilion. Warsaw: Zacheta Gallery of Contemporary
Art, 1999.
OLEG KULIK
Erofeyev, Andrei, and Sarah Wilson. Oleg Kulik: Memento Mori. London: White Space Gallery,
2003.
Kulik, Oleg. Lolita vs. Alice. Paris: Galerie J. Rabouan Moussion, 2000.
Obukhova, Alexandra, ed. Oleg Kulik: Nothing Inhuman Is Alien to Me. Bielefeld, Germany: Kerber
Verlag, 2007.
Oleg Kulik: Art Animal. Birmingham: Ikon Gallery, 2001.
SUZANNE LACY
Labowitz, Leslie, and Suzanne Lacy. “Evolution of a Feminist Art: Public Forms and Social
Issues.” Heresies 6 (1978): 76.
———. “Feminist Artists, Developing a Media Strategy for the Movement.” In Fight Back!
Feminist Resistance to Male Violence. Ed. Frédérique Delacoste and Felice Newman. Minneapolis:
Cleis Press, 1981.
Roth, Moira. “Selected Bibliography on Suzanne Lacy.” Drama Review 32 (Spring 1988): 71–75.
71
JEAN - JACQUES LEBEL
Jean-Jacques Lebel: Bilder, Skulpturen, Installationen. Vienna: Museum Moderner Kunst Stiftung
Ludwig Wien, 1998.
Jean-Jacques Lebel: Des années cinquante aux années quatre vingt-dix. Milan: Nuove Edizioni Gabriele
Mazzotta, 1991.
Jean-Jacques Lebel: Retour d’exil, peintures, dessins, collages 1954–1988. Paris: Galerie 1900–2000, 1988.
Lebel, Jean-Jacques. L’amour et l’argent: Traversée de l’institution prostitutionnelle. Paris: Éditions Stock,
1979.
———. Entretiens avec le Living théâtre. Paris: Belfond, 1969.
———. Le Happening. Paris: Denoël, 1965.
———. “Lettre Ouvert aux Regardeurs.” In Les Lettres Nouvelles et English Bookshop. Paris, 1965.
———. Proces du Festival d’Avignon. Paris: Belfond, 1968.
Lebel, Jean-Jacques, and Labelle-Rojoux, Arnaud. Poésie Directe: des Happenings à polyphonix. Preface
by Dominique Païni, postface by Arnaud Labelle-Rojoux. Paris: Opus International, 1994.
JAMES LUNA
James Luna: Actions and Reactions: An Eleven Year Survey of Installation/Performance Work, 1981–1992.
Essays by Andrea Liss and Roberto Bedoya. Santa Cruz, Calif.: Mary Porter Sesnon Art
Gallery, 1992.
Two Worlds: James Luna. New York: INTAR Gallery, 1989.
GEORGE MACIUNAS
Armstrong, Elizabeth, and Joan Rothfuss, eds. In the Spirit of Fluxus. Texts by Andreas Huyssen,
Simon Anderson, Kristine Stiles, Owen Smith, Douglas Kahn, Bruce Jenkins, and Elizabeth
Armstrong. Minneapolis: Walker Art Center, 1993.
Hendricks, Jon, ed. Fluxus Codex. Detroit: Gilbert and Lila Silverman Fluxus Collection; New
York Harry N. Abrams, 1988.
Ruhe, Harry. Fluxus: The Most Radical and Experimental Art Movement of the Sixties. Amsterdam: ‘A,’
1979.
TOM MARIONI
Marioni, Tom. The Sound of Flight. San Francisco: M. H. de Young Memorial Museum, 1977.
Tom Marioni. San Francisco: Museo Italo Americano, 1987.
Tom Marioni: À la limite, le consortium. Essay by Eric Colliard, conversation with the artist by Eric
Colliard and Michel Verjux. Dijon: Les Succès du Bedac, 1984.
GEORGES MATHIEU
Georges Mathieu: Rétrospective. Paris: Galerie nationale du Jeu de Paume, 2002.
Mathieu. Text by Patrick Grainville. Paris: Industries Graphiques de Paris, 1992.
Mathieu, Georges. L’abstraction prophétique. Paris: La Table Ronde, 1975. Reprinted, Paris:
Gallimard, 1984.
———. Au-delà du tachisme. Paris: Éditions Julliard, 1963.
———. De la révolte à la renaissance: Au-delà du tachisme. Paris: Gallimard, 1972.
———. Le privilege d’être. Ed. Robert Morel. Paris: Odette Ducarre, 1967.
72
———. La réponse de l’abstraction lyrique et quelques extrapolations d’ordre esthétique, éthique et
métaphysique. Paris: La Table Ronde, 1975.
Quignon-Fleuret, Dominique. Mathieu. Paris: Flammarion, 1973. Reprinted, trans. Jeffrey
Arsham, New York: Crown, 1977.
LINDA MONTANO
“Interview with Linda Montano.” In “Angry Women.” RE/Search 13 (1991): 50–65.
Montano, Linda. Art in Everyday Life. Los Angeles: Astro Artz; Barrytown, N.Y.: Station Hill,
1981.
YASUMASU MORIMURA
Friis-Hansen, Dana. Yasumasa Morimura, Actor/Actress. Houston: Contemporary Arts Museum,
1997.
Maggia, Filippo, and Marinella Venanzi, eds. Yasumasa Morimura: Requiem for the XX Century:
Twilight of the Turbulent Gods. Milan: Skira, 2008.
Morimura, Yasumasa. Daughter of Art History: Photographs. New York: Aperture, 2003.
———. Yasumasa Morimura: Self-Portrait as Art History. Tokyo: Asahi Shinbunsha, 1998.
OTTO MUEHL
Aktions-Analytische Organisation. Das AA-Modell. Friedrichshof, Austria: AA-Verlag, 1976.
Otto Mühl: Ausgewahlte Arbeiten 1963–1986. Friedrichshof, Austria: Archiv des Wiener
Aktionismus, 1987.
Otto Muehl: Leben, Kunst, Werk: Aktion, Utopie, Malerei 1960–2004. Cologne: König, 2003.
Schlothauer, Andreas. Die Diktatur der freien Sexualität: AAO, Mühl-Kommune, Friedrichshof. Vienna:
Verlag für Gesellschaftskritik, 1992.
Weg aus dem Dumpf. Nuremberg: AA-Verlag, 1977.
HERMANN NITSCH
Das Orgien Mysterien Theater, 80. Aktion: Aufgefuhrt vom Sonnenaufgang des 27. bis zum Sonnenaufgang des
30. Juli 1984. Ed. Jens Jahn and Wolfgang Wunderlich, trans. Andrew Clegg Littler. Munich:
F. Jahn, distributed by D. Nolan Gallery, New York, 1988.
Fuchs, R. H., Hermann Nitsch, et al. Hermann Nitsch: Das Orgien Mysterien Theater 1960–1987.
Naples: Museo Principe Diego Aragona Pignatelli Cortes, 1987.
Hermann Nitsch: Das früheste Werke, 1955–60. Vienna: Sonderzahl, 1986.
Nitsch, Hermann. Das Orgien Mysterien Theater: Manifeste, Aufsätze, Vorträge. Salzburg: Residenz,
1990.
———. Projekt Prinzendorf das O.M. Theater von Hermann Nitsch. Graz: Kulturhaus der Stadt Graz,
1981.
Nitsch: Das bildernische Werk. Introduction by Günter Brus, contributions by Christian Gargerle et
al. Salzburg: Residenz, 1988.
YOKO ONO
Haskell, Barbara, and John Hanhardt. Yoko Ono: Arias and Objects. Layton, Utah: Gibbs M. Smith,
1991.
73
Hendricks, Jon, ed. Yoko Ono: To See the Skies. Introduction by Achille Bonito Oliva. Milan:
Mazzotta, 1990.
The Lennon Tapes: John Lennon and Yoko Ono in Conversation with Andy Peebles, 6 December 1980.
London: British Broadcasting Corporation, 1981.
Munroe, Alexandra. Yes Toko Ono. New York: The Japan Society, 2000.
Ono, Yoko. Objects, Films. New York: Whitney Museum of American Art, 1989.
Stiles, Kristine. “Unbosoming Lennon: The Politics of Yoko Ono’s Experience.” Art Criticism 7,
no. 2 (1992): 21–54.
RAPHAEL MONTAÑEZ ORTIZ
Noriega, Chon, and Matthew Yokobosky. Raphael Montañez Ortiz: early Destruction, 1957–67. New
York: Whitney Museum of American Art, 1996.
Stiles, Kristine. Rafael Montañez Ortiz: Years of the Warrior 1960, Years of the Psyche 1988. New York:
El Museo del Barrio, 1988.
MIKE PARR
Bromfield, David. Identities: A Critical Study of the Work of Mike Parr, 1970–1990. Nedlands:
University of Western Australia Press, 1990.
Coulter-Smith, Graham. Mike Parr: The Self-Portrait Project. Melbourne: Schwartz City, 1994.
Hart, Deborah. “Mike Parr: The Labyrinth of Memory.” Art and Australia 32 (Summer 1994):
206–17.
Parr, Mike. “Mike Parr: The Self-Portrait Project.” Art Monthly 61 (1993): 33–43.
Scheer, Edward. “Australia’s Post-Olympic Apocalypse?” PAJ 30, no. 88 (2008): 42–56.
———. The Infinity Machine: Mike Parr’s Performance Art. Melbourne: Schwartz City, 2009.
———. “It’s OK If You Weren’t There: Mike Parr and Performance Documentation as
Remediation.” In Brought to Light II: Contemporary Australian Art, 1966–2006, ed. Lynne Seear
and Julia Ewington, 90–97. South Brisbane: Queensland Art Gallery, 2007.
———. “The Performance of Disappearance: Mike Parr’s Amerika.” TDR 52, no. 3 (Fall 2008):
195–201.
Young, Michael. “Decapitations and Protestations—Cut, Burn, Stitch and Draw.” Art AsiaPacific,
no. 62 (March/April 2009): 72–79.
ADRIAN PIPER
Adrian Piper: Reflections, 1967–1987. Curated by Jane Farver. New York: Alternative Museum,
1987.
Berger, Maurice. Adrian Piper: A Retrospective. New York: D.A.P./Distributed Art Publishers;
Baltimore: Fine Arts Gallery, University of Maryland, 1999.
Piper, Adrian. Talking to Myself: The Ongoing Autobiography of Art Object. Bari: Marilena Bonomo,
1975.
WILLIAM POPE . L
Bessire, Mark H. C., ed. William Pope.L: The Friendliest Black Artist in America©. Cambridge, Mass.:
MIT Press; Portland: Institute of Contemporary Art at Maine College of Art, 2002.
Horschak, Amy. “The Whole Entire World: Interview with William Pope.L.” In Dak’art 2006, ed.
Victor Emmanuel Cabrita and Ousseynou Wade, 382–83. Dakar: La Biennale de Dakar, 2006.
74
Pope.L, William. Black People Are Cropped: Skin Set Drawings 1997–2011. Zurich: JRP/Ringier,
2012.
Pope.L, William, Elizabeth Bard, and Nato Thompson. Some Things You Can Do with Blackness.
London: Kenny Scheachter Rove, 2005.
Stiles, Kristine. “Conversation with William Pope.L.” In Voice of Images, exhibition catalogue,
180–91. Venice: Palazzo Grassi/François Pinault Foundation, 2012.
Wilson, Martha. “William Pope.L.” BOMB 55 (Spring 1996). http://bombsite.com/issues/55/
articles/1957.
YVONNE RAINER
Green, Shelley. Radical Juxtaposition: The Films of Yvonne Rainer. Filmmakers series, no. 41.
Metuchen, N.J.: Scarecrow Press, 1994.
Lambert-Beatty, Carrie. Being Watched: Yvonne Rainer and the 1960s. Cambridge, Mass.: MIT Press,
2008.
Rainer, Yvonne. Feelings are Facts: A Life. Cambridge, Mass.: MIT Press, 2006.
———. The Films of Yvonne Rainer: Theories of Representation and Difference. Bloomington: Indiana
———. A Woman Who—: Essays, Interviews, Scripts. Baltimore: Johns Hopkins University Press,
1999.
Sachs, Sid, ed. Yvonne Rainer: Radical Juxtapositions, 1961–2002. Philadelphia: University of the
Arts, 2002.
Wood, Catherine. Yvonne Rainer: The Mind Is a Muscle. London: Afterall, distributed by MIT Press,
2007.
ULRICKE ROSENBACH
Lupri, Claudia. Ulricke Rosenbach: Video, Performance, Installation, 1971–1989. Downsview, Ontario:
Art Gallery of York University, 1989.
Ulricke Rosenbach. Ed. Wolfgang Becker, catalog by Ulricke Rosenbach. Aachen: Neue Galerie,
1986.
Ulricke Rosenbach: Foto, Video, Aktion. Aachen: Stadt Aachen, Neue Galerie, Sammlung Ludwig,
1976.
CAROLEE SCHNEEMANN
Constantinides, Kathy. “Carolee Schneemann: Invoking Body Politics.” Michigan Quarterly Review
30, no. 1 (Winter 1991): 127–45.
“Interview with Carolee Schneemann.” In “Angry Women.” RE/Search 13 (1991): 66–77.
MacDonald, Scott. “An Interview with Carolee Schneemann.” Afterimage 7, no. 8 (1980).
Schneemann, Carolee. Imaging Her Erotics: Essays, Interviews, Projects. Cambridge, Mass.: MIT Press,
2003.
———. More Than Meat Joy: Complete Performance Works and Selected Writings. Ed. Bruce McPherson.
New Paltz, N.Y.: Documentext, 1979.
———. “The Obscene Body/Politic.” Art Journal 50, no. 4 (Winter 1991): 28–35.
Stiles, Kristine. “At Last, A Great Woman Artist: Writing About Carolee Schneemann’s
Epistolary Practice.” In Singular Women: Writing the Artist, ed. Kristen Frederickson and Sarah
E. Webb, 213–37. Berkeley: University of California Press, 2003.
75
———, ed. Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle. Durham,
N.C.: Duke University Press, 2010.
CINDY SHERMAN
Krauss, Rosalind. Cindy Sherman, 1975–1993. Essay by Norman Bryson. New York: Rizzoli, 1993.
Cruz, Amanda, Elizabeth Smith, and Amanda Jones. Cindy Sherman: Retrospective. New York:
Schjeldahl, Peter, and Lisa Phillips. Cindy Sherman. New York: Whitney Museum of American Art,
1987.
Sherman, Cindy. History Portraits. Essay by Arthur C. Danto. New York: Rizzoli, 1991.
———. Untitled Film Stills. Essay by Arthur C. Danto. New York: Rizzoli, 1990.
SITUATIONIST INTERNATIONAL
Blazwick, Iwona, ed. An Endless Adventure . . . an Endless Passion . . . an Endless Banquet: A
Situationist Scrapbook. The Situationist International Selected Documents 1957 to 1962: Documents
Tracing the Impact on British Culture from the 1960s to the 1980s. New York: ICA; London: Verso,
1989.
Debord, Guy. Comments on the Society of the Spectacle. Trans. Malcolm Imrie. London: Verso, 1998.
Originally published as Commentaires sur la société du spectacle. Paris: Éditions Gérard Lebovici,
1988.
———. Correspondence: The Foundation of the Situationist International (June 1957–August 1960). Ed.
Stuart Kendall and John McHale. Los Angeles: Semiotext(e), 2009.
———. Œuvres cinématographiques complètes: 1952–1978. Paris: Éditions Champ Libre, 1978.
———. Society of the Spectacle. Trans. Donald Nicholson-Smith. New York: Zone Books, 1994.
Originally published as La société du spectacle. Paris: Buchet-Chastel, 1967.
Ford, Simon. The Situationist International: A User’s Guide. London: Black Dog, 2005.
Knabb, Ken, ed. and trans. Situationist International Anthology. Berkeley: Bureau of Public Secrets,
1981; 2nd ed., rev. and explanded, 2006.
McDonough, Tom, ed. The Situationists and the City: A Reader. New York: Verso, 2010.
Vaneigem, Raoul. The Revolution of Everyday Life. Seattle: Left Bank Books; Welcombe, England:
Rebel Press, 1983.
The Veritable Split in the International: Public Circular of the Situationist International. London: B. M.
Piranha, 1974.
Wark, McKenzie. The Beach beneath the Street: The Everyday Life and Glorious Times of the Situationist
International. New York: Verso, 2011.
———. 50 Years of Recuperation of the Situationist International. New York: Princeton Architectural
Press, 2008.
RAŠA TODOSIJEVIĆ
Malsch, Friedmann. “Raša Dragoljub Todosijevi+.” Kunstforum International, no. 117 (1992): 200–
206.
Marioni, Tom. “Raša Todosijevi+.” Visions, no. 2 (January 1976): 31–36.
Sretenovi+, Dejan. Thank You, Raša Todosijević. Belgrade: Museum of Contemporary Art, 2002.
Susovski, Marijan. Raša Todosijević. Zagreb: Galerija Suvremene Umjetnosti, 1982.
Todosijevi+, Raša, and Dejan Sretenovi+. Was ist Kunst? Edicija Art. Belgrade: Geopoetika, 2001.
76
BEN VAUTIER
Ben Vautier: My Berlin Inventory: Berliner Inventar. Berlin: Daadgalerie, 1979.
Vautier, Ben. Manuscrit pour “la première internationale ethniste.” Nice: Association “La Différence,”
1986.
Vautier, Ben, with Maurice Eschapasse. A propos de Nice. Assisted by Nathalie Brunet. Paris:
Centre Georges Pompidou, Musée National d’Art Moderne, 1977.
WOLF VOSTELL
Euler-Schmidt, Michael, et al. Vostell. Heidelberg: Edition Braus, 1992.
Korber, Marie-Louise. Wolf Vostell. Hannover: Kestner-Gesellschaft, 1977.
Vostell: Retrospektive 1958–1974. Catalog by Jorn Merkert. Berlin: Neuer Berliner Kunstverein,
1975.
Vostell, Wolf, and Dick Higgins. Fantastic Architecture. New York: Something Else Press, 1971.
Wolf Vostell: Environnement, vidéo, peintures, dessins, 1977–1985. Strasbourg: Musée d’Art Moderne de
Strasbourg, 1985.
MARTHA WILSON
Edgar, Anne. “A Conversation with Franklin Furnace.” Afterimage 13, nos. 1–2 (Summer 1985):
28–30.
Reckitt, Helena, and Peggy Phelan. Art and Feminism: Themes and Movements. London: Phaidon
Press, 2001.
Wark, Jayne. “Martha Wilson: Not Taking It at Face Value.” Camera Obscura: Feminism, Culture, and
Media Studies 15 (2001): 1–33; doi:10.1215/02705346-15-3_45-1.
Wilson, Martha. “The Personal Becomes Political in Time.” n.paradoxa 5 (2000): 83–90.
Wilson, Martha, Moira Roth, and Kate Fowle. Martha Wilson Sourcebook: 40 Years of Reconsidering
Performance, Feminism, Alternative Spaces. New York: Independent Curators International, 2011.
JIRŌ YOSHIHARA
Dada in Japan: Japanische Avantgarde 1920–1970: Eine Fotodokumentation. Düsseldorf: Kunstmuseum,
1983.
Gutai Pinacotheca. Osaka: The Pinacotheca, 1964.
Jirō Yoshihara: A Centenary Retrospective. Tokyo: Ashai Shimbunsha, 2005.
ZHANG HUAN
Borysevicz, Mathieu. “Zhang Huan, Before and After.” ArtAsiaPacific 30 (2001): 57–61.
Chiu, Melissa, Kong Bu, Eleanor Heartney, and Vishakha Desai. Zhang Huan: Altered States. Milan:
Edizioni; New York: Asia Society, 2007.
Dziewior, Yilmaz, RoseLee Goldberg, and Robert Storr. Zhang Huan. London: Phaidon, 2009.
Kim, Yu Yeon. Zhang Huan. Hamburg: Kunstverein Hamburg, 2003.
Kunitz, Daniel. Zhang Huan: Blessings. New York: Pace Wildenstein, 2008.
Lu, Sheldon H. “Zhang Huan: From Third-World National Allegory to Diasporic Identity
Politics.” In Chinese Modernity and Global Biopolitics: Studies in Literature and Visual Culture, 78–92.
Honolulu: University of Hawaii, 2007.
Shyr, Luna. “In the Studio: Zhang Huan.” Art + Auction (December 2007): 78–86.
77
CHAPTER 9. LANGUAGE AND CONCEPTS
General Studies
Alberro, Alexander, and Patsy Norvell, eds. Recording Conceptual Art. Berkeley: University of
Aliaga, Juan Vicente, and Jose Miguel G. Corez, eds. Arte Conceptual Revisado/Conceptual Art
Revisited. Valencia: Departamento de Escultura, Facultad de Bellas Artes, Universidad de
Valencia, Servicio de Publicaciones, 1990.
L’art conceptuel: une perspective. Organized by Suzanne Page and Claude Gintz. Paris: ARC Musée
d’Art Moderne de la Ville de Paris, 1989.
Ault, Julie. Alternative Art, New York 1965–1985. Minneapolis: University of Minnesota Press,
2003.
Battcock, Gregory, ed., Idea Art: A Critical Anthology. New York: E. P. Dutton, 1973.
———. The New Art: A Critical Anthology. New York: E. P. Dutton, 1966.
Bishop, Claire. Participation. Cambridge, Mass.: MIT Press, 2009.
Buchstablich, Words and Images in Today’s Art. Wuppertal: Von De Heydt Museum, 1991.
Burnham, Jack. Software. New York: Jewish Museum, 1970.
Claura, Michel, and Seth Siegelaub. 18 Paris IV.70. Paris: 66 Rue Mouffetard, 1970.
Crane, Michael, and Mary Stofflet, eds. Correspondence Art: Source Book for the Network of International
Postal Art Activity. San Francisco: Contemporary Arts Press, 1984.
Europe in the Seventies: Aspects of Recent Art. Chicago: Art Institute of Chicago, 1977.
Honnef, Klaus. Concept Art. Cologne: Phaidon, 1971.
Karshan, Donald. Conceptual Art and Conceptual Aspects. New York: Cultural Center, in association
with Fairleigh Dickinson University, 1970.
Kester, Grant H. The One and the Many: Contemporary Collaborative Art in a Global Context. Durham:
Duke University Press, 2011.
Konzept-Kunst. Basel: Kunstmuseum, 1971.
Konzeption/Conception. Leverkusen: Städtisches Museum, 1969.
Latour, Bruno, and Peter Weibel, eds. Making Things Public: Atmospheres of Democracy. Karlsruhe,
Germany: ZKM (Center for Art and Media); Cambridge, Mass.: MIT Press, 2005.
McShine, Kynaston. Information. New York: Museum of Modern Art, 1970.
Meyer, Ursula. Conceptual Art. New York: E. P. Dutton, 1972.
Modes of Address: Language in Art Since 1960. Texts by Tom Hardy, Amy Heard, Ingrid Periz, and
Michael Waldron. New York: Whitney Museum of American Art, Downtown, 1988.
Nittve, Lars. Implosion: A Postmodern Perspective. Stockholm: Moderna Museet, 1988.
Op Losse Schroeven. Amsterdam: Stedelijk Museum, 1969.
Osborne, Peter, ed. Conceptual Art. London: Phaidon, 2002.
Prospect ’69. Düsseldorf: Städtische Kunsthalle, 1969.
Purves, Ted. What We Want Is Free: Generosity and Exchange in Recent Art. Albany, N.Y.: State
University of New York Press, 2004.
Sokolowski, Thomas, and Kellie Jones. Interrogating Identity. New York: Grey Art Gallery, 1991.
Sussman, Elisabeth, and David Joselet, eds. Utopia Post Utopia: Configurations of Nature and Culture in
Recent Sculpture and Photography. Boston: Institute of Contemporary Art, 1988.
Thomas, Karin. Kunst-Praxis Heute: Eine Documentation der Aktuellen Aesthetic. Cologne: DuMont
Schauberg, 1972.
78
Thomas, Lew, ed. Photography and Language. Designed by Donna-Lee Philips. San Francisco:
Camerawork Press, 1976.
Thompson, Nato. Living as Form: Socially Engaged Art from 1991–2011. Cambridge, Mass.: MIT
Press, 2012.
Artists and Writers
VINCENZO AGNETTI
Agnetti, Vincenzo. “Copy from the True Prime Number.” Domus 495–98 (1971).
———. “Do Not Commit Impure Acts.” Azimuth 1 (1959).
———. Libro (particolare) 1978. Milan: Artra Studio, 1979.
AI WEIWEI
Ai, Weiwei. Ai Weiwei’s Blog: Writings, Interviews, and Digital Rants, 2006–2009. Edited and
translated by Lee Ambrozy. Cambridge, Mass.: MIT Press, 2011.
Birnbaum, Daniel, Roger Buergel, and Salome Schnetz. Ai Weiwei: Fairytale, a Reader. Zurich:
JRP/Ringier, 2012.
Merewether, Charles. Ai Weiwei: Under Construction. Sydney: University of New South Wales Press
Ltd., 2008.
Merewether, Charles, and Matt Price, eds. Ai Weiwei, Herzog & de Meuron: Beijing, Venice, London.
London: Albion, 2008.
Smith, Karen, Hans Ulrich Obrist, and Bernard Fibicher. Ai Weiwei. London: Phaidon, 2009.
Zijpp, Sue-an van der, and Mark Wilson, eds. Ai Weiwei. Rotterdam: NAi Publishers, 2008.
FRANCIS ALŸS
Abaroa, Eduardo, Klaus Biesenbach, and Mark Godfrey. Francis Alÿs: A Story of Deception. New
York: Museum of Modern Art, 2010.
Alÿs, Francis. Fabiola: An Investigation. Ed. Lynne Cooke. New York: Dia Art Foundation,
distributed by Yale University Press, 2008.
Ferguson, Russell. Francis Alÿs: Politics of Rehearsal. Los Angeles: Hammer Museum, University of
California Los Angeles; Göttingen: Steidl, 2007.
Lampert, Catherine. Francis Alÿs: The Prophet and the Fly. Madrid: Turner, 2003.
Lütgens, Annelie, and Anja Westermann, eds. Francis Alÿs: Walking Distance from the Studio.
Medina, Cuauhtémoc, Russell Ferguson, and Jean Fisher. Francis Alÿs. London: Phaidon, 2007.
ARAKAWA AND MADELINE GINS
Arakawa, and Madeline Gins. Making Dying Illegal, Architecture against Death: Original to the 21st
Century. New York: Roof Books, 2006.
Delville, Michel. “How Not to Die in Venice: The Art of Arakawa and Madeline Gins.” In
Architectures of Poetry, ed. María Eugenia Díaz Sánchez and Craig Douglas Dworkin, 77–90.
Amsterdam: Rodopi, 2004.
Gins, Madeline. Helen Keller or Arakawa. Santa Fe, N.M.: Burning Books, 1994.
Govan, Michael, ed. Reversible Destiny: Arakawa/Gins. New York: Solomon R. Guggenheim
Museum, distributed by Harry N. Abrams, 1997.
79
Schwartz, Ellen, ed. The Mechanism of Meaning: Work in Progress (1963–1971, 1978) Based on the
Method of Arakawa. New York: Harry N. Abrams, 1979.
ART
&
LANGUAGE
Art & Language. Los Angeles: Los Angeles Institute of Contemporary Art, 1983.
Harrison, Charles. Essays on Art & Language. London: Basil Blackwell, 1991.
JOHN BALDESSARI
Baldessari, John. The Telephone Book: (With Pearls). [Belgium]: Imschoot, Uitgevers For IC, 1988.
Hurowitz, Sharon Coplan. The Prints of John Baldessari: A Catalogue Raisonné 1971–2007. New York:
Hudson Hills Press, 2010.
John Baldessari. Essays by Marcia Tucker and Robert Pincus-Witten, interview by Nancy Drew.
New York: New Museum, 1981.
Van Bruggen, Coosje. John Baldessari. New York: Rizzoli, 1990.
ROBERT BARRY
Morgan, Robert C. Robert Barry: An Artist Book. Ed. Erich Franz. Bielefeld: K. Kerber, 1986.
BERND AND HILLA BECHER
Becher, Bernd, and Hilla Becher. Industrial Landscapes. Cambridge, Mass.: MIT Press, 2002.
———. Typologies of Industrial Buildings. Cambridge, Mass.: MIT Press, 2004.
———. Water Towers. Cambridge, Mass.: MIT Press, 1988.
Lange, Susanne. Bernd and Hilla Becher: Life and Work. Cambridge, Mass.: MIT Press, 2006.
Ständige Vertretung der Bundesrepublik Deutschland, ed. August Sander: Fotografien von 1906–
1945; Bernard und Hilla Becher: Fotografien von 1961–1980. Cologne: Rheinland-Verlag, 1980.
MEL BOCHNER
Malinowski, Patricia, ed. Mel Bochner, 1973–1985. Organized by Elaine A. King, interview by
Charles Stuckey. Pittsburgh: Carnegie-Mellon University Press; New York: Harper and Row,
1985.
Richardson, Brenda. Mel Bochner: Number and Shape. Baltimore: Baltimore Museum of Art, 1976.
AA BRONSON
Bayer, Fern, ed. General Idea: Editions 1969–1994. Mississauga, Canada: Blackwood Gallery, 2003.
Bayer, Fern, and Christina Ritchie. The Search for the Spirit: General Idea, 1968–1975. Toronto: Art
Gallery of Ontario, 1997.
General Idea, Multiples—Catalogue Raisonné: Multiples and Prints, 1967–1993. Toronto: S. L. Simpson
Gallery, 1993.
Schwartzman, Allan. General Idea: The AIDS Project. Toronto: Gershon Iskowitz Foundation,
1989.
Staniszewski, Marianne. Test Pattern. Tokyo: SPIRAL, Wacoal Art Center, 1988.
Trescher, Stephan. General Idea: die kanadische Künstlergruppe. Nuremberg: Verlag für Moderne
Kunst, 1996.
80
MARCEL BROODTHAERS
Borgemeister, Rainer, et al. Broodthaers: Writings, Interviews, Photographs. Ed. Benjamin H. D.
Buchloh. Cambridge, Mass.: MIT Press, 1988.
“Broodthaers.” Special issue, October 42 (Fall 1987).
Marcel Broodthaers. London: Tate Gallery, 1980.
Marcel Broodthaers. Introduction by Marge Goldwater, essays by Michael Compton et al.
Minneapolis: Walker Art Center; New York: Rizzoli, 1989.
Marcel Broodthaers, “L’Angelus de Daumier.” Paris: Centre National d’Art Contemporain, 1975.
STANLEY BROUWN
Art & Project Bulletin (Amsterdam) 8 (1969).
Art & Project Bulletin (Amsterdam) 11 (1969).
Brouwn, Stanley. This Way Brouwn: 25-2-61 : 26-2-61. Cologne: König, 1971.
100 This-Way-Brouwn-Problems for Computer I.B.M. 360 Model 95. Cologne: König, 1970.
Stanley Brouwn. Venice Biennale. Amsterdam: Stanley Brouwn and the Visual Arts Office for
Abroad, The Netherlands, 1982.
VICTOR BURGIN
Burgin, Victor. Between. New York and London: Basil Blackwell and Institute of Contemporary
Arts, 1986.
———. The End of Art Theory: Criticism and Postmodernity. Atlantic Highlands, N.J.: Humanities
Press International, 1986.
———. “Photography, Phantasy, Function.” In Burgin, ed., Thinking Photography. London:
Macmillan, 1982.
———. Work and Commentary. London: Latimer New Dimensions, 1973.
Victor Burgin. Eindhoven: Van Abbemuseum, 1977.
CRITICAL ART ENSEMBLE
Critical Art Ensemble. “Body Invasion and Resistant Cultural Practice.” Art Journal 59, no. 3 (Fall
2000): 48–50.
———. Digital Resistance: Explorations in Tactical Media. Brooklyn: Autonomedia, 2001.
———. “Observations on Collective Cultural Action.” Art Journal 57, no. 2 (summer 1998): 72–
85.
———. “Tactical Media at Dusk?” Third Text 22, no. 5 (September 2008): 535–48.
Kluitenberg, Eric. “Eine erhabene Begegnung: Bemerkungen zur Kunst und zum Terrorismus.”
Kunstforum International 185 (May/June 2007): 80–93.
Sholette, Gregory. “Disciplining the Avant-Garde: The United States versus the Critical Art
Ensemble.” CIRCA: Contemporary Visual Culture in Ireland, no. 112 (Summer 2005): 50–59.
Simmons, Don. “Deviant Discourses: An Interview with Critical Art Ensemble.” Parachute, no.
107 (July/September 2002): 124–31.
MARCEL DUCHAMP
Baruchello, Gianfranco, and Henry Martin. Why Duchamp: An Essay on Aesthetic Impact. New Paltz,
N.Y.: McPherson, 1985.
81
Bonk, Ecke. Marcel Duchamp, the Box in a Valise: De ou par Marcel Duchamp ou Rose Selavy: Inventory of
an Edition. Trans. David Britt. New York: Rizzoli, 1989.
Cabanne, Pierre. Dialogues with Marcel Duchamp. Trans. Ron Padgett. New York: Da Capo Press,
1987.
Clair, Jean. Marcel Duchamp: Catalogue raisonné. Paris: Centre Georges Pompidou, Musée National
d’Art Moderne, 1977.
De Duve, Thierry, ed. The Definitively Unfinished Marcel Duchamp. Halifax: Nova Scotia College of
Art and Design; Cambridge, Mass.: MIT Press, 1991.
Harnoncourt, Anne d’, and Kynaston McShine, eds. Marcel Duchamp. New York: Museum of
Modern Art; Greenwich, Conn.: New York Graphic Society, 1973.
Paz, Octavio. Marcel Duchamp: Appearance Stripped Bare. Trans. Rachel Phillips and Donald
Gardner. New York: Arcade, 1990.
HERVÉ FISCHER
Fischer, Hervé. Citoyens/sculpteurs: Art et sociologie interrogative. Paris: SEGEDO, 1981.
———. L’histoire de l’art est terminée. Paris: Balland, 1981.
———. Théorie de l’art sociologique. Paris: Casterman, 1977.
Hervé Fischer. Montreal: Musée d’Art Contemporain, 1981.
HENRY FLYNT
Flynt, Henry. Blueprint for a Higher Civilization. Milan: Multhipla Edizioni, 1975.
———. Unpublished writings on concept art and other subjects. Archiv Hanns, Staatsgalerie,
Stuttgart.
Moore, Barbara, and Jon Hendricks. Henry Flynt: Fragments and Reconstructions from a Destroyed
Oeuvre, 1959–1963. New York: Backworks, 1982.
FÉLIX GONZÁLEZ - TORRES
Ault, Julie, ed. Félix González-Torres. Göttingen, Germany: Steidl, 2006.
Elger, Dietmar. Félix González-Torres. Ostfildern-Ruit, Germany: Hatje Cantz, 1997.
Ho, Christopher. “Within and Beyond: Félix González-Torres’s ‘Crowd.’” PAJ 23, no. 1 (Jan.
2001): 1–17.
Spector, Nancy. Félix González-Torres. New York: Solomon R. Guggenheim Museum, 1995.
———, ed. Félix González-Torres: America: United States Pavilion, 52nd Venice Biennale, 2007. New
York: Solomon R. Guggenheim Museum, 2007.
DAN GRAHAM
Dan Graham: Pavillions. Ed. Jean-Hubert Martin, trans. Carolyn Breakspear, Waldo von
Fellenberg, and Marianne Schmidt-Miescher. Bern: Kunsthalle, 1983.
Graham, Dan. Rock My Religion, 1965–1990. Ed. Brian Wallis. Cambridge, Mass.: MIT Press,
1993.
———. Video, Architecture, Television: Writings on Video and Video Works, 1970–1978. Ed. Benjamin
H. D. Buchloh, contributions by Michael Asher and Dara Birnbaum. Halifax: Press of the
Nova Scotia College of Art and Design; New York: New York University Press, 1979.
Simpson, Bennett, and Chrissie Iles, Dan Graham: Beyond. Los Angeles: Museum of Contemporary
Art; Cambridge, Mass.: MIT Press, 2009.
82
GROUP MATERIAL
Ashford, Doug, Julie Ault, and Sabrina Locks. Show & Tell: A Chronicle of Group Material. London:
Four Corners Books, 2010.
Brian Wallis, ed. Democracy: A Project by Group Material. New York: New Press, 1998.
HANS HAACKE
Deutsche, Rosalyn, et al. Hans Haacke: Unfinished Business. Ed. Brian Wallis. New York: New
Museum; Cambridge, Mass.: MIT Press, 1986.
Haacke, Hans. Framing and Being Framed: 7 Works, 1970–75. Essays by Jack Burnham, Howard S.
Becker, and John Walton. Halifax: Press of the Nova Scotia College of Art and Design; New
York: New York University Press, 1975.
Hans Haacke, artfairismes. Paris: Centre Georges Pompidou, Musée National d’Art Moderne, 1989.
Hans Haacke, Bodenlos. Ed. Klaus Bussman and Florian Matzner, trans. Heather Eastes et al.
Hans Haacke, For Real: Works 1959–2006. Düsseldorf: Richter, 2006.
JENNY HOLZER
Auping, Michael. Jenny Holzer. New York: Universe, 1992.
Holzer, Jenny, and Peter Nadin. Eating Through Living. New York: Tanam Press, 1981.
Jenny Holzer: Signs. Des Moines, Iowa: Des Moines Art Center, 1986.
Smith, Elizabeth. Jenny Holzer: PROTECT PROTECT. Ostfildern-Ruit, Germany: Hatje Cantz;
Chicago: Museum of Contemporary Art, 2008.
Waldman, Diane. Jenny Holzer. New York: Solomon R. Guggenheim Museum and Harry N.
Abrams, 1989.
DOUGLAS HUEBLER
Huebler, Douglas. Crocodile Tears (brief fictions re-sounding from the proposal in Variable Piece #70:1971
“to photographically document the existence of everyone alive”). Buffalo, N.Y.: Albright-Knox Gallery
and CEPA Gallery, 1985.
Lippard, Lucy R., et al. Douglas Huebler. Eindhoven: Van Abbemuseum, 1979.
Onorato, Ronald. Douglas Huebler. La Jolla, Calif.: La Jolla Museum of Contemporary Art, 1988.
MARY KELLY
Kelly, Mary. Interim. Edinburgh: Fruit-market Gallery and Riverside Studios, 1985.
———. “On Sexual Politics and Art.” In Art and Politics. Ed. B. Taylor. Winchester: Winchester
School of Art, 1980.
———. Post Partum Document. London: Routledge and Kegan, 1983.
JOSEPH KOSUTH
Damsch-Wiehager, Renate, ed. Joseph Kosuth: No Thing, No Self, No Form, No Principle (Was Certain).
Freedberg, David. The Play of the Unmentionable: An Installation by Joseph Kosuth at the Brooklyn
Museum. New York: New Press with Brooklyn Museum, 1992.
83
Kosuth, Joseph. Art After Philosophy and After: Collected Writings, 1966–1990. Ed. and with an
introduction by Gabriele Guercio. Foreword by Jean-François Lyotard. Cambridge, Mass.:
MIT Press, 1991.
Ramsden, Mel. Joseph Kosuth: Art Investigations and “Problematics” Since 1965. Lucerne:
Kunstmuseum, 1973.
JOHN LATHAM
John Latham: In Focus. London: Tate Britain, 2005.
John Latham: Kunst nach der Physik. Stuttgart: Staatsgalerie, 1991.
John Latham: State of Mind. Düsseldorf: Städtische Kunsthalle, 1975.
Latham, John. Event Structure: Approach to a Basic Contradiction. Calgary: Syntax, 1981.
Walker, John A. John Latham: The Incidental Person—his art and ideas. London: Middlesex University
Press, 1995.
SOL LEWITT
Lippard, Lucy R., Bernice Rose, and Robert Rosenblum. Sol LeWitt. Ed. and with an introduction
by Alicia Legg. New York: Museum of Modern Art, 1978.
Singer, Susana, ed. Sol LeWitt: Wall Drawings 1984–1988. Bern: Kunsthalle, 1989.
Sol LeWitt: Drawings, 1958–1992. The Hague: Haags Gemeentemuseum, 1992.
CILDO MEIRELES
Brett, Guy, ed. Cildo Meireles. New York: D.A.P./Distributed Art Publishers, 2008.
Congdon, Kristin G., and Kara Kelley Hallmark. “Cildo Meireles: Brazilian Conceptual and
Interactive Sculpture and Installation Artist.” In Artists from Latin American Cultures: A
Biographical Dictionary, 173–76. Westport, Conn.: Greenwood Press, 2002.
Farmer, John A. “Through the Labyrinth: An Interview with Cildo Meireles.” Art Journal 59, no.
3 (2000): 35–43.
Herkenhoff, Paulo, Gerardo Mosquera, and Dan Cameron. Cildo Meireles. London: Phaidon,
1999.
Ramírez, Mari C., and Beverly Adams. Encounters/Displacements: Luis Camnitzer, Alfredo Jaar, Cildo
Meireles. Austin: Archer M. Huntington Art Gallery, College of Fine Arts, University of Texas,
1992.
NEUE SLOWENISCHE KUNST
Arns, Inke. Irwin: Retroprincip 1983–2003. Frankfurt am Main: Revolver, Archiv für aktuelle
Kunst, 2003.
———. NSK: eine Analyse ihrer künstlerischen Strategien im Kontext der 1980er Jahre in Yugoslavien.
Regensburg, Germany: Museum Ostdeutsche Galerie, 2002.
Monroe, Alexei. Interrogation Machine: Laibach and NSK. Cambridge, Mass.: MIT Press, 2005.
NSK, ed. Neue Slowenische Kunst. Trans. Marjan Golobic. Los Angeles: Amok Books, 1991.
Zižek, Slavoj. “Why Are Laibach and NSK Not Fascists?” In Primary Documents: A Sourcebook for
Eastern and Central European Art since the 1950s, ed. Laura Hoptman, 285–88. Cambridge,
84
ZORAN POPOVIĆ
Popovi+, Zoran. Borba u New Yorku. Urednik Mica Basicevic, fotosi Nebojsa Cankovic. Zagreb:
Centar za fotografiju, film i TV, 1977.
WALID RAAD
Borchardt-Hume, Achim, ed. Walid Ra’ad. London: Whitechapel Gallery, 2010.
Centre pour l’Image Contemporaine. 9th Biennial of the Moving Image: Laurie Anderson, Emmanuelle
Antille, Atlas Group (Presented by Walid Ra’ad). Saint-Gervais, Geneva: Centre pour l’Image
Contemporaine, 2002.
Chouteau, Hélène, and Françoise Piron, eds. The Truth Will Be Known When the Last Witness Is
Dead: Documentation from the Fakhouri File in the Atlas Group Archive. Cologne: König, 2004.
Gilbert, Alan. “Walid Ra’ad.” Bomb Magazine 81 (Fall 2002). www.bombsite.com/issues/81/
articles/2504.
Nakas, Kassandra, and Britta Schmitz, eds. The Atlas Group (1989–2004): A Project by Walid Raad.
Cologne: König, 2006.
SETH SIEGELAUB
Mattelart, Armand, and Seth Siegelaub, eds. Communication and Class Struggle: An Anthology in 2
Volumes. New York: International General; Bagnolet, France: International Mass Media
Research Center, 1979–83.
KLAUS STAECK
Klaus Staeck, Ruckblick in Sachen Kunst und Politik. Catalog by Georg Bussman. Frankfurt:
Frankfurter Kunstverein, 1978.
Staeck, Klaus. Staeck’s Umwelt: Texte und politische Plakate. Göttingen: Steidl, 1984.
Staeck, Klaus, ed. Genommene Kurven: 20 Jahre Edition Staeck. Heidelberg: Die Editions, 1985.
———. Ohne die Rose tun wir’s nicht für Joseph Beuys. Heidelberg: Edition Staeck, 1986.
Staeck, Klaus, Heinrich Böll, and Freimut Duve. Auviel Pazifismus? Reinbek bei Hamburg:
Rowohlt, 1981.
CARRIE MAE WEEMS
Cahan, Susan, and Pamela R. Metzger. Carrie Mae Weems: The Louisiana Project. New Orleans:
Newcomb Art Gallery, 2004.
Kirsh, Andrea, and Susan Fisher Sterling. Carrie Mae Weems. Washington, D.C.: National Museum
of Women in the Arts, 1993.
McInnes, Mary Drach. Telling Histories: Installations by Ellen Rothenberg and Carrie Mae Weems. Seattle:
University of Washington Press, 1999.
Patterson, Vivian, ed. Carrie Mae Weems: The Hampton Project. New York: Aperture, 2000.
Piché, Thomas, and Thelma Golden. Carrie Mae Weems: Recent Work, 1992–1998. New York:
George Braziller, 1998.
LAWRENCE WEINER
Bloem, Marja, ed. Lawrence Weiner: Works from the Beginning of the Sixties Towards the End of the
Eighties. Amsterdam: Stedelijk Museum, 1989.
85
De Salvo, Donna, and Ann Goldstein, eds. Lawrence Weiner: As Far As The Eye Can See. Los
Angeles: Museum of Contemporary Art; New York: Whitney Museum of American Art,
2007.
Displacement: Lawrence Weiner. New York: DIA Center for the Arts, 1991.
Fuchs, R. H. Lawrence Weiner: A Selection of Works with Commentary = een Keuze uit zijn Werk met
commentaar. Eindhoven: Van Abbemuseum, 1976.
Schwarz, Dieter. Lawrence Weiner, Books 1968–1989: Catalogue Raisonné. Cologne: König, 1989.
Weiner, Lawrence. Werke & Rekonstruktionen. Ed. Jean-Hubert Martin, trans. François
Grundbacher, Pam Leibundgut, and Max Wechsler. Bern: Kunsthalle, 1983.
XU BING
Erickson, Britta. The Art of Xu Bing: Words without Meaning, Meaning without Words. Washington,
D.C.: Arthur M. Sackler Gallery, distributed by University of Washington Press, 2001.
———. Three Installations by Xu Bing. Madison: Elvehjem Museum of Art, University of
Wisconsin-Madison, distributed by University of Wisconsin Press, 1991.
Silbergeld, Jerome, and Dora C. Y. Ching, eds. Persistence/Transformation: Text as Image in the Art of
Xu Bing. Princeton, N.J.: P. Y. and Kinmay W. Tang Center for East Asian Art, Department
of Art and Archaeology, Princeton University, distributed by Princeton University Press,
2006.
Tomii, Reiko, ed. Xu Bing: Tobacco Project, Duke/Shanghai/Virginia, 1999–2011. Richmond: Virginia
Museum of Fine Arts, distributed by University of Virginia Press, 2011.
Tsao, Hsingyuan, and Roger T. Ames. Xu Bing and Contemporary Chinese Art: Cultural and
Philosophical Reflections. Albany, N.Y.: SUNY Press, 2011.
Zhang, Zhaohui. Where Heaven and Earth Meet: Xu Bing & Cai Guo-Qiang. Hong Kong: Timezone
8, distributed by D.A.P./Distributed Art Publishers, 2005.
86

bibliography - University of California Press

Transcription

Similar documents

Jahresbericht 2013 - Schulen Riedenburg

Bio - Generali Foundation

Untitled - Hotel Pupik

in the gorges of the balkans in den schluchten des

serb ia frequent ly askedquest io ns

Handzettel Spielemesse 08

Küratör|Curator Ekmel Ertan |Co-curator Darko Fritz

Biography - Barbara Gross Galerie

The Dialectic of the Dance - ARIEL: A Review of International