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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. Minneapolis: University of Minnesota Press, 1998. 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. BIBLIOGRAPHY for Stiles and Selz, Theories and Documents of Contemporary Art, 2nd edition (UC Press, 2012) 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. Cambridge, Mass.: MIT Press, 1990. 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 California Press, 2001. ––––––. 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: University of Chicago Press, 1987. 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. BIBLIOGRAPHY for Stiles and Selz, Theories and Documents of Contemporary Art, 2nd edition (UC Press, 2012) 3 Filipovic, Elena, Marieke van Hal, and Solveig Osvestebo, eds. The Biennial Reader. Ostfildern- Ruit: 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 California Press, 1983. 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
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  • WINTER 2018 Rainer Maria Rilke Poems from the Book of Hours

    WINTER 2018 Rainer Maria Rilke Poems from the Book of Hours

    Alexander Kluge Temple of the Scapegoat: Opera Stories • Translated from the German by Isabel Cole and Donna Stonecipher • With photographs Revolving around the opera, these tales are an “archaeological excavation of the slag-heaps of our collective existence” (W. G. Sebald) Combining fact and fiction, each of the one hundred and two tales of Al- exander Kluge’s Temple of the Scapegoat (dotted with photos of famous PBK NDP 1395 operas and their stars) compresses a lifetime of feeling and thought: Kluge is deeply engaged with the opera and an inventive wellspring of narrative FICTION JANUARY notions. The titles of his stories suggest his many turns of mind: “Total Com- mitment,” “Freedom,” “Reality Outrivals Theater,” “The Correct Slowing-Down 5 X 8" 288pp at the Transitional Point Between Terror and an Inkling of Freedom,” “A Crucial Character (Among Persons None of Whom Are Who They Think They Are),” ISBN 978-0-8112-2748-3 and “Deadly Vocal Power vs. Generosity in Opera.” An opera, Kluge says, is a blast furnace of the soul, telling of the great singer Leonard Warren who died EBK 978-0-8112-2749-0 onstage, having literally sung his heart out. Kluge introduces a Tibetan scholar who realizes that opera “is about comprehension and passion. The two never 36 CQ TERRITORY W go together. Passion overwhelms comprehension. Comprehension kills pas- sion. This appears to be the essence of all operas, says Huang Tse-we: she US $18.95 CAN $24.95 also comes to understand that female roles face the harshest fates. Compared to the mass of soprano victims (out of 86,000 operas, 64,000 end with the death of the soprano), the sacrifice of tenors is small (out of 86,000 operas ALSO BY ALEXANDER KLUGE: 1,143 tenors are a write-off).” CINEMA STORIES “Alexander Kluge, that most enlightened of writers.” –W.