UNIVERSITY OF SOUTHERN QUEENSLAND

FACULTY OF ARTS

Relics of All Things Precious: Curiosity and Wonder in Artists’ Collections

A dissertation submitted by

Tiffany Shafran

For the award of

DOCTOR OF PHILOSOPHY

2012

SUPERVISORS:

Associate Professor Laurie Johnson Dr. David Akenson

Certification of Dissertation

I certify that the ideas, experimental work, results, analyses, software, and conclusions reported in this dissertation are entirely my own effort, except where otherwise acknowledged. I also certify that the work is original and has not previously been submitted for any other award, except where otherwise acknowledged.

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Signature of Candidate Date

Endorsement:

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Signature of Supervisor Date

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Abstract

This thesis proposes that there are specific artists whose practices utilise a collecting methodology as a critical engagement with the world. It argues that even though these artists appear to fit into a museum/archive system, they actually sit parallel to this system. Furthermore, the strategies that they employ navigate the physical, conscious, and unconscious world, creating new directions in collecting to surpass historical models. Therein the thesis examines the misinterpretation of how artists’ collections are situated within a museum or private collection system, proposing instead that these collections should be viewed as an artistic strategy and process for making sense of the world through the repositioning of found and collected objects.

This dissertation will focus primarily on the model of the Wunderkammer, as it represents a historical model of collecting that incorporates a vast array of intuitive and conceptual intentions that sit parallel to the traditional museum archive and collection system. It is within this framework that artists create collections that are concerned with aspects of curiosity, chance, wandering and discovery, which form the basis of their artwork. This strategy was first employed by early Modernist art movements such as Dada and Surrealism to approach the world in a new way, however, this thesis demonstrates that this strategy has become a significant concept in contemporary artistic practce, instrumental in the construction of artworks that challenge the historical, political, cultural, and social narratives that the archival structure provides.

Relics of All Things Precious proposes that collecting is a strategy employed by contemporary artists in the creation of artwork that seeks to make intuitive, marginal, subjective, forgotten, banal, and irrational experiences and events significant by engaging with the historical nature of the archive. These collections have a specific narrative function that represents a synthesis between collective and individual histories, sensible intuition and scientific inquiry, memory and amnesia, fact and fiction, and the material and immaterial. It is through these various strategies that artists interpret the world, creating new work from visual, conceptual, physical and emotional fragments, which in turn makes artists’ collections different from more traditional and historical collecting models.

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Acknowledgements

I wish to thank my supervisors Associate Professor Laurie Johnson and Dr. David Akenson for their support, guidance, and feedback during my candidature. For their continued support and friendship, I would like to thank my colleagues in the Visual Art Department. I also wish to thank the Public Memory Research Cluster and the Faculty of Arts Research Committee for assisting me during this research. This project was also undertaken with the support of an Australian Postgraduate Award scholarship, for which I am also extremely thankful.

I would also like to express my deep appreciation to the artist for her generosity, time, and insight into her artistic practice.

Lastly I wish to thank my friends and family for their unconditional love, support, and patience during the past three years. This has given me the strength to see the project through to completion. My sincere gratitude to you all.

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In memory of my father…

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Table of Contents

Introduction – Relics of All Things Precious: Curiosity and Wonder in 1 Artists’ Collections Project description 1 Purpose of the study 2 Generalised understanding of the field – What is a Collection? 3 History of artists’ collections 5 Literature review and scope of project 16 Terms specific to the argument 25 Statement of the argument 28 Structure and methodology 30 Conclusion 34

Chapter One – Curious Spaces: Travel, discovery, and collections 35 The encyclopaedic world: Systems of subjectivity in the cabinet of curiosities 37 The vanishing frontier: Travel and the souvenir 50 Mapping spaces of interiority as the new frontier in the twentieth century 56 Conclusion 65

Chapter Two – The Architecture of Collecting: The artist’s collection as a 67 site of interrelation On Architecture – structure and site 69 The sites of the Wunderkammer, the museum and the artist’s collection 71 The Box 81 The Tableau 87 The Archive 96 Conclusion 103

Chapter Three – Artists’ Relics: The narrative condition of the art object 105 Witnessing experience: Artistic performance and the object 106 Found object photograph as souvenir 117 Relics of everyday life 124 A narrative addressed to oneself – the artist’s proposal and viewer’s interpretation 131 Symbolic function of objects and the narrative metaphor of the collection 137 Conclusion 141

Chapter Four – Truth is Stanger than Fiction: Rendering the familiar 143 unfamiliar as a strategy of discovery The Wunderkammer Model 145 Scientific and intuitive enquiry 152 Discovery and the material and textual condition of curiosity 160 Serendipity – an active search for the chance encounter 166 The strategy of wandering 170 Narratives of ambiguity – the chronotope and delightful incongruities 174 Conclusion 180

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Conclusion – Unclassifying the Classified: Curiosity as an intuitive methodology within artists’ collections 182

Bibliography 193

Figure Reference List 221

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Table of Figures

Figure Description Page Fig. 1 Charles Willson Peale, The Artist in His Museum, (1822) 6 Fig. 2 Pablo Picasso, Les Demoiselles d’Avignon, (1907) © Succession Picasso/ ARS, New York 6 Fig. 3 Unknown, Gabon, Fang Ngil mask, (19th c) 6 Fig. 4 André Breton, Mur de l’atelier d’André Breton, (1922 – 1966) © ARS, New York & ADAGP, Paris 7 Fig. 5 André Breton, Poème-Objet, (1935) © ARS, New York & ADAGP, Paris 7 Fig. 6 Gerhard Richter, Atlas Sheet 13, (1964) © Gerhard Richter 7 Fig. 7 Gerhard Richter, Woman Descending the Staircase (Frau, die Treppe herabgehend), (1965) © Gerhard Richter 7 Fig. 8 Marcel Duchamp, Fountain, (1917), © Succession Marcel Duchamp/ARS, New York, ADAGP, Paris & DACS, London 8 Fig. 9 Kurt Schwitters, Mz 410 irgendsowas (Something or Other), (1922) © Kurt and Ernst Schwitters Foundation/ VG Bild-Kunst, Bonn & DACS, London 8 Fig. 10 Hannah Höch, Bürgerliches Brautpaar (Streit)(Bourgeois Wedding Couple [Quarrel]), (1919) © VG Bild-Kunst, Bonn & ARS, New York 8 Fig. 11 Daniel Spoerri, Repas hongrois, tableau- piège, (Hungarian Meal, Trap-picture), (1963) © Daniel Spoerri / DACS, London 10 Fig. 12 Arman, Poubelle des Halles, (1961) © Arman Studio 10 Fig. 13 Claes Oldenburg, The Store, (1961) © Claes Oldenburg 10 Fig. 14 Claes Oldenburg, Mouse Museum, interior view, (1965 – 77) © Claes Oldenburg 11 Fig. 15 Claes Oldenburg, Mouse Museum, exterior view, (1965 – 77) © Claes Oldenburg 11 Fig. 16 Herbert Distel, Das Schubladenmuseum (Museum of Drawers), (1970 – 77) © Herbert Distel, Bern 12 Fig. 17 Herbert Distel, Das Schubladenmuseum (Museum of Drawers), (drawers nos. 1 & 5), (1970 – 77) © Herbert Distel, Bern 12

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Fig. 18 Marcel Broodthaers, Musee d’Art Moderne, Departement des Aigles, Section des Figures (Der Adler vom Oligozän bis Heute) (Figures Section [The Eagle from the Oligocene to the Present]), detail, (1972) © Broodthaers Estate 12 Fig. 19 Andy Warhol, Raid the Icebox I with Andy Warhol (installation detail: shoes), The Museum of Art, Rhode Island School of Design, (1970) © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York & DACS, London 13 Fig. 20 Andy Warhol, Raid the Icebox I with Andy Warhol, (installation detail: Windsor chairs), The Museum of Art, Rhode Island School of Design, (1970) © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York & DACS, London 13 Fig. 21 Joseph Kosuth, The Brooklyn Museum Collection: The Play of the Unmentionable, installation detail, the Brooklyn Museum, New York, (1990) © Joseph Kosuth/ ARS, New York 14 Fig. 22 Fred Wilson, Mining the Museum, Cabinet Making, installation detail, the Maryland Historical Society, Baltimore, (1992) © Fred Wilson 14 Fig. 23 Michael Johansson, Green Piece, (2009), © Michael Johansson 14 Fig. 24 Donald Judd, , (1971) © Donald Judd Foundation/ VAGA, New York 14 Fig. 25 Ferrante Imperato, Dell’Historia Naturale, (1599) 40 Fig. 26 Frans Francken II, Kunst- und Raritätenkammer (Chamber of Art and Curiosities), (1636) 40 Fig. 27 Balthasar van der Ast, Still Life with Fruit and Flowers (c.1620 – 21) 41 Fig. 28 Mike Kelley Arena #10 (Dogs), (1990) © Mike Kelley 41 Fig. 29 Flemish School, Cognoscenti in a Room Hung with Pictures, (c.1620) 45 Fig. 30 Domenico Remps, A Cabinet of Curiosity, (c.1690) 45 Fig. 31 Levinus Vincent, Wondertooneel der Natuur (Wonder Theatre of Nature) (Tome 2), (1715) 49 Fig. 32 Eadweard Muybridge, Man on a Horse (Plate 617) from Animal Locomotion, (1887) 51 Fig. 33 Eadweard Muybridge, Mirror Lake, Valley of the Yosemite, (1872) 51

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Fig. 34 Eadweard Muybridge, Contemplation Rock, Glacier Point (1385), (1872) 52 Fig. 35 Eugène Atget, Courtyard, 22 rue Quincampoix, (1912) 54 Fig. 36 Eugène Atget, Fête du Trône, (1925) 54 Fig. 37 Eadweard Muybridge, Panoramic San Francisco from California Street Hill, (1877) 54 Fig. 38 Bernd and Hilla Becher, Water Towers (Wassertürme), (1980) © Bernd & Hilla Becher 55 Fig. 39 George Grosz and John Heartfield, Leben und treiben im Universal-, 12 Unr 5 Mittags (Life and Work in Universal City, 12:05 Noon), (1919) © Estate of George Grosz/ VAGA, New York & Estate of John Heartfield / ARS, New York & VG Bild-Kunst, Bonn 57 Fig. 40 Hannah Höch, Schnitt mit dem Küchenmesser Dada Durch die Letzte Weimarer Bierbauchkultureepochie Deutschlands (Cut with the Kitchen Knife Dada through the Last Weimar Beer-Belly Cultural Epoch of Germany), (1919 – 20) © VG Bild-Kunst, Bonn & ARS, New York 57 Fig. 41 Kurt Schwitters, Opened by Customs (1937 – 38) © Kurt and Ernst Schwitters Foundation/ VG Bild-Kunst, Bonn & DACS, London 59 Fig. 42 Kurt Schwitters, performance of Die Ursonate, photograph by El Lissizitsky (1922 - 23) © Kurt and Ernst Schwitters Foundation/ VG Bild-Kunst, Bonn & DACS, London 59 Fig. 43 Kurt Schwitters, Hannover Merzbau Cathedral of Erotic Misery, (c.1930) © Kurt and Ernst Schwitters Foundation/ VG Bild- Kunst, Bonn & DACS, London 59 Fig. 44 Max Ernst, Fin et Suite from La Femme 100 têtes (Hundred Headless Woman), (1930) © Estate of Max Ernst/ ADAGP, Paris & ARS, New York 62 Fig. 45 Salvador Dalí, Aphrodisiac Telephone, (1936) © Salvador Dali, Gala-Salvador Dali Foundation/ DACS, London 62 Fig. 46 , Suite Vénitienne, (1980) © Sophie Calle/ ADAGP, Paris & ARS, New York 64 Fig. 47 Francis Alÿs in collaboration with Felipe Sanabria, The Collector

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(Colector) Mexico City, (1991) © Francis Alÿs 64 Fig. 48 Claudio Costa, L’Ineffabille Circolazione Dell’Umano (The Ineffable Circulation of Humanity), (1981) © ARS, New York & SIAE, Rome 70 Fig. 49 Ole Worm, Museum Wormianum, (1655) 72 Fig. 50 Pitt Rivers Museum, University of Oxford, interior view, Oxford 73 Fig. 51 The Metropolitan Museum of Art, interior view, Gallery of British Romanticism, New York 73 Fig. 52 Queensland Art Gallery | Gallery of Modern Art, interior view, Brisbane 74 Fig. 53 Louvre, interior view, Paris 74 Fig. 54 Candida Höfer, Museum für Völkerkunde, Dresden 1, (1999) © Candida Höfer 75 Fig. 55 Robert Smithson, (1970) © Estate of Robert Smithson, VAGA, New York & DACS, London 78 Fig. 56 Michael Heizer, Rift, (1968) © Michael Heizer 78 Fig. 57 Kansas City Sculpture at the Park Nelson-Atkins Museum of Art in Kansas City, Missouri with Claes Oldenburg and Coosje van Bruggen, Shuttlecock (1 of 4), (1994) © Claes Oldenburg & Coosje van Bruggen 79 Fig. 58 The , Marfa, Texas, with Donald Judd, Concrete Works, (1980 – 84) © Donald Judd Foundation/ VAGA, New York 79 Fig. 59 Peter Blake, A Museum for Myself, (1982) © Peter Blake/ DACS, London 81 Fig. 60 Claudio Costa, Museum of Man, (1974) © ARS, New York & SIAE, Rome 83 Fig. 61 Allan McCollum, Lost Objects, (1991), © Allan McCollum & Carnegie Museum of Art, Pittsburgh 83 Fig. 62 Marcel Broodthaers, Musée d’Art Moderne, Département des Aigles, (1968 – 1972) © Broodthaers Estate 84 Fig. 63 Marcel Broodthaers, Musée d’Art Moderne, Département des Aigles, Section des Figures, detail, (1972) © Broodthaers Estate 84 Fig. 64 Barbara Bloom, The Collections of Barbara Bloom, installation view, Martin Gropius Bau, Berlin, (2008) © Barbara Bloom 85

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Fig. 65 Barbara Bloom, Three Chairs from the Reign of Narcissism, (1989) © Barbara Bloom 85 Fig. 66 Thomas Hirschhorn, It’s Burning Everywhere, installation detail, Dundee Contemporary Arts, Scotland, (2009) © Thomas Hirschhorn/ VG Bild-Kunst, Bonn 86 Fig. 67 Thomas Hirschhorn, It’s Burning Everywhere, installation detail, Kunsthalle Mannheim, Germany, (2011) © Thomas Hirschhorn/ VG Bild-Kunst, Bonn 86 Fig. 68 Hiroshi Sugimoto, Devonian Period, (1992) © Hiroshi Sugimoto 88 Fig. 69 Louise Lawler, Objects, (1984) © Louise Lawler 89 Fig. 70 Richard Hamilton, Just What Is It that Makes Today’s Homes So Different, So Appealing?, (1956) © Richard Hamilton/ ARS, New York 90 Fig. 71 Martha Rosler, Photo – op, Bringing the War Home: House Beautiful, (2004) © Martha Rosler 90 Fig. 72 Gerhard Richter, 192 Colours, (1966) © Gerhard Richter 92 Fig. 73 Agnes Martin, Wood, (1964) © Estate of Agnes Martin/ ARS, New York 92 Fig. 74 Ellen Gallagher, Soma, (1998) © Ellen Gallagher 93 Fig. 75 Mark Bradford, Black Venus, (2005) © Mark Bradford 93 Fig. 76 Jackson Pollock, Autumn Rhythm (Number 30), (1950) © The Pollock-Krasner Foundation/ ARS, New York 94 Fig. 77 Daniel Spoerri, Hahn’s (Last) Supper, (1964) © Daniel Spoerri/ DACS, London 94 Fig. 78 Robert Rauschenberg, Persimmon, (1964) © Robert Rauschenberg Foundation /ADAGP, Paris & VAGA, New York 95 Fig. 79 Peter Paul Rubens, Venus at a Mirror, (1615) 95 Fig. 80 Robert Rauschenberg, Minutiae, (1954) © Robert Rauschenberg Foundation /ADAGP, Paris & VAGA, New York 95 Fig. 81 Thomas Hirschhorn, La Série des Antalgiques (Upfen), (2005) © Thomas Hirschhorn/ VG Bild-Kunst, Bonn 95 Fig. 82 Karsten Bott, One of Each (Von Jedem Eins), installation view, Kunsthalle Mainz, 2011, (1993 – ongoing) © Karsten Bott 98 Fig. 83 Karsten Bott, One of Each (Von Jedem Eins), installation detail, Kunsthalle Mainz, 2011, (1993 – ongoing) © Karsten Bott 98

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Fig. 84 Aby Warburg, Mnemosyne Atlas, (1924 – 29) 99 Fig. 85 Andre Malraux, Les Musée Imaginaire (The Museum without Walls), (1947) 99 Fig. 86 Penelope Umbrico, Suns (from Sunsets) from Flickr, detail, (2006 – ongoing) © Penelope Umbrico 100 Fig. 87 Douglas Blau, The Naturalist Gathers, installation view, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, (1992) © Douglas Blau 101 Fig. 88 Hans-Peter Feldmann, Untitled (Eiffel Tower), (1992) © Hans- Peter Feldmann 101 Fig. 89 Gerhard Richter, Atlas, installation view, , Chelsea, New York, (1962 – ongoing) © Gerhard Richter 102 Fig. 90 Gerhard Richter, Atlas Sheet 10, (1962) © Gerhard Richter 102 Fig. 91 Zoe Leonard, The Fae Richards Photo Archive, detail, (1993 – 96) © Zoe Leonard 102 Fig. 92 Zoe Leonard, The Fae Richards Photo Archive, installation detail, Whitney Museum of American Art, New York, (1993 – 96) © Zoe Leonard 102 Fig. 93 Robert Smithson, Non-site: Line of Wreckage (Bayonne, New Jersey), (1968) © Estate of Robert Smithson, VAGA, New York & DACS, London 108 Fig. 94 ’s Up To And Including Her Limits, (1973 – 76) © Carolee Schneemann/ ARS, New York 108 Fig. 95 Cindy Sherman, Untitled Film Still #3, (1977) © Cindy Sherman 109 Fig. 96 Barbara Stanwyck from ‘Double Indemnity’, (1944) © Paramount Pictures, Inc. 109 Fig. 97 Zoe Leonard, The Fae Richard’s Photo Archive, detail, (1993 – 96) © Zoe Leonard 110 Fig. 98 Emily Jacir, Where We Come From, detail, (2001 – 03) © Emily Jacir 111 Fig. 99 Gabriel Orozco, Yielding Stone (Piedra Que Cede), (1992) © Gabriel Orozco 112 Fig. 100 Mark Dion, Anthropology Department, from Angelica Point, (1994) © Mark Dion 113 Fig. 101 Mark Dion, A Metre of Meadow, from Unseen Fribourg, (1992)

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© Mark Dion 113 Fig. 102 Mark Dion, The Great Munich Bug Hunt, (1993) © Mark Dion 114 Fig. 103 , 7000 Oaks, installation detail, , Germany, (1982) © The Joseph Beuys Estate/ VBK, Wien, DACS, London & ARS, New York 115 Fig. 104 Joseph Beuys, 7000 Oaks, installation detail, Kassel, Germany, (1982) © The Joseph Beuys Estate/ VBK, Wien, DACS, London & ARS, New York 115 Fig. 105 Joseph Beuys, I Like America and America Likes Me, (1974) © The Joseph Beuys Estate/ VBK, Wien, DACS, London & ARS, New York 115 Fig. 106 Gordon Matta-Clark, Bronx Floors, (1972 – 73) © The Estate of Gordon Matta-Clark/ ARS, New York 116 Fig. 107 Andy Warhol, Time Capsule #44, (1973) © The Andy Warhol Foundation for the Visual Arts, Inc./ARS, New York & DACS, London 118 Fig. 108 Gerhard Richter, Atlas Sheet 11, (1963) © Gerhard Richter 120 Fig. 109 Tacita Dean, Floh, detail, (2001) © Tacita Dean 122 Fig. 110 Marcel Duchamp, Fountain, (1917/1964) © Succession Marcel Duchamp/ARS, New York, ADAGP, Paris & DACS, London 125 Fig. 111 Christian Boltanski, Inventory of Objects that Belonged to a Resident of Oxford, detail, (1973) © Christian Boltanski/ ADAGP, Paris & DACS, London 127 Fig. 112 Christian Boltanski, Monument: The Children of Dijon, installation view, Salpetriere Chapel, Paris (1986) © Christian Boltanski/ ADAGP, Paris & DACS, London 128 Fig. 113 Christian Boltanski, Monument: The Children of Dijon, detail, (1986) © Christian Boltanski/ ADAGP, Paris & DACS, London 128 Fig. 114 Christian Boltanski, Reserve (Réserve), (1990) © Christian Boltanski/ ADAGP, Paris & DACS, London 129 Fig. 115 Annette Messager, The Story of Dresses, (Histoires des Robes), detail, (1988 – 92) © Annette Messager/ ADAGP, Paris & DACS, London 129 Fig. 116 Annette Messager, My Collection of Proverbs (Ma Collection de Proverbes), (1974) © Annette Messager/ ADAGP, Paris &

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DACS, London 130 Fig. 117 Annette Messager, The Wedding of Mlle. Annette Messager (Le Mariage de Mlle. Annette Messager), (1971) © Annette Messager/ ADAGP, Paris & DACS, London 130 Fig. 118 Marcel Duchamp, Boîtes-en-valise, (1935 – 41) © Succession Marcel Duchamp/ARS, New York, ADAGP, Paris & DACS, London 133 Fig. 119 Marcel Duchamp, Nude Descending a Staircase, No. 2, (1912) © Succession Marcel Duchamp/ ARS, New York, ADAGP, Paris & DACS, London 133 Fig. 120 Marcel Duchamp, 50 cc of Paris Air, (1919) © Succession Marcel Duchamp/ARS, New York, ADAGP, Paris & DACS, London 133 Fig. 121 Hannelore Baron, Untitled, (1965) © Estate of Hannelore Baron 134 Fig. 122 Joseph Cornell, Untitled (Soap Bubble Set), (1936) © The Joseph and Robert Cornell Memorial Foundation/ VAGA, New York 134 Fig. 123 Fred Wilson, Metalwork from Mining the Museum, installation detail, the Maryland Historical Society, Baltimore, (1992) © Fred Wilson 135 Fig. 124 Ilya Kabakov, The Man Who Never Threw Anything Away, (1985 – 88) © Ilya Kabakov 136 Fig. 125 Ilya Kabakov, The Man Who Flew into Space from His Apartment, (1984) © Ilya Kabakov 136 Fig. 126 Luke Roberts, Wunderkammer/Kunstkamera, installation detail, Queensland Art Gallery, Brisbane, (1994 – 95) © Luke Roberts 146 Fig. 127 Curious Crystal of Unusual Purity, curated by Bob Nikas, installation detail P.S.1. Contemporary Art Centre, New York, (2004) 146 Fig. 128 Kurt Schwitters, Die Frühlingstür, (1938) © Kurt and Ernst Schwitters Foundation/ VG Bild-Kunst, Bonn & DACS, London 146 Fig. 129 Keith Tyson, Large Field Array, installation view, The Pace Gallery, Chelsea, New York, (2006) © Keith Tyson 149 Fig. 130 Keith Tyson, Large Field Array, detail, 3D Array 85, Elephant of Mice, (2006) © Keith Tyson 149 Fig. 131 Mark Dion, Tate Thames Dig, (1999) © Mark Dion 150

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Fig. 132 Mark Dion, Tate Thames Dig, detail, (1999) © Mark Dion 150 Fig. 133 Sol LeWitt, Wall Drawing #1085: Drawing Series-Composite, Part I-IV, # 1- 24, A+B, detail, Dia Art Foundation, Beacon, New York, (1968/2003) © Estate of Sol LeWitt 155 Fig. 134 Gabriel Orozco, Cats and Watermelons, (1992) © Gabriel Orozco 155 Fig. 135 Susan Hiller, From the Freud Museum, installation detail, Tate Britain, London, (1991 – 97) © Susan Hiller 157 Fig. 136 Joseph Kosuth, One and Three Chairs, (1965) © Joseph Kosuth/ ARS, New York 157 Fig. 137 Susan Hiller, Cowgirl, From the Freud Museum, (1991 – 97) © Susan Hiller 159 Fig. 138 Simon Starling, Shedboatshed (Mobile Architecture No. 2), (2005) © Simon Starling 162 Fig. 139 Andre Breton, Jacquline Lamba & Yves Tanguy, Exquisite Corpse (Cadavre exquis), (1938) © ARS, New York & DACS, London 166 Fig. 140 Tacita Dean, Book with Leaves, (1995) © Tacita Dean 168 Fig. 141 Tacita Dean, pages from Floh, (2001) © Tacita Dean 169 Fig. 142 On Kawara, I Went, detail, (1968 – 79) © On Kawara 171 Fig. 143 Franz Ackermann, Mental Map: Evasion VI, (1996) © Franz Ackermann 171 Fig. 144 Tacita Dean, Bubble House, film still, (1999) © Tacita Dean 173 Fig. 145 Tacita Dean, Sound Mirrors, film still, (1999) © Tacita Dean 173 Fig. 146 Eugene Atget, Organ Grinder, (1898) 173 Fig. 147 Allen Ruppersberg, 24 Pieces, select pages, (1970) © Allen Ruppersberg 176 Fig. 148 Max Ernst, A Week of Kindness (Une Semaine De Bonté), detail, (1934) © Estate of Max Ernst/ ADAGP, Paris & ARS, New York 177 Fig. 149 Susan Hiller, Psi Girls, installation view, Tate Britain, London, (1999) © Susan Hiller 178 Fig. 150 Tacita Dean, The Story of Minke the Whale from The Russian Ending, (2001) © Tacita Dean 179

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