09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
HA3A5 Globalisation and Contemporary View Online Art (2015/16)
1.
Belting, H., Buddensieg, A.: The global art world: audiences, markets, and museums. Hatje Cantz, Ostfildern (2009).
2.
Eagleton, T., Bouwhuis, J.: Now is the time: art & theory in the 21st century. NAi, Rotterdam (2009).
3.
Harris, J.: Globalization and Contemporary Art. Wiley-Blackwell, Malden, MA (2011).
4.
Enwezor, O., Documenta: Créolité and Creolization: Documenta 11, Platform 3. Hatje Cantz, Ostfildern-Ruit (2003).
5.
Lee, P.M.: Boundary issues: The art world under the sign of globalism. Artforum international. 42, 164–167 (2003).
6.
Perry, G., Wood, P.: Themes in contemporary art. Yale University Press in association with the Open University, New Haven (2004).
1/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
7.
Contemporary Art: 1989 to the Present. John Wiley & Sons (18)AD.
8.
O’Neill, P.: The culture of curating and the curating of culture(s). The MIT Press, Cambridge, Massachusetts (2012).
9.
Buchloh, B.H.D.: The Whole Earth Show. Art in America. 77, 150–158.
10.
Filipovic, E., Van Hal, M., Øvstebø, S., Bergen kunsthall eds: The biennial reader. Bergen Kunsthall, Bergen, Norway (2010).
11.
Vanderlinden, B., Filipovic, E.: The Manifesta decade: debates on contemporary art exhibitions and biennials in post-wall Europe. MIT Press, Cambridge, MA (2005).
12.
Vanderlinden, B., Filipovic, E.: The Manifesta decade: debates on contemporary art exhibitions and biennials in post-wall Europe. MIT Press, Cambridge, MA (2005).
13.
Filipovic, E., Van Hal, M., Øvstebø, S., Bergen kunsthall eds: The biennial reader. Bergen Kunsthall, Bergen, Norway (2010).
14.
Greenberg, R.: Identity Exhibitions: From Magiciens de la terre to Documenta II. Art Journal.
2/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
64, (2005). https://doi.org/10.2307/20068368.
15.
Griffin, T.: Global tendencies: Globalism and the large-scale exhibition. Artforum international. 42, 152–163 (2003).
16.
Hoffmann, J.: Show time: the 50 most influential exhibitions of contemporary art. D.A.P./Distributed Art Publishers, Inc, New York, NY (2014).
17.
Lamoureux, J.: From Form to Platform: The Politics of Representation and the Representation of Politics. Art Journal. 64, (2005). https://doi.org/10.2307/20068365.
18.
Ogbechie, S.O.: Ordering the Universe: Documenta II and the Apotheosis of the Occidental Gaze. Art Journal. 64, (2005). https://doi.org/10.2307/20068367.
19.
Steeds, L., Akademie der Bildenden Künste in Wien, Bard College. Center for Curatorial Studies, Stedelijk Van Abbemuseum: Making art global: Part 2: Magiciens de la terre, 1989. Afterall, London (2013).
20.
Chin - Tao Wu: Biennials Without Borders? Tate Papers. (2009).
21.
Foster, H.: The anti-aesthetic: essays on postmodern culture. New Press, New York (2002).
3/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
22.
Foster, H.: The anti-aesthetic: essays on postmodern culture. New Press, New York (2002).
23.
Contemporary Art: 1989 to the Present. John Wiley & Sons (18)AD.
24.
Contemporary Art: 1989 to the Present. John Wiley & Sons (18)AD.
25.
Anderson, P.: The origins of postmodernity. Verso, London (1998).
26.
Hal Foster: Postmodernism in Parallax. October. 63, 3–20 (1993).
27.
Colas, S.: The Third World in Jameson’s Postmodernism or the Cultural Logic of Late Capitalism. Social Text. (1992). https://doi.org/10.2307/466230.
28.
Smith, T.: Contemporary Art and Contemporaneity. Critical Inquiry. 32, 681–707 (2006). https://doi.org/10.1086/508087.
29.
Osborne, P.: Anywhere or not at all: philosophy of contemporary art. Verso, London (2013).
4/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
30.
Anderson, J., Comité international d’histoire de l'art, International Congress of the History of Art: Crossing cultures: conflict, migration and convergence : the proceedings of the 32nd International Congress of the History of Art. Miegunyah Press, Carlton, Vic (2009).
31.
Esanu, O.: What was Contemporary Art? ARTMargins. 1, 5–28 (2012). https://doi.org/10.1162/ARTM_a_00003.
32.
Hal Foster, Julia Bryan-Wilson, Grant Kester, James Elkins, Miwon Kwon, Joshua Shannon, Richard Meyer, Johanna Burton, Pamela M. Lee, Michelle Kuo, Mark Godfrey, Okwui Enwezor, Anton Vidokle, Chika Okeke-Agulu, Terry Smith, Alexander Alberro, Tim Griffin, Yates Mckee, James Meyer, Vered Maimon, T. J. Demos, Christopher P. Heuer, Matthew Jesse Jackson, Andrew Perchuk, Blake Stimson, Kelly Baum, Rachel Haidu, Juliane Rebentisch, Jaleh Mansoor, Siona Wilson, Judith Rodenbeck, Helen Molesworth, Suzanne Hudson, Isabelle Graw and Tom Mcdonough: Questionnaire on ‘The Contemporary’. October. 130, 3–124 (2009).
33.
Gardner, Anthony1, [email protected], Huw2, [email protected]: On the contemporary — and contemporary art history. Journal of Art Historiography. 1–9 (2011).
34.
KARLHOLM, D.: SURVEYING CONTEMPORARY ART: POST-WAR, POSTMODERN, AND THEN WHAT? Art History. 32, 712–733 (2009). https://doi.org/10.1111/j.1467-8365.2009.00699.x.
35.
Karlholm, D.: Contemporary, Now and Forever. Art History. 36, 226–231 (2013). https://doi.org/10.1111/j.1467-8365.2013.00948.x.
36.
5/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
Terry Smith: The State of Art History: Contemporary Art. The Art Bulletin. 92, 366–383 (2010).
37.
Radical Museology. Koenig Books, London, England (2013).
38.
Davidts, W.: Art Factories: Museums of Contemporary Art and the Promise of Artistic Production, from Centre Pompidou to Tate Modern. farications. 16, 23–42 (2006).
39.
Wouter, D.: The Vast and the Void: On Tate Modern’s Turbine Hall and ‘The Unilever Series’. Footprint (1875-1490). 77–92 (1875).
40.
Belting, H., Buddensieg, A.: The global art world: audiences, markets, and museums. Hatje Cantz, Ostfildern (2009).
41.
Foster, H.: The art-architecture complex. Verso, London (2013).
42.
Klonk, C.: Spaces of experience: art gallery interiors from 1800 to 2000. Yale University Press, New Haven (2009).
43.
Krauss, R.: The Cultural Logic of the Late Capitalist Museum. October. 54, (1990). https://doi.org/10.2307/778666.
6/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
44.
[The Curator’s Egg: The Evolution of the Museum Concept from the French Revolution to the Present Day] (By: Karsten Schubert) [published: April, 2009]. Ridinghouse (1)AD.
45.
Schubert, K.: The curator’s egg: the evolution of the museum concept from the French Revolution to the present day. One-Off Press, London (2000).
46.
Smith, T.: What is contemporary art? The University of Chicago Press, Chicago (2009).
47.
Stallabrass, J.: The Branding of the Museum. Art History. 37, 148–165 (2014). https://doi.org/10.1111/1467-8365.12060.
48.
O’Neill, P.: The culture of curating and the curating of culture(s). The MIT Press, Cambridge, Massachusetts (2012).
49.
Smith, T.: Thinking contemporary curating. Independent Curators International, New York, NY (2012).
50.
Budgen, S.: A new spirit of capitalism (review of Luc Boltanski and Ève Chiapello, Le Nouvel esprit du capitalisme). New Left Review. 1, 149–156.
51.
Burton, J.: On Knot Curating. The Exhibitionist. 42–54 (2011).
7/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
52.
Hantelmann, D. von: The Curatorial Paradigm. The Exhibitionist. 6–12 (2011).
53.
Hudek, A.: ‘From Over- to Sub-Exposure: The Anamnesis of Les Immatériaux’. From Over- to Sub-Exposure: The Anamnesis of Les Immatériaux | Tate. 12,.
54.
January 5-31, 1969. The Author (1969).
55.
July/August Exhibition Book.
56.
Curating by Numbers. Tate Papers. 12,.
57.
Siegelaub, Seth: [One month : March 1-31, 1969 : catalogue of work by Carl Andre, Mike Asher, Terry Atkinson ... [et al.]. The Author, New York (1969).
58.
Obrist, H.-U., Bovier, L.: A brief history of curating. JRP / Ringier, Zurich (2008).
59.
Obrist, H.-U., Bovier, L.: A brief history of curating. JRP / Ringier, Zurich (2008).
8/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
60.
Rajchman, J.: ‘Les Immatériaux or How to Construct the History of Exhibitions’. Tate Papers.
61.
Stallabrass, J.: Rhetoric of the Image. Artforum international. 51, 71–72 (2013).
62.
Bishop, C.: Installation art: a critical history. Tate, London (2005).
63.
Reiss, J.H.: From margin to center: the spaces of installation art. MIT Press, Cambridge, MA (1999).
64.
Graham, D., Alberro, A., Marian Goodman Gallery: Two-way mirror power: selected writings by Dan Graham on his art. MIT Press, Cambridge, Mass (1999).
65.
Demand, T., Koolhaas, R., Szeemann, H.: When attitudes become form: Bern 1969, Venice 2013. Fondazione Prada, Ca’ Corner della Regina, Milan (2013).
66.
Claire Bishop: But is it installation art? Tate Papers.
67.
Graham, D., Brouwer, M., Museu Serralves, Musée d’art moderne de la ville de Paris, Rijksmuseum Kröller-Müller, Nykytaiteen museo (Helsinki, Finland): Dan Graham: works 1965-2000. Richter Verlag, Düsseldorf (2001).
9/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
68.
Esner, R., Kisters, S., Lehmann, S.-A. eds: Hiding making - showing creation: the studio from Turner to Tacita Dean. Amsterdam University Press (2013).
69.
Groys, Boris: Politics of Installation. e-flux. 1–8 (2009).
70.
Janet Kraynak: Dependent Participation: Bruce Nauman’s Environments. Grey Room. 22–45 (2003).
71.
Review by: Peter Osborne: Review: Installation, Performance, or What? Oxford Art Journal. 24, 147–154 (2001).
72.
Alex Potts: Installation and Sculpture. Oxford Art Journal. 24, 7–23 (2001).
73.
Gardner, A.: De-Idealizing Democracy: On Thomas Hirschhorn’s Postsocialist Projects. ArtMargins. 1, 29–61 (2012).
74.
Svetlana Boym: On Diasporic Intimacy: Ilya Kabakov’s Installations and Immigrant Homes. Critical Inquiry. 24, 498–524 (1998).
75.
Benjamin H. D. Buchloh: Detritus and Decrepitude: The Sculpture of Thomas Hirschhorn.
10/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
Oxford Art Journal. 24, 43–56 (2001).
76.
Benjamin H. D. Buchloh: An Interview with Thomas Hirschhorn. October. 113, 77–100 (2005).
77.
Buchloh, B.H.D., Hirschhorn, T., Gingeras, A.M., Basualdo, C.: Thomas Hirschhorn. Phaidon, London (2004).
78.
Groĭs, B., Ross, D.A., Blazwick, I.: Ilya Kabakov. Phaidon, London (1998).
79.
Kabakov, I., Tupitsyn, M., Tupitsyn, V.: About Installation. Art Journal. 58, (1999). https://doi.org/10.2307/777912.
80.
Hirschhorn, T., Hirschhorn, T.: Critical laboratory: the writings of Thomas Hirschhorn. The MIT Press, Cambridge, Massachusetts (2013).
81.
Schlegel, A.I., Groys, B., Ross, D.A., Blazwick, I., Kabakov, I., Wallach, A., Kabakov, E., Kabakov, I.: The Kabakov Phenomenon. Art Journal. 58, (1999). https://doi.org/10.2307/777918.
82.
James Westcott: Gut Feeling: Thomas Hirschhorn’s ‘Superficial Engagement’. TDR (1988-). 51, 171–175 (2007).
11/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
83.
Bishop, C.: Digital Divide. Artforum international. 51, 435–441 (2012).
84.
Hal Foster: An Archival Impulse. October. 110, 3–22 (2004).
85.
Greene, R.: Internet art. Thames & Hudson, London (2004).
86.
Griffin, T.: Compression. October. (2011).
87.
Griffin, T.: The Personal Effects of Seth Price. Artforum international. 47, 284–293 (2009).
88.
What to Do with Pictures. October. (2011).
89.
Manovich, L.: The Practice of Everyday (Media) Life: From Mass Consumption to Mass Cultural Production? Critical Inquiry. 35, 319–331 (2009). https://doi.org/10.1086/596645.
90.
Paul, C.: Digital art. Thames & Hudson, London (2008).
91.
12/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
Price, Seth.: Dispersion. 38th Street Publishers, New York (2008).
92.
Stallabrass, J.: Internet art: the online clash of culture and commerce. Tate Gallery, London (2003).
93.
Negative Dialectics in the Google Era: A Conversation with Trevor Paglen. October. (2011).
94.
T. J. Demos: Moving Images of Globalization. Grey Room. 6–29 (2009).
95.
George Baker: Photography’s Expanded Field. October. 114, 120–140 (2005).
96.
Mark Godfrey: Photography Found and Lost: On Tacita Dean’s Floh. October. 114, 90–119 (2005).
97.
Iles, C., Whitney Museum of American Art: Into the light: the projected image in American art, 1964-1977. Whitney Museum of American Art, New York (2001).
98.
Iversen, M.: Analogue: On Zoe Leonard and Tacita Dean. Critical Inquiry. 38, 796–818 (2012). https://doi.org/10.1086/667425.
99.
13/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
Krčma, E.: Tacita Dean and Still Life. Art History. 37, 960–977 (2014). https://doi.org/10.1111/1467-8365.12103.
100.
Ring Petersen, A.: Attention and Distraction: On the Aesthetic Experience of Video Installation Art’. RIHA Journal. (9)AD.
101.
Kerstin Stakemeier: Plane Destructive: the Recent Films of Hito Steyer. Mute. (23)AD.
102.
Steyerl, H.: The wretched of the screen. Sternberg Press, Berlin (2012).
103.
Dean Tacita Kodak 2006, https://www.youtube.com/watch?v=2XCWm1ZPKWg, (18)AD.
104.
Tacita Dean: Film | Tate, http://www.tate.org.uk/context-comment/video/tacita-dean-film.
105.
Tacita Dean: Recent Films and Other Works | Tate, http://www.tate.org.uk/whats-on/tate-britain/exhibition/tacita-dean-recent-films-and-other- works.
106.
Hito Steyerl: November, 2004, https://vimeo.com/88484604.
107.
14/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
Lovely Andrea: Lovely Andrea, http://www.ubu.com/film/steyerl_andrea.html, (2007).
108.
Steyerl, H.: How Not to be Seen: A Fucking Didactic Educational .MOV File, http://artforum.com/video/id=51651%26mode=large%26page_id=0, (2013).
109.
Suderburg, E.: Space, site, intervention: situating installation art. University of Minnesota Press, Minneapolis (2000).
110.
Kwon, M.: One Place after Another: Notes on Site Specificity. October. 80, (1997). https://doi.org/10.2307/778809.
111.
Bishop, C.: Artificial hells: participatory art and the politics of spectatorship. Verso Books, London (2012).
112.
Baumgarten, L., Coles, A.: Site-specificity: the ethnographic turn. Black Dog Press, London (2000).
113.
Demos, T.J., Kwon, M.: Rethinking Site-Specificity. Art Journal. 62, (2003). https://doi.org/10.2307/3558510.
114.
Carey-Thomas, L., Akomfrah, J.: Migrations: journeys into British art. Tate Pub, London (2012).
15/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
115.
Kaye, N.: Site-specific art: performance, place and documentation. Routledge, London (2000).
116.
Kwon, M.: One place after another: site-specific art and locational identity. MIT Press, Cambridge, Mass (2002).
117.
Kwon, M.: One place after another: site-specific art and locational identity. MIT Press, Cambridge, Mass (2002).
118.
Foster, H., Hughes, G., Buchloh, B.H.D.: Richard Serra. MIT Press, Cambridge, Mass (2000).
119.
Crimp, D.: Richard Serra: Sculpture Exceeded. October. 18, (1981). https://doi.org/10.2307/778411.
120.
Foster, H.: ‘Serra in the Desert’. Artforum. 320–327.
121.
Iversen, M.: Readymade, Found Object, Photograph. Art Journal. 63, (2004). https://doi.org/10.2307/4134520.
122.
Lee, P.M.: On the Holes of History: Gordon Matta-Clark’s Work in Paris. October. 85, (1998). https://doi.org/10.2307/779183.
16/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
123.
Gabriel Orozco, Benjamin H. D. Buchloh, Carrie Lambert-Beatty and Megan Sullivan: To Make an Inner Time: A Conversation with Gabriel Orozco. October. 130, 177–196 (2009).
124.
Senie, H.: Richard Serra’s ‘Tilted Arc’: Art and Non-Art Issues. Art Journal. 48, (1989). https://doi.org/10.2307/777012.
125.
Fraser, A.: Procedural Matters. Artforum international. 46, 374–381 (2008).
126.
Alberro, A., Stimson, B.: Institutional Critique: an anthology of artists’ writings. MIT Press, Cambridge, Mass (2009).
127.
Buchloh, B.H.D.: Michael Asher and the Conclusion of Modernist Sculpture. Art Institute of Chicago Museum Studies. 10, (1983). https://doi.org/10.2307/4104341.
128.
Jennifer King: Perpetually out of Place: Michael Asher and Jean-Antoine Houdon at the Art Institute of Chicago. October. 120, 71–86 (2007).
129.
Kirsi Peltomäki: Affect and Spectatorial Agency: Viewing Institutional Critique in the 1970s. Art Journal. 66, 36–51 (2007).
130.
17/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
Peltomäki, K., Asher, M.: Situation aesthetics: the work of Michael Asher. MIT Press, Cambridge, Mass (2010).
131.
Rorimer, A.: Michael Asher: Kunsthalle Bern, 1992. Afterall Books, London (2012).
132.
Hertz, R.: Theories of contemporary art. Prentice Hall, Englewood Cliffs, N.J. (1993).
133.
Alberro, A., Stimson, B.: Institutional Critique: an anthology of artists’ writings. MIT Press, Cambridge, Mass (2009).
134.
Andrea Fraser: Little Frank And His Carp, https://www.youtube.com/watch?v=auOKsXnMmkg, (2001).
135.
Fraser, A.: Official Welcome, http://www.ubu.com/film/fraser_welcome.html, (2003).
136.
ALEXANDER ALBERRO and NORA M. ALTER: Staging the Political: Repetition, Difference, and Daniel Buren’s ‘Cabanes Éclatées’. Grey Room. 6–23 (2010).
137.
Alberro, A., Stimson, B.: Institutional Critique: an anthology of artists’ writings. MIT Press, Cambridge, Mass (2009).
138.
18/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
Alberro, A.: The Turn of the Screw: Daniel Buren, Dan Flavin, and the Sixth Guggenheim International Exhibition. October. 80, (1997). https://doi.org/10.2307/778808.
139.
Buren, D.: Why Write? Art Journal. 42, (1982). https://doi.org/10.2307/776534.
140.
Andrea Fraser: Why Does Fred Sandback’s Work Make Me Cry? Grey Room. 30–47 (2006).
141.
Malone, M.: ’Andrea Fraser, ‘What do I, as an artist, provide?’ , St Louis (2007).
142.
Lelong, G., Buren, D., Radzinowicz, D.: Daniel Buren. Flammarion, [Paris] (2002).
143.
Rorimer, A.: Up and Down, In and Out, Step by Step, a Sculpture, a Work by Daniel Buren. Art Institute of Chicago Museum Studies. 11, (1985). https://doi.org/10.2307/4108731.
144.
Andre Rottmann: Complicity and Contestation Andre Rottmann on Andrea Fraser at the Museum Ludwig, Cologne. Texte zur Kunst. 23, 229–223 (2013).
145.
Claire Bishop: Antagonism and Relational Aesthetics. October. 110, 51–79 (2004).
146.
19/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
Bourriaud, N.: Relational aesthetics. Les Presses du réel, [Dijon] (2002).
147.
Birnbaun, D.: Running on Empty: The Art of Dominique Gonzalez-Foerster. Artforum International. 42, 173–168 (2003).
148.
Birnbaun, D.: Enchanting Empiness. Parkett. 80, 74–79 (2007).
149.
Nancy Spector: Theanyspacewhatever. Guggenheim Museum, New York (2008).
150.
Foster, H.: Arty Party. The London review of books. 25, 21–22 (2003).
151.
Bourriaud, N., Schneider, C., Herman, J.: Postproduction: culture as screenplay : how art reprograms the world. Lukas & Sternberg, New York (2005).
152.
Nancy Spector: Theanyspacewhatever. Guggenheim Museum, New York (2008).
153.
Liam Gillick and Claire Bishop: ‘Contingent Factors: A Response to Claire Bishop’s ‘Antagonism and Relational Aesthetics’. October. 115, 95–107 (2006).
154.
Nancy Spector: Theanyspacewhatever. Guggenheim Museum, New York (2008).
20/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
155.
Coles, A.: Design and art. Whitechapel, London (2007).
156.
Lauson, C.: Separate But Not Marginal. Third Text. 22, 273–285 (2008). https://doi.org/10.1080/09528820802013271.
157.
Lind, M.: Spatial Facsimiles and Ambient Spaces: Some Reflections on Site Specificity in Contemporary Art. Parkett. 54, 191–194 (1998).
158.
Coles, A.: Design and art. Whitechapel, London (2007).
159.
Martin, S.: Critique of Relational Aesthetics. Third Text. 21, 369–386 (2007). https://doi.org/10.1080/09528820701433323.
160.
Moreno, Gean: Farewell to Function: Tactical Interiors. e-flux. 1–11 (2010).
161.
Roberts, B.: Biopolitical Follies. Third Text. 26, 285–298 (2012). https://doi.org/10.1080/09528822.2012.679038.
162.
Roberts, B.: Burnout: Liam Gillick’s Post-Fordist Aesthetics. Art History. 36, 180–205 (2013). https://doi.org/10.1111/j.1467-8365.2012.00954.x.
21/22 09/27/21 HA3A5 Globalisation and Contemporary Art | University of Warwick
163.
Nancy Spector: Theanyspacewhatever. Guggenheim Museum, New York (2008).
164.
Spector, N.: ‘theanyspacewhatever: After the Fact’. The Exhibitionist. 1, 49–55 (2010).
165.
Mark Godfrey: Pierre Huyghe’s Double Spectacle. Grey Room. 38–61 (2008).
166.
Spector, N.: ‘theanyspacewhatever: After the Fact’. The Exhibitionist. 1, 49–55 (2010).
167.
Tom McDonough: No Ghost. October. 110, 107–130 (2004).
22/22