Art and Human Rights: Contemporary Asian Contexts Caroline Turner and Jen Webb

Select Bibliography on Asian Art and Global Art

Ades, Dawn, Benton, Tim, Elliott, David and Boyd Whyte, Ian (eds). Art and Power: Europe under the Dictators 1930-45 (London:Hayward Gallery, 1996).

Antoinette, Michelle. Reworlding Art History: Encounters with Contemporary Southeast Asian Art after 1990 (Amsterdam & New York:Brill Academic Publishers, 2015).

Antoinette, Michelle and Turner, Caroline (eds). Contemporary Asian Art and Exhibitions: Connectivities and World-Making (Canberra: ANU Press, 2014).

Antoinette, Michelle. 'Different Visions: Contemporary Malaysian art and exhibition in the 1990s and beyond', revised and republished in Yong, Beverly & Nur Hanim Khairuddin (eds). Narratives in Malaysian Art Volume II: Reactions - New Critical Strategies, (Kuala Lumpur: RogueArt, 2013).

Antoinette, Michelle. 'Intimate Pasts Resurrected and Released: Sex, death, and faith in the art of Jose Legaspi', Biography - an interdisciplinary quarterly, vol. 31, no. 1, 2008, pp. 133-160.

Antoinette, Michelle. ‘The Art of Race: Rethinking Malaysian Identity Through the Art of Wong Hoy Cheong’, in Goh, Daniel P. S., Gabrielpillai, Matilda, Holden, Philip and Khoo, Gaik Cheng (eds). Race and Multiculturalism in Malaysia and Singapore (London: Routledge, 2009) pp.191-212.

Asia Art Archive & Art Map Ltd. ‘All You Want To Know About International Art Biennials’, http://www.aaa.org.hk/onlineprojects/bitri/en/didyouknow.aspx#fn1

Asia-Pacific Triennial. Catalogues of the First, Second, Third, Fourth, Fifth, Sixth, Seventh and Eighth Asia-Pacific Triennial of Contemporary Art, (Brisbane: Queensland Art Gallery, 1993–2015).

Asia-Pacific Triennial. http://www.apt3.net (Third APT).

Asia Research Institute & National University of Singapore. ‘Our Modernities: Positioning Asian Art Now’, international conference, Singapore, February 2004. Online conference papers: http://www.ari.nus.edu.sg/conf2004/asianart.htm

Barnes, Carolyn. ‘Aesthetics and Memory Work in the Recent Painting of John Young’, John Young: The Bridge and the Fruit Tree (Canberra: Drill Hall Gallery, ANU, 2013).

Barnes, Carolyn. John Young (Sydney: Craftsman House, 2005)

Bauer, Uta Meta and Hanru, Hou (eds). Shifting Gravity: World Biennial Forum No 1 (Ostfildern: Hatje Cantz, 2013).

Berghuis, Thomas.‘Safety Zone: Resistance as an Act of Humanity’, John Young: Projects (2010), www.johnyoungstudio.com/cms/resources/berghuis.pdf.

Berghuis, Thomas.‘Safety Zone’, Anna Schwartz Gallery, 2010, www.annaschwartzgallery.com/works/artist_exhibitions?artist=30&year=2010&work=12542&exh ibition=344&page=1&text=1&c=m.

Berghuis, Thomas. Performance Art in China (Hong Kong: Timezone 8 Limited, 2006)

Belting, Hans. ‘Contemporary Art as Global Art: A Critical Estimate’, in The Global Art World: Audiences, Markets, and Museums, Belting, Hans & Buddensieg, Andrea (eds). (Ostfildern: Hatje Cantz, 2009).

Belting, Hans and Buddensieg, Andrea (eds). The Global Art World: Audiences, Markets and Museums (Ostfildern: Hatje Cantz, 2009).

Bennett,Jill.Practical Aesthetics: Events,Affects and Art after 9/11 (London and New York:I.B. Tuaris,2012).

Bennett, Jill. Empathic vision: affect, trauma, and contemporary art (Stanford: Stanford University Press, 2005).

Berman, Laine. ‘The Art of Street Politics in Indonesia’, in Lindsey, T. and O’Neill, H. (eds). Awas! Recent Art from Indonesia (Melbourne: Indonesian Arts Society, 1999), pp. 75–84.

Bhabha, Homi .‘Conversational Art’, in Jacobs, Mary Jane with Brenson, Michael (eds). Conversations at the Castle: Changing Audiences and Contemporary Art (Cambridge MA: MIT Press, 1998), pp. 38–47.

Bianpoen, Carla, Wardani, Farah, Dirgantoro, Wulan, Supriyanto, Enin. Indonesian Women Artists: The Curtain Opens (Jakarta: Yayasan Seni Rupa Indonesia, 2007).

Bianpoen, Carla. ‘Vasan Sitthiket: Expressing anger through “Red Planet”’, Jakarta Post (15 March 2008), www.thejakartapost.com/news/2008/03/15/vasan-sitthiket-expressing-anger-through- 039red-planet039.html.

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012).

Bishop, Claire. ‘The Social Turn: Collaboration and Its Discontents’, ArtForum (February 2006), pp. 178–83.

Bishop, Claire. ‘Antagonism and Relational Aesthetics’, October (Fall 2004, No. 110): pp.51–79.

Bishop, Claire. (ed). Participation (Cambridge, MA: MIT Press, 2006).

Blazwick, Iona. (ed). Century City: Art and Culture in the Modern Metropolis (London: Tate Gallery, 2001).

Bloom, Lisa. ‘Gender, Race and Nation in Japanese Contemporary Art and Criticism’, N. Paradoxa v (2000), pp. 35–43.

Blum, Peter. ‘Kimsooja: A Mirror Woman’, Artnet. 2002, www.artnet.com/galleries/peter- blum/kimsooja-a-mirror-woman/.

Bose, Santiago.‘A Savage Look at Indigenous Art: Notes in Transit’, Gallery of Philippine Contemporary Art, http://www.kulay-diwa.com/santiago_bose

Bourdieu, Pierre. Acts of Resistance: Against the New Myths of our Time, trans. by Richard Nice (London: Polity, 1998).

Bourriaud, Nicolas. Relational Aesthetics (Dijon: Les Presses du réel, 2002; Esthétique relationnelle 1998).

Brandon, Laura. Art & War (London: I.B. Tauris, 2007).

Brown, Kathryn. Interactive Contemporary Art:Participation in Practice (London:IB Tauris, 2014).

Brown, Lyndell, Green, Charles and Cattapan, Jon. Framing conflict : contemporary war + aftermath (South Yarra, Victoria: Macmillan Art Publishing, 2014).

Butt, Faiza. ‘Diaspora: Of Beards and Bodies’, Interview in ArtNow: Contemporary Art of Pakistan (November 2011), www.artnowpakistan.com/Profile/DiasporaOfBeardsandBodies-214.html#.U- 7nXMIcSpo .

Butt, Zoe. ‘Archiving Fear in the Struggle against Forgetfulness’, in Dinh Q. Lȇ: Erasure. (Sydney: Sherman Contemporary Art Foundation, 2011).

Bydler, Charlotte. The Global Art World, Inc.: On the Globalization of Contemporary Art (Uppsala: Acta Universitatis Upsaliensis, 2004).

Carroll, Alison. The Revolutionary Century: Art in Asia 1900–2000 (South Yarra: Macmillan Australia, 2010).

Cemeti. 25 Years of Cemeti (Yogyakarta: Cemeti Art House, 2013).

Chiu, Melissa & Genocchio, Benjamin (eds). Contemporary Art in Asia: A Critical Reader.(Cambridge, MA & London, England:MIT Press,2011).

Christanto, Dadang , Wiyanto, Hendro and Bentara Budaya Jakarta, Kengerian tak Terucapkan=The Unspeakable Horror (Darwin, NT: Dadang Christanto, 2002)

Christov-Bakargiev, Carolyn, Appadurai, Arjun and Huyssen, Andreas (eds). Nalini Malani: In Search of Vanished Blood (Ostfildern: Hatje Cantz and Kassel: DOCUMENTA und Museum Fridericianum, 2012).

Clark, Christine (ed). Beyond the Self: Contemporary Portraiture from Asia (Canberra: National Portrait Gallery, 2012).

Clark, Christine.‘Distinctive Voices: Artist Initiated Spaces and Projects’in Turner, Caroline (ed.). Art and Social Change: Contemporary Art in Asia and the Pacific (Canberra: Pandanus Books, 2005, pp. 554–68).

Clark, John. Bibliography of Asian Modern and Contemporary Art to 2011: http://www.arts.usyd.edu.au/departs/arthistory/Courses%202002/pdf/Bibliograph y.pdf

Clark, John.‘The Worlding of the Asian Modern’, in Antoinette, Michelle and Turner, Caroline (eds). Contemporary Asian Art and Exhibitions: Connectivities and World-Making (Canberra: ANU Press, 2014).

Clark, John. Chinese Art at the End of the Millennium (Hong Kong: New Art Media, 2000).

Clark, John. Asian Modernities: Chinese and Thai Art Compared, 1980 to 1999 (Sydney: Power Publications, 2010).

Clark, John.(ed.). Chinese Art at the End of the Millennium (Hong Kong: New Art Media, 2000).

Clark, John. Modern Asian Art (Sydney: Craftsman House G+B Arts International, 1998).

Clark, John. (ed.). Modernity in Asian Art, The University of Sydney East Asian Studies Number 7 (Sydney: Wild Peony, 1993).

Clark, John. ‘Open and Closed Discourses of Modernity in Asian Art’, in John Clark (ed.).Modernity in Asian Art (Sydney: Wild Peony, 1993), pp.1–17.

Colah, Zasha and Pijnappel, Johan (eds) with Christov-Bakargiev, Carolyn, Appadurai, Arjun and Huyssen, Andreas. Nalini Malani: In Search of Vanished Blood, (Kassel: documenta 13 and Ostfildern :Hatje Cantz, 2012).

Dalmia, Yashodhara and Hashmi, Salima.Memory, Metaphor, Mutations: Contemporary Art of India and Pakistan (New Delhi: Oxford University Press, 2007).

Dang Thi Khue, ‘Contemporary Vietnamese Art: A New Stage’, in Beyond the Future: The Third Asia-Pacific Triennial of Contemporary Art (Brisbane: Queensland Art Gallery, 1999), p. 162.

Dansker, Jo-Anne Birnie, Lum, Ken & Shentian, Zheng (eds). Shanghai Modern 1919-1945, (Ostfildern:Hatje Cantz, 2004).

Desai, Vishakha (ed.). Asian Art History in the Twenty-First Century. (Williamstown,MA:Sterling and Francine Clark Institute, 2007).

DiPietro, Monty .‘How to Use Women’s Body at Ota Fine Arts’, Assembly Language Reviews 2000, www.assemblylanguage.com/reviews/Shimada.html.

DiPietro, Monty. ‘Artist Builds from Zero’, Japan Times (11 August 2008), www.japantimes.co.jp/culture/2004/08/11/arts/artist-builds-from-zero/#.VB-c0SuSxEA.

DiPietro, Monty. ‘Skeletons Come out of the Closet’, Japan Times: Culture (30 June 2004), www.japantimes.co.jp/culture/2004/06/30/arts/skeletons-come-out-of-the- closet/#.U8QzsbHb5Zg.

Dysart, Dynah & Fink, Hannah (eds). Asian Women Artists (Sydney: Craftsman House, 1996).

Eccles, Jeremy. ‘The Eye of a Banner Man’, Asiaweek (2000), http://edition.cnn.com/ASIANOW/asiaweek/99/0702/feat2.html.

Enwezor, Okwui (ed.). Annual Report: A Year in Exhibitions (Gwangju: Gwangju Biennale Foundation, 2008), pp. 262–85.

Erickson, Britta ‘Recent Riffs on the Cultural Revolution in Chinese Art’ in Wu, Hung (ed.). Chinese Art at the Crossroads: Between Past and Future, Between East and West (Hong Kong: INIVA and New Art Media, Hong Kong, 2001).

Erickson, Britta. ‘The Rise of a Feminist Spirit in Contemporary Chinese Art’, ArtAsiaPacific, Issue 31, 2001, pp.65–71.

Erikson, Britta. Bibliography of Contemporary Chinese art http://www.stanford.edu/dept/art/china/

Flores ,Patrick D., ‘Polytropic Philippine: Intimating the World in Pieces’, in Antoinette, Michelle and Turner, Caroline (eds). Contemporary Asian Art and Exhibitions: Connectivities and World- Making (Canberra: ANU Press, 2014).

Flores, Patrick. Past Peripheral: Curation in Southeast Asia (Singapore: NUS Museum, National University of Singapore, 2008).

Flores, Patrick. ‘Position Papers: Turns in Tropics: Artist–Curator’ in The 7th Gwangju Biennale Okwui Enwezor (Gwangju:Gwangju Biennale Foundation, 2008), 262–85.

Flores, Patrick. Painting History: Revisions in Philippine Colonial Art (Manila: University of the Philippines, Office of Research and Coordination, and National Commission for Culture and the Arts, 1998).

Friis-Hansen, Dana, Zaya, Octavio and Serizawa, Takashi. Cai Guo-Qiang (New York: Phaidon Press, 2002).

Frost, Andrew. ‘John Young: Ghosts on Canvas’, Australian Art Collector, 6 (October-December 1998), pp. 40–4.

4A Centre for Contemporary Asian Art. ‘About 4a’, http://www.4a.com.au/about-4a/

Fukuoka Asian Art Museum. Catalogues of the Asian Art exhibitions, Fukuoka Art Museum to 1999 and catalogues of the first, second, third, fourth, fifth Fukuoka Asian Art Triennale, Fukuoka, from 1999–ongoing (Fukuoka:Fukuoka Asian Art Museum).

Fukuoka Asian Art Museum. The Birth of Modern Art in Southeast Asia: Artists and Movements (Fukuoka:Fukuoka Asian Art Museum, 1997).

Furuichi, Yasuko (ed.). Alternatives 2005: Contemporary Art Spaces in Asia (Kyoto & Tokyo: Tankosha Publishing Co., 2004).

Furuichi, Yasuko (ed.). Asian Contemporary Art Reconsidered (Tokyo: Japan Foundation Asia Center,1998)

Gao, Minglu et al. Inside Out: New Chinese Art (exhibition catalogue), San Francisco Museum of Modern Art and Asia Society Galleries New York (Berkeley: University of California Press, 1998).

Gardner, Anthony and Green, Charles, Biennials, Triennials, and Documenta: The Exhibitions That Created Contemporary Art (Hoboken, NJ: Wiley Blackwell, 2016).

Gardner, Anthony and Green, Charles. ‘Mega-Exhibitions, New Publics, and Asian Art Biennials’ in Hjorth, Larissa, King, Natalie & Kataoka, Mami (eds). Art in the Asia-Pacific: Intimate Publics (New York and London: Routledge, 2014, 23-36).

Green, Charles and Gardner, Anthony, 'The Third Biennale of Sydney: "White Elephant or Red Herring"', Humanities Research, Australian National University, Humanities Research Centre, vol. 19, issue 2, 2013.

Green, Charles and Gardner, Anthony. 'Biennials of the South on the Edges of the Global', Third Text, Routledge, vol. 27, issue 4, 2013.

Green, Charles. ‘Beyond the Future: the Third Asia-Pacific Triennial’, Art Journal 58.4 (Winter) 1999: pp. 81-87.

George, Kenneth M. Picturing Islam: Art and Ethics in a Muslim Lifeworld (Chichester, West Sussex, U.K.; Malden, MA.: Wiley Blackwell, 2010).

Godby, Michael (ed.). William Kentridge: Drawings for Projection: Four Animated Films (Johannesburg: Goodman Gallery, 1991).

Golub, Leon, interviewed by Jeanne Siegel 1988 ‘What Makes Art Political?’, in Jeanne Siegel (ed.), Art Talk: The Early ’80s (New York: Da Capo Press, 1988) pp. 52-62.

Gruen, Erich S (ed.). Cultural Borrowings and Ethnic Appropriations in Antiquity (Stuttgart: Franz Steiner Verlag GmbH, 2005).

Guillermo, Alice. ‘Brief Survey of Philippine Art’, in Turner, Caroline (ed.). Art and Social Change: Contemporary Art in Asia and the Pacific (Canberra: Pandanus Books, 2005), pp. 253–66.

Guillermo, Alice. Image to Meaning (Manila: Ateneo de Manila University Press, 2001).

Guillermo, Alice.Protest/Revolutionary Art in the Philippines1970-1990.(Quezon City:University of the Philippines Press 2001).

Hackethal, Anita .‘FX Harsono: Testimonies in Art’, Designboom (20 April 2010), www.designboom.com/art/fx-harsono-testimonies-part-01/.

Hagiwara, Hiroko .‘Comfort Women, Women of Conformity: The Work of Shimada Yoshiko’, in Pollock, Griselda (ed.). Generations & Geographies in the Visual Arts: Feminist Readings (London: Routledge 1996), pp. 326–41.

Hannon, Julie .‘History Redux’, Carnegie (Fall 2013), http://www.carnegiemuseums.org/cmag/feature.php?id=377.

Harsono, FX. Artist Talk Para/Site Art Space, Hong Kong (13 April 2013), ‘FX Harsono and the art of political protest’, podcast on Art Radar Asia, http://artradarjournal.com/2013/04/23/fx-harsono- and-the-art-of-political-protest-para-site-hong-kong-artist-talk/

Hashmi, Salima. Unveiling the Visible: Lives and Works of Women Artists of Pakistan (Lahore: Sang- i-Meel Publications, 2002).

Hashmi, Salima. Hanging Fire:Contemporary Art from Pakistan (New York: Asia Society,2009)

Hassan, Salah & Dadi, Iftikhar (eds). Unpacking Europe (Rotterdam: NAI Publishers, Museum Boijmans Van Beuningen, 2001).

Hempel, Annoushka and Weerasinghe, Jagath. Colombo Art Biennale 2009: Imagining Peace (Colombo: Colombo Art Biennale, 2009).

Higson, Rosalie.‘Interview with Dadang Christanto’, The Australian (17 October 2003), p. 15.

Ho, Hing-kay Oscar. ‘Government, Business and People: Museum Development in Asia’, in Hans Belting & Andrea Buddensieg (eds).The Global Art World: Audiences, Markets and Museums, (Ostfildern: Hatje Cantz, 2009), pp. 266–77.

Ho, Hing-Kay Oscar, ‘In Search of Art’, in Hans Belting, Andrea Buddensieg and Peter Weibel (eds). The Global Contemporary and the Rise of New Art Worlds (Cambridge, MA: MIT Press, 2013), pp. 303–9.

Ho, Oscar.‘Under the Shadow: Problems in Museum Development in Asia’, in Antoinette, Michelle and Turner, Caroline (eds). Contemporary Asian Art and Exhibitions:Connectivities and World- Making (Canberra: ANU Press, 2014).

Hoffie, Pat. ‘Nalini Malini: Hamletmachine’, in Turner, Caroline and Sever, Nancy (eds). Witnessing to Silence: Art and Human Rights (Canberra: Humanities Research Centre and Drill Hall Gallery, 2003), pp. 41–3.

Hoffie, Pat. ‘Santiago Bose: Magic, Humour and Cultural Resistance’, in Turner and Sever (eds). Witnessing to Silence, pp. 65–67.

Hoffie, Pat and Turner, Caroline. Future Tense: Security and Human Rights, Queensland College of Art Gallery, Brisbane, 2005.

Hoffie, Pat. ‘A New Tide Turning: Australia in the Region, 1993–2003’, in Turner, Caroline (ed.). Art and Social Change: Contemporary Art in Asia and the Pacific (Canberra: Pandanus Books, 2005), pp. 516–41.

Horowitz, E. (ed.). Ai Weiwei: According to What? (Hong Kong: Hirshhorn Museum and Sculpture Garden, the Mori Art Museum, 2012).

Hjorth, Larissa, King, Natalie & Kataoka, Mami (eds). Art in the Asia-Pacific:Intimate Publics (New York and London: Routledge, 2014)

Hou, Hanru & Obrist, Hans–Ulrich (eds). Cities on the Move, exhibition catalogue (Ostfildern–Ruit: Gerd Hatje, 1997).

Hou, Hanru. Not Only Possible, But Also Necessary: Optimism in the Age of Global War,10th Istanbul: Biennial catalogue (Istanbul: Istanbul Biennal, 2007).

Hou, Hanru, ‘Wrapping up History: Interview with Wong Hoy Cheong’, Flash Art, 263 (November– December 2008), www.flashartonline.com/interno.php?pagina=articolo_det&id_art=275&det=ok&title=WONG- HOY-CHEONG.

Huangfu, Binghui (ed.). Text and Subtext: Contemporary Art and Asian Woman (Singapore: Earl Lu Gallery, 2000).

Ise, Claudine. ‘“Headless Buddha” Weaves History, Myth’, Los Angeles Times (6 March 1998), http://articles.latimes.com/1998/mar/06/entertainment/ca-25909.

Jacob, Mary Jane. ‘In the Space of Art: Buddha and the Culture of Now’ (interview with Kim Sooja), 2003, www.kimsooja.com/texts/jacob.html .

Jaivin, Linda. ‘Guan Wei: Paint Me’, Art Collector, 20 (2002), www.artcollector.net.au/GuanWeiPaintMe.

Jansuttipan, Monruedee .‘Artist and Activist Vasan Sitthiket on Reforming Thailand’, BK: Bangkok Online (16 January 2014), http://bk.asia-city.com/city-living/article/vasan-sitthiket-thai-artist-real- democracy.

Japan Foundation Asia Center (ed.). The Japan Foundation 30th Anniversary International Symposium 2002: ‘Asia in Transition: Representation and Identity’ Report, (Tokyo: Japan Foundation Asia Center, 2003). 7

Japan Foundation Asia Center (ed.). Under Construction (Tokyo: The Japan Foundation Asia Center & Tokyo Opera City Cultural Foundation, 2002).

Jatoi, Ayesha.‘Interview with Salima Hashmi’, Dawn (2 February 2011), www.dawn.com/news/603300/herald-exclusive-ayesha-jatoi-in-conversation-with-salima-hashmi.

Jennison, Rebecca. ‘Yoshiko Shimada: Silence, Secrets and Sex in the Gallery’, Mutual Art News, 2014, www.mutualart.com/OpenArticle/Yoshiko-Shimada--Silence--Secrets-and- Se/E902A8BB9E13FF8F.

Jones, Amelia. Seeing Differently:A History and Theory of Identification and the Visual Arts (London and New York: Routledge, 2012).

Jose, Nicholas.‘Pulping Herbert Read in a Washing-Machine’, London Review of Books 21:12 (10 June 1999), pp. 15–8.

Jurriëns, Edwin & de Kloet, Jeroen (eds). Cosmopatriots: On Distant Belongings and Close Encounters (Amsterdam & New York: Rodopi, 2007).

Kapur, Geeta. When Was Modernism: Essays on Contemporary Cultural Practice in India (New Delhi: Tulika, 2000).

Kapur, Geeta.‘Mortal Remains’, in Merewether, Charles and Potts, John (eds). After the Event: New Perspectives on Art History (Manchester and New York: Manchester University Press, 2010), pp. 132–55.

Kelly, Philippa.‘Thinking About Guan Wei’, Artlink, 20:4 (2003).

Kester, Grant. Conversation Pieces: Community and Communication in Modern Art (Berkeley & Los Angeles: University of California Press, 2004).

Kimsooja and René Morales, Artist Talk, Miami Art Museum, 2012, www.youtube.com/watch?v=M3m2T4O0joE

Kim Sooja, ‘Action 1: A One-Word Name is an Anarchist’s Name’, 14 July 2003, www.kimsooja.com/action1.html.

Kim, Young-Na. Korean Art of the Twentieth Century (Seoul: Yekyung Publisher, 1994).

Kim, Young-Na. Tradition, Modernity and Identity:Modern and Contemporary Art in Korea (New Jersey:Hollym Corporation, 2005).

Kirker, Marjorie Anne. ‘Printmaking as an Expanding Field in Contemporary Art Practice: A Case Study of Japan, Australia and Thailand’ (PhD thesis, Queensland University of Technology, Brisbane, 2009).

Kolesnikov-Jessop, Sonia. ‘FX Harsono’s Rebellious, Critical Voice against “Big Power” in Indonesia’, New York Times (11 March 2010), http://www.nytimes.com/2010/03/12/arts/12iht- Jessop.html?pagewanted=all&_r=0 .

Kong, Lily. ‘Asian Studies and/in Asian Universities: Global Impacts?’, keynote address, Asian Studies Association of Australia (ASAA) 19th Biennial Conference, 11 July 2012.

Kraus, Werner.‘Raden Saleh’s Interpretation of the Arrest of Diponegoro: An Example of Indonesian “proto-nationalist” Modernism’, Archipel, 69 (2005), pp. 259–94.

Krens, Thomas and Munroe, Alexandra (eds). Cai Guo-Qiang: I Want to Believe (New York: Guggenheim Museum, 2008).

Krischer, Olivier. ‘Lateral thinking: Artivist networks in East Asia’, ArtAsiaPacific No.77 (2012): pp. 96-105.

Kurjaković, Daniel.‘Quarries of Blindness and Shadows of Hope: Interview with Nalini Malani’, Torrent magazine (pilot edition, 2014), pp. 11–28.

Lacy, Suzanne. Mapping the Terrain: New Genre Public Art (Seattle, Wash.: Bay Press, c. 1995).

Lê, Dinh Q . ‘In Conversation with Zoe Butt’, Guggenheim (22 January 2013), http://blogs.guggenheim.org/map/dinh-q-le-in-conversation-with-zoe-butt/.

Lê, Dinh Q .‘Introduction: Carolyn Christov-Bakargiev in conversation with Dinh Q. Lê’, dOCUMENTA 13: 100 Notes—100 Thoughts (Berlin: Hatje Cantz, 2012).

Lê, Dinh Q. video from exhibition MOMA (2010), http://www.moma.org/visit/calendar/exhibitions/.

Lee, Yong Woo. ‘Globalism and the Vanity of its System’, in Japan Foundation Asia Center, Asia in Transition, (Tokyo Japan Foundation Asia Center, 2002), pp.292–308.

Lenzi, Iola (ed.). Negotiating Home History and Nation: Two Decades of Contemporary Art in Southeast Asia 1991–2011 (Singapore:Singapore Art Museum, 2011).

Lenzi, Iola. Dialogue Asia Art Archive ‘Art as Voice: Political Art in Southeast Asia at the Turn of the Twenty-First Century’, 2011 http://www.aaa.org.hk/Diaaalogue/Details/1057.

Lenzi, Iola. ‘Looking Out: How Queer Translates in Southeast Asian Contemporary Art’Intersections: Gender and Sexuality in Asia and the Pacific.Issue 38, August, 2015 http://intersections.anu.edu.au/issue38/lenzi.html

Lenzi, Iola. ‘Art Warfare: Vasan Sitthiket’s Red Planet’, Offsite, Valentine Willie Fine Art (2008), www.vwfa.net/sg/offsiteDetail.php?oid=46.

Lenzi, Iola.‘History and Memory in Thai Contemporary Art’, C-Arts (November - December 2009), www.mutualart.com/OpenArticle/History-and-Memory-in-Thai-Contemporary- /5646BD3688C41A93.

Levin, Cecelia.‘Unity in Diversity: The Formation of Modern Indonesian Art’, ArtAsiaPacific, 59 (July/August 2008).

Li Xianting & Jose, Nicholas. Mao goes Pop: China post-1989, exhibition catalogue (Sydney: Museum of Contemporary Art, 1993).

Lo, Jacqueline. ‘Diaspora, Art and Empathy’, John Young: The Bridge and the Fruit Tree (Canberra: Drill Hall Gallery, The Australian National University, 2013, pp. 19–43).

Lo, Jacqueline. Staging Nation: English Language Theatre in Malaysia and Singapore (Hong Kong: Hong Kong University Press, 2004).

Lo, Jacqueline, Chan, Dean & Khoo, Tseen. ‘Introduction — Asian Australia and Asian America: Making Transnational Connections’, Amerasia Journal 36, no. 2 (2010): pp. xii–xxvii.

Lynn, Victoria.‘Profile: Nalini Malani’, in Smith, Russell and Tutton, Sarah (eds), Experimenta Mesh 17, New Media Art in Australia and Asia (2004), www.experimenta.org/mesh/mesh17/nalini.htm.

Lydon, Christopher.‘Salima Hashmi: In the Worst of Times, the Alchemy of Art’, Arts, Ideas and Politics, Radio Open Source (7 September 2011), http://radioopensource.org/salima-hashmi-in- the-worst-of-times-the-alchemy-of-art/.

Lynn, Victoria et. al. India Songs: Multiple Streams in Contemporary Indian Art, 1993, curated by Victoria Lynn with Indian Commissioners Manjit Bawa & Haku Shah (Sydney: Art Gallery of New South Wales, 1993).

Maerkle, Andrew. ‘Complicit Consciousness: Wong Hoy Cheong’, Art IT (30 May 2011), www.art- it.asia/u/admin_ed_feature_e/o3xMiH2K1mrAIZ6l80DO/.

Maravillas, Francis. ‘Cartographies of the Future: The Asia-Pacific Triennials and the Curatorial Imaginary’, in Clark, John, Peleggi, Maurizio and Sabapathy, TK. (eds).Eye of the Beholder: reception, audiences and practice of modern Asian Art (Sydney: Wild Peony Press, 2006): 244–70.

Masters, H.G. ‘FX Harsono’, ArtAsiaPacific, 85 (September/October 2013), p. 132.

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McGrew, Rebecca. ‘Project Series 6: Dinh Q. Lê’, Pomona College Museum of Art (4 March–9 April 2000), http://www.pomona.edu/museum/exhibitions/2000/project-series-6/ .

Merewether, Charles. ‘Becoming Posthumous: Performance Art in China’, in Champion, Sarah, Glaister, Leung, Wing-Fai & Roberts, Emma (eds). China Contemporary (Liverpool: John Moores University/British Museum), http://www.newchineseart.com/

Merewether, Charles and Potts, John (eds). After the Event: New Perspectives on Art History (Manchester and New York: Manchester University Press, 2010).

Charles Merewether, ‘The House of the People: Forms of Collaboration’, in Deborah E. Horowitz (ed.). Ai Weiwei: According to What? (Hong Kong: Hirshhorn Museum and Sculpture Garden, the Mori Art Museum, 2012), pp. 22–37.

Merrillees, Dolla S. ‘Alfredo + Isabel Aquilizan, “Interview”’ (Sydney: Sherman Contemporary Art Foundation, April 2012) , www.nelsonmeersfoundation.org.au/alfredo-and-isabel-aquilizan.

Merrillees, Dolla S. ‘An Interview with Dinh Q. Lȇ, Dinh Q. Lȇ: Erasure (Sydney: Sherman Contemporary Art Foundation, 2011), pp. 15, 20.

Meskimmon, Marsha. Contemporary Art and the Cosmopolitan Imagination (London & New York: Routledge, 2011).

Meskimmon, Marsha .‘The Precarious Ecologies of Cosmopolitanism’ in Turner, Caroline, Antoinette, Michelle and Stanhope, Zara. (eds). The World and World-Making in Art, Special Issue of Humanities Research, 19:2 (2013), http://epress.anu.edu.au/titles/humanities-research-journal- series/volume-xix-no-2-2013.

Meskimmon, Marsha .‘Response and Responsibility: On the Cosmo-politics of Generosity in Contemporary Asian Art’, in Antoinette, Michelle and Turner, Caroline (eds). Contemporary Asian Art and Exhibitions: Connectivities and World-Making (Canberra: ANU Press, 2014).

Middelborg, Jørn. ‘Foreword’, in Vasan Sitthiket: Hypocrisy (Bangkok: Thavibu Gallery, 2012), p. 5.

Mirzoeff, Nicholas. ‘The Empire of Camps’, Situation Analysis 1, October, 2002, pp. 20-25.

Mirzoeff, Nicholas. Watching Babylon: The War in Iraq and Global Visual Culture (New York: Routledge, 2005).

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Antliff, Allan. Anarchy and Art: From the Paris Commune to the Fall of the Berlin Wall (Vancouver: Arsenal Pulp Press, 2007).

Appadurai, Arjun.Fear of Small Numbers: An Essay on the Geography of Anger. (Durham,NC :Duke University Press, 2006).

Appadurai, Arjun ‘The Production of Locality’, in Peter Beyer (ed.). Religion in the Process of Globalization (Wurzburg: Ergon Verlag, 2001), pp. 99–123.

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Beemer, Bryce. ‘Bangkok Postcard: Forgetting and Remembering “Hok Tulaa”. The October 6 Massacre,’ Explorations in Southeast Asian Studies, 1:1 ,Spring 1997, pp. 1–12.

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Bourdieu, Pierre Acts of Resistance: Against the New Myths of our Time (translated by Richard Nice), (London: Polity, 1998).

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Braithwaite, John, Braithwaite, Valerie, Cookson, Michael and Dunn, Leah. Anomie and Violence: Non-truth and Reconciliation in Indonesian Peacebuilding (Canberra: ANU Press, 2010).

Budianta, Melani.‘Discourse of Cultural Identity in Indonesia during the 1997–1998 Monetary Crisis’, in Chen, Kuan-Hsing and Chua, Beng Huat (eds), Inter-Asia Cultural Studies Reader (Abingdon: Routledge, 2007), pp. 507–21.

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Chakrabarty, Dipesh. Provincializing Europe: Postcolonial Thought and Historical Difference (Princeton: Princeton University Press, 2000).

Chandrasekaram Visakesa. Do Tigers Confess: An Interdisciplinary Study of Confessionary Evidence in Counter-Terrorism Measures of Sri Lanka’ (PhD thesis, Australian National University, 2012).

Charlesworth, Hilary and Chinkin, Christine. The Boundaries of International Law: A Feminist Analysis (Manchester: Manchester University Press, 2000).

Cheah, Pheng. Inhuman Conditions: On Cosmopolitanism and Human Rights (Cambridge, MA: Harvard University Press, 2006).

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Chinkin, Christine. ‘The Language of Human Rights Law’ in Turner, Caroline and Sever, Nancy (eds). Witnessing to Silence: Art and Human Rights, (Canberra: Drill Hall Gallery and Humanities Research Centre, ANU, 2003), pp.13-15.

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Daly, Erin and Sarkin, Jeremy. Reconciliation in Divided Societies: Finding Common Ground (Philadelphia: University of Pennsylvania Press, 2007).

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Duncum, Paul and Springgay, Stephanie .‘Extreme Bodies: The Body as Represented and Experienced through Critical and Popular Visual Culture’, in Liora Bresler (ed.). International Handbook of Research in Arts Education (Dordrecht: Springer Press, 2007), pp. 1143–58.

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Edwards Louise P. Gender, Politics, and Democracy, (Stanford: Stanford University Press, 2008).

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