Samuel Beckett And/In Contemporary Art Since the 1960S Carla Taban

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Samuel Beckett and/in Contemporary Art since the 1960s Carla Taban

Summary Samuel Beckett (1906-1989) is one of the leading figures of 20th century culture whose oeuvre spans several languages (mainly English and French but also German, Italian and Spanish), literary genres (poetry, prose fiction, novel, drama, criticism and translation), media (literature, theatre, radio, TV and film) and cultures (mainly but not only European). Beckett’s oeuvre enjoys a remarkable global reception across artistic, scholarly an intellectual fields. The research project of a monograph, exhibition and Internet website-cum-portal on 'Samuel Beckett and/in Contemporary Art since the 1960s' aims at the systematic and comprehensive mapping of Beckett's pervasive presence in contemporary art practices and discourses in the last half century, throughout the world. The project's ultimate goal is to propose a paradigmatic model for understanding and studying cultural transmission phenomena across artistic-literary fields in the late 20th-early 21st centuries.

The project proceeds empirically by collecting (ideally) all available data regarding Beckett- conditioned contemporary artworks and discourses; by describing the data; by assessing and organizing it; and by eventually proposing, on its basis, a theoretical model. However, due to the sheer volume and dispersion of data, the stage of theoretical formulation will very likely not be reached before a three- to four-year the time-span. Yet the activities of data collection, description, assessment and organization will be informed by a consistent methodological reflection on best available tools and practices. In this way, the project can already function as a methodological model, before becoming a theoretical one.

A further significant outcome of this empirically-oriented stage of the project is that Beckett-related contemporary artworks that are not yet documented will actually be recorded and made available. Many contemporary art practices rest on processual rather than objectual conceptions of art, being oftentimes ephemeral and not leaving behind either an artifact or proper documentation. Yet their significance for further artistic and cultural developments can be major. The present project improves contemporary art-historical documentation, in its specifically circumscribed area, for a range of potential uses: in-depth academic research, research conducted by arts professionals, teaching at various levels in/across different disciplines, consultation by the general public, exchanges and collaboration between the above.

Beckett's multidimensional oeuvre and its 'legacy' to contemporary art has been chosen as a case study that can potentially generate both methodological and theoretical research models because of its extreme complexity. There is no other creative figure in the 20th century whose 'outside legacy' to the arts is as continuous, extensive and varied as Beckett's. Besides artistic practices, Beckett's oeuvre also impacts the discourses of artists, art historians, theorists, critics and curators in ways that need to be specified as well. These discourses draw on Beckett references not only to discuss Beckett-related artworks, but also to interpret -- by analogy with oftentimes different and even conflicting understandings of Beckett's oeuvre -- further art works, practices, curatorial projects and/or art 'movements'. If a model can be devised to systematize our grasp of processes of signification, cultural transmission and appropriation in the case of 'Samuel Beckett and/in Contemporary Art since the 1960s', one can quite confidently conjecture that this model is likely to apply, with minor revisions, to other less complex cases. 2

Detailed Description Samuel Beckett (1906-1989) is one of the leading figures of 20th century culture whose oeuvre spans several languages (mainly English and French but also German, Italian and Spanish), literary genres (poetry, prose fiction, novel, drama, criticism and translation), media (literature, theatre, radio, TV and film) and cultures (mainly but not only European). Configurative relationships fundamentally connect these constitutive dimensions of Beckett’s corpus in a complex multimodal network the nature and workings of which scholars are still endeavouring to comprehend in their full specificity, by using a variety of theoretical, methodological and (inter-)disciplinary approaches. Originally drawing on and transforming centuries of accumulated knowledge in the arts, humanities and even sciences, Beckett’s oeuvre enjoys a remarkable global reception across artistic, scholarly an intellectual fields, which is matched only by few other literary figures (e.g. Dante, Shakespeare, Joyce).

One field in which Beckett’s ‘legacy’ is particularly pervasive is contemporary art. (Other fields are contemporary literature, performing and dramatic arts, and music). The research project of a monograph, exhibition and Internet website-cum-portal on ‘Samuel Beckett and/in Contemporary Art since the 1960s’ aims at the systematic and comprehensive mapping of Beckett’s widespread presence in contemporary art practices and discourses in the last half century, throughout the world. The project’s ultimate goal is to propose a paradigmatic model for understanding and studying cultural transmission phenomena across artistic-literary fields in the late 20th-early 21st centuries.

Scholars deal with the topic of Beckett and/in art in mainly two ways. On the one hand, they discuss Beckett’s direct involvement with art during his lifetime as evidenced by: i) His art historical, critical and/or theoretical writings on contemporaneous artists, mainly the Dutch painter brothers Abraham and Gerardus Van Velde, but also on French painters André Masson and Pierre Tal-Coat (Beckett 1983); ii) His tributes to artist friends, again Bram and Geer Van Velde, but also Irish painter-graphic designer Jack B. Yeats, French-Israeli painter-draughtsman-printmaker Avigdor Arikha and French painter Henry Hayden (Beckett 1983); iii) His oftentimes unsigned, and hence unattributed, translations (or translation proofs) into English of essays on art by critics, historians, philosophers, writers and artists, such as Georges Duthuit, André Breton, Jean Wahl, Bram Van Velde and others, most of which were published in the Parisian magazine transition (Ackerley and Gontarski; Duthuit 1950 and 1952; Labrusse); iv) Beckett’s granting permission for the creation of numerous artists’ books comprising his texts, to artists such as: Avigdor Arikha, Hans Martin Erhardt, Max Ernst, Sorel Etrog, William Stanley Hayter, Dellas Henke, Jasper Johns, Charles Klabunde, Louis Le Brocquy, Robert Ryman, etc. (Beckett 1958; 1965; 1967, 1968a; 1968b; 1970, 1971; 1972; 1973; 1974; 1976a; 1976b; 1979; 1983; 1984; 1989a; 1989b; 1991; 1998); v) Overt and covert art references in Beckett’s creative corpus, across genres and media (Albright; Bignell; Del Degan; Hartel; Herren; Knowlson 1996 and 2003; Lommel; McMillan; Mercier; Milz; Oppenheim 1999 and 2000; Taban); vi) Travel notebooks and letters giving evidence of young Beckett’s countless visits to art galleries, museums and private collections throughout Europe (Beckett 2009 and 2011; Lutz, Veit and Wichner; Nixon; Quadflieg; Tophoven); and finally vii) Archival material such as Beckett’s manuscripts, reading and production notebooks that facilitate the reconstruction of art allusions in his oeuvre (Beckett 1992, 1993, 1999b; Beckett 1999a). On the other hand, Beckett’s ‘minimalist’ aesthetics is highlighted – especially due to Beckett’s participation in the “Minimalism” issue of the Aspen magazine edited by Brian O’Doherty in 1967 (Beckett 1967) – and it is related to the American ‘Minimalist’ movement of the 1960s and its different, even conflicting, interpretations (Bell; Brater; Oppenheim 2000).

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s 3

Beside Beckett scholars, art historians, theorists and critics have also tackled on occasion the relationships between Beckett and contemporary art, by discussing not so much Beckett’s own ‘minimalism’, but his significance for ‘Minimalist’ artists. Exemplary in this respect are Rosalind Krauss’s writings on Sol LeWitt and Robert Morris that draw on extensive analogies with Beckett’s novels Molloy and Watt respectively. Along or beyond the import of Beckett for ‘Minimalist’ artists, Bruce Nauman and the impact of Beckett’s oeuvre on his artistic practice have also been quite often studied (van Bruggen; Chiong; Delaporte; Folie and Glasmeier; Lerm Hayes 2003; Schaffner; Tubridy 2007; van Tuyl), as has been the relevance of Beckett for Canadian filmmaker and photographer Stan Douglas, who organized the very first comprehensive exhibition of Beckett’s visual (TV and Film) work at the Vancouver Art Gallery in 1988 (Bal; Douglas; Inboden; Watson), which circulated internationally. Art historians and/or literary scholars have highlighted further connections between Beckett and artists as different as Jasper Johns (Krauss 1976), William Kentridge (Krauss 2000), Steve McQueen (Carville), Doris Salcedo (Tubridy 2010) and Robert Smithson (Israel; Katz). Moreover, a number of contemporary artists have themselves discursively acknowledged – in their writings, statements, interviews, etc. – the relevance of Beckett’s work for them (Douglas and Enright; Douglas and Thater; Graham and Gerdes; Holt, Lippard and Smithson; LeWitt; LeWitt and Wilson; Morris; Nauman; Smithson), although they haven’t always explicitly clarified how exactly this interest is to be related to either particular artworks or to specific problematics informing their overall practice.

Recent research undertaken in the last ten to fifteen years – in which scholars have started to cross the boundaries between different disciplines such as literary, theatre, film, media, visual, visual culture and cultural studies as well as art history – has listed in addition the following contemporary artists as having responded, at one time or another, to Beckett in their works: Gerard Byrne, Duncan Campbell, Janet Cardiff, Paul Chan, James Coleman, Atom Egoyan, Valie Export, Douglas Gordon, Dan Graham, Rodney Graham, Eva Hesse, Nathaneal Mellors, Juan Munoz, Tony Oursler, Richard Serra and Ugo Rondinone (Carville; Folie and Glasmeier; Knowlson 2003). The value of such a list, to which many more names can and should in fact be added (see List of References), is to begin to show the full range and variety of artistic responses to Beckett since the 1960s. What made it possible to draw up this list is the interdisciplinary border-crossing that has led to the recognition of the fact that Beckett’s ‘legacy’ to contemporary art is much more complex and diverse than an evaluation in terms of ‘Minimalism’ allows one to asses. Nonetheless, such interactions between disciplines are still an incipient and local/individual effort that the present project aims at developing and coordinating, so that the issue of Beckett’s pervasiveness in contemporary art can be dealt with in a comprehensive and systematic fashion. While the above list is a valuable starting point for research, in depth study requires, in parallel with further data collection, that the connections between Beckett and artists creatively drawing on his work be not simply itemized, but specified, supported and documented.

The project ‘Samuel Beckett and/in Contemporary Art since the 1960s’ aims in its first phase at precisely such further data collection, specification and documentation. A considerable challenge to this task is the programmatic objectlessness of many contemporary art practices. Simply put, the challenge consists in the improbability of directly experiencing ephemeral Beckett-related artworks (due to geographical, temporal, informational, etc. constraints) and, correlatively, in the scarcity, unreliability and/or inaccessibility of their documentation. This circumstance is partly responsible for the common impression that Beckett’s presence in contemporary art practices is less substantial

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s 4 than it actually is. In fact there isn’t a major art ‘movement’ since the second half of the 20th century – from ‘Abstract Expressionism’ to ‘Conceptual Art’ passing through ‘Fluxus’, ‘Minimalism’, ‘Pop Art’, ‘Art & Language/Text’, ‘Video and Performance Art’, ‘Earthworks’/‘Land Art’, ‘Mail Art’, etc. – that doesn’t include at least one key representative working at one moment or another in response to Beckett. Among the quoted ‘movements’, more than half rest on processual rather than objectual conceptions of art, rejecting the validity of creative endeavors whose main or sole aim is the production of art objects (Lippard). Similar notions of art-as-process, art-as-activity or art-as- intervention also ground the praxis of a number of distinguished and ‘independent’ (i.e. difficultly assignable to a ‘movement’) contemporary artist figures that have produced Beckett-related works. Yet, in the absence of an ‘object’ of study proper, in this particular case art ‘objects’ with a ‘Beckettian’ dimension, the researcher’s task is considerably impeded.

A further challenge to the project is the fact that Beckett’s impact spans both artistic practices and art critical-theoretical-historical discourses. Sometimes it seems that art discoursers establish connections between artists’ works and Beckett’s oeuvre without the artists or artworks themselves necessarily or explicitly supporting these associations. Conversely, artists may draw not (only) on Beckett’s work directly, but (also) on its previous appropriative and transformative uses in both art practices and discourses. The intricacy of exchanges between and mutual conditionings of artistic practices and discourses becomes fully visible in the case of ‘Samuel Beckett and/in Contemporary Art since the 1960s’. The project can thus function as a paradigm, i.e. a model with larger implications for the understanding of cultural transmission across literary-artistic fields.

Given the complex and as yet unmapped state of affairs described above, the project proceeds empirically by collecting (ideally) all available data regarding Beckett-conditioned contemporary artworks and discourses; by describing the data; by organizing and assessing it; and by eventually proposing, on its basis, a theoretical model. However, due to the sheer volume and dispersion of data, the stage of theoretical modeling will very likely not be reached before a three- to four-year time-span. Yet the activities of data collection, description, organization and assessment will be informed by a consistent methodological reflection on best available tools and practices. In this way, the project can already function as a methodological model, before becoming a theoretical one.

Data collection will proceed (for it has already started) with a thorough research of abstract, bibliographical, index, database and – public and private – archival resources on all available supports, i.e. paper, audio-visual and electronic formats (see List of References). Art museums/galleries’ and periodic art exhibitions’ online collections and/or archives will also be fully searched, as will be art practitioners’ official websites. This step will be followed by the corroboration of findings via original document consultation on original support, on-site archival and collection research, and art practitioners’ interviewing, both in Canada and abroad. Major Canadian locations include Edmonton, Montréal, Ottawa, Toronto and Vancouver and their respective relevant public and private art galleries, institutions, studios, etc. Major foreign locations include public and private contemporary art museums, galleries, institutes, organisations, studios, etc. in the USA (New York: e.g. MOMA, Guggenheim, Whitney; Los Angeles: e.g. Getty) and several European countries: France (e.g. Metz, Paris), Germany (e.g. Berlin, Cologne, Kassel), Italy (e.g. Milan, Rome, Venice) and the UK (e.g. Glasgow, London). Ideally Australian, Asian and South-American on-site verification research ought to be conducted as well. The team and personnel of the project need not be the only ones to carry out on-site research and thus travel to all

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s 5 these locations. Local volunteers with the project can become responsible for data validation. Moreover, art practitioners’ interviewing can also take place via CIT. The next step of the project consists in developing, on the basis of a substantial amount of data, criteria to organise, describe and assess it (see infra), and in actually carrying out all these activities.

A further significant outcome of this empirically-oriented stage of the project is that Beckett-related contemporary artworks that are not yet documented will actually be recorded and made available. Artworks that are ephemeral and do not leave behind either an artefact or proper documentation, may nonetheless be significant to further artistic and cultural developments. The ‘Samuel Beckett and/in Contemporary Art since the 1960s’ project improves contemporary art-historical documentation and access to it, in its specifically circumscribed area, for a range of potential uses: in-depth academic research, research conducted by arts professionals, teaching at various levels in/across different disciplines, consultation by the general public, exchanges and collaboration between some or all of the above interested parties.

Previous attempts to assess the connections between Beckett and contemporary art have been carried out not only by scholars from different fields, but also by curators. A few exhibitions that have been organised since 2000 dealt exclusively with the topic of ‘Beckett and/in (Contemporary) Art’. While Samuel Beckett: A Passion for Paintings curated by Fionnuala Croke at the National Gallery of Ireland, Dublin, Ireland in 2006, on the occasion of Beckett’s centenary, showed artworks (mainly paintings) that Beckett owned, saw and/or alluded to in his various works, alongside artists’ books comprising his texts as well as Beckett archival material related to art (Croke), the following shows focused mainly or solely on contemporary artists’ creative responses to Beckett (although some of them also included artists’ books and/or archival material), sometimes even commissioning new artworks: Samuel Beckett, Bruce Nauman, curated by Christine Hoffmann and Michael Glasmeier with the collaboration of Gaby Hartel at the Kunsthalle Wien, Vienna, Austria in 2000 (Folie and Glasmeier); not i, curated by Pieter Hensen at the Ormeau Baths Gallery, Belfast and Context Gallery, Derry, Northern Ireland, UK also in 2000 (Lerm Hayes 2000); daprèsledépeupleur/afterthelostones, curated by Michèle Thériault at the UQAM Gallery, Montreal, Quebec, Canada in 2002 (Thériault); 18: Beckett, curated by Séamus Kealy at the Blackwood Gallery, Mississauga, Ontario, Canada in 2006 (Kealy); I not I: Samuel Beckett, Philip Guston, Bruce Nauman, curated by Patrick T. Murphy at the Royal Hibernian Academy, Dublin, Ireland in 2006 (Anon); and most recently Samuel Beckett curated by Marianne Alphant and Nathalie Léger at the Centre Georges Pompidou, Paris, France in 2007 (Alphant and Léger).

Another kind of exhibition that deals exclusively with Beckett’s reception by contemporary artists is that of artists’ books comprising his texts. While Foirades/Fizzles: Echo and Allusion in the Art of Jasper Johns, curated by James Cuno at the Grunwald Center for the Graphic Arts, Wight Art Gallery, UCLA, USA in 1987 is the most comprehensive exhibition to date to display the various stages of the making of an artist book comprising Beckett texts (Cuno), Word and Image: Samuel Beckett and the Visual Text/ Mot et image: Samuel Beckett et le texte visuel, curated by Breon Mitchell and Lois More Overbeck at the Robert W. Woodruff Library, Emory University, Atlanta/GA, USA in 1999 exhibited the so far largest selection of artists’ books created on the basis of Beckett works (Mitchell and Overbeck).

Besides exhibitions that focus, one way or another, solely on Beckett and art, a wealth of international exhibitions, biennials, art festivals, etc. which have been organized in the past ten to

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s 6 fifteen years, either included Beckett as a participating artist, especially with his TV work and Film, or were placed under his conceptual patronage that favoured specific interpretations of his oeuvre and/or creative processes. The two best known examples of the first category are: documenta X, curated by Catherine David in Kassel, Germany in 1997, which screened as an artwork Beckett’s Quadrat I & II, a TV piece that Beckett himself directed at the Süddeutscher Rundfunk in Stuttgart, Germany in 1982 (Glasmeier 2000); and Always a Little Further, curated by Rosa Martínez at the 51st Venice Biennial, Italy in 2005, in which Beckett was both referred to in the curatorial statement and present as an exhibitor with his shortest dramaticule Breath adapted by Greek artist Nikos Navridis in the form of a video installation (Martínez; Grammatikopoulou). Using as their titles quotes from Beckett, Total Object Complete with Missing Parts, curated by Andrew Renton at the Tramway, Glasgow, UK in 2001 and Try Again, Fail Again, Fail Better, curated by Anette Kierulf and Mark Sladen at the 4th Nordic Biennial Momentum, Moss, Norway in 2006 best illustrate the second category.

While quite abundant, these various types of curatorial projects offer, just like the scholarly attempts discussed above, only partial and most of the time speculative glimpses into the complex issue of ‘Samuel Beckett and/in Contemporary Art since the 1960s’. Although our project will undoubtedly benefit from these various efforts to assess Beckett’s ‘legacy’ to contemporary art, it requires at the same time that these efforts be systematised and supplemented, especially as regards the different historical-chronological stages of artistic responses to Beckett and their conceptual, thematic, problematic, medium-related and contextual dimensions.

Previous scholarly and curatorial contributions have, as a rule, endeavoured to circumscribe the relationships between Beckett’s work, on the one hand, and a given contemporary artwork, artist’s practice or art ‘movement’, on the other, by selecting and highlighting a limited number of structural, thematic and/or media-related ‘Beckettian’ features. This selective approach made it possible for Beckett’s work to be considered relevant for competing understandings of the same object of inquiry. A case in point is the ‘Minimalist movement’. Both the serialist-structuralist- rationalist interpretation of ‘Minimalism’ and its rival phenomenological-intuitionist interpretation argue their respective position (also) by resorting to Beckett’s relevance for ‘Minimalist’ artists and focusing only on aspects of his work that support this rather than that point of view. The same situation holds for other divergent interactions in contemporary art, e.g. between ‘movements’ such as ‘Abstract Expressionism’ and ‘Conceptual Art’ or between approaches such as medium- specificity and inter-/post-mediality, with Beckett being invoked and/or appropriated, paradoxically, on both sides of the divide. From the perspective of the ‘Beckett and/in Contemporary Art since the 1960s’ project what is of interest and needs to be explained is precisely the capacity of Beckett’s work to be significant for all the past, present and oftentimes contradictory developments in contemporary art.

The project is also relevant because responses to Beckett from the field of contemporary art succeed in casting a new light on fundamental constitutive dimensions of Beckett’s corpus and their configurative relationships, which may otherwise be much harder to observe or even remain unnoticed. If contemporary art responses to Beckett help to better understand contemporary art, they at the same time help to better understand Beckett’s own creative endeavour and processes. Some of the mutually dependent structure-, form- and medium-informing themes that contemporary art has highlighted in Beckett by appropriating, transforming and developing them are the following: sensation – perception – apperception – conception; structure – construct – concept –

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s 7 affect; presence – memory – imagination; inside – outside; subjectivity – objectivity; I – other/s; stasis – movement; mind – body – technology; seriality – repetition – difference; rationality – logic – meaninglessness; language games – ‘zero degree of writing’ – babble – silence; objecthood – dematerialization – nothingness; strategy – accident – event; entropy – decay – exhaustion – subsistence; futility – failure – resistance; humour – anguish; origin – originality – appropriation; text – context – intertext; tautology – autonomy – reference – self-reference; abstraction – figuration – representation; ‘high’ culture – ‘low’ culture; spectatorship – performance – agency – passivity; ethics – aesthetics; identity – ideology – culture – history; etc.

These i) themes can be used – along criteria such as ii) chronology by decade since the 1960s, iii) art ‘movement’ characteristics/aesthetics and iv) art discipline/medium – as heuristic starting points in the organisation, description and assessment of contemporary art responses to Beckett. The following questions can further assist with the same task: What aspects of Beckett’s creative endeavour do contemporary artists/art discoursers consider particularly relevant to their own artistic and/or discursive enterprise? What works by Beckett do they favour and why? How precisely, i.e. at what levels, does the transposition – from Beckett to the art field – operate, since it oftentimes entails the passage from one medium, context and signifying system to another? What less obvious features of Beckett’s work does contemporary art help to illuminate? How does Beckett’s oeuvre participate in contemporary art discourses and practices?

At the present, contemporary artworks and discourses – inclusive of those that respond to Beckett – are the objects of study of various disciplines such as art history, criticism and theory, cultural and visual culture studies as well as visual and cultural anthropology. Beckett’s oeuvre is in its turn tackled by various disciplines such as literary, theatre, media and film studies. The interactions between art and literature have led to the creation of fields of inquiry such as word and image, art and language and inter-media studies. Curatorial practices, which ground various Beckett-related exhibitions, are mainly researched in museum and curatorial practice studies. Within each, or at least most, of these disciplines and fields there are several methodological and theoretical models at work, ranging from historicist and biographical approaches to formalist, structuralist, poststructuralist-deconstructivist, cognitivist, semiotic, reader/viewer-response, feminist, postcolonial, psychoanalytical, socio-ideological, critical-theoretical, philosophical- phenomenological, philosophical-analytical and philosophical-aesthetical ones, to name but the best known and most used (see for instance Bal, Bois et ali; Belting; Cheetham, Holly and Moxey; Culler 2007 and 2011; Eagleton; Foster, Krauss et ali; Fry; Haxthausen; Kibédi Varga 1989 and 2003; Preziosi 1989 and 2009). These various models have oftentimes come into existence and co- existence because previous models were considered insufficient to suitably account for specific cases/ occurrences/contexts. The project ‘Samuel Beckett and/in Contemporary Art since the 1960s’ will endeavour to understand the various methodological-theoretical perspectives from within which its objects of study – i.e. artworks and art discourses responding to Beckett – emerge or within which they are explicitly or implicitly set/embedded/framed, before attempting to propose new methodological-theoretical modelling. This actually means that the project will take stock of and fully show, again in its specifically circumscribed area, methodological-theoretical debates taking currently place in the disciplinary fields which it involves.

The Internet website-cum-portal component of the present project will be, due to the technological capabilities of the medium, more comprehensive, versatile and accessible than the monograph and exhibition components. It will be the first operational module of the project and it will continue to

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s 8 function even after the completion of the monograph and exhibition, so as to record and assess new, on-going responses to Beckett in contemporary art. Besides recording and assessing both historical and contemporaneous data and thus function as a knowledge resource, the Internet module is also intended to become an exchange platform for artists, scholars, practitioners, educators or anybody else interested in Beckett’s work and its reception in contemporary art since the 1960s.

Beckett’s multidimensional oeuvre and its ‘legacy’ to contemporary art has been chosen as a case study that can potentially generate both methodological and theoretical research models because of its extreme complexity. There is no other creative figure in the 20th century whose ‘outside legacy’ to the arts is as continuous, extensive and varied as Beckett’s. Besides artistic practices, Beckett’s oeuvre also impacts the discourses of artists, art historians, theorists, critics and curators in ways that need to be specified too. These discourses draw on Beckett references not only to discuss Beckett-related artworks, but also to interpret – by analogy with oftentimes different and even conflicting understandings of Beckett’s oeuvre – further art practices, curatorial projects and/or art ‘movements’. If a model can be devised to systematise our grasp of processes of signification, cultural transmission and appropriation in the case of ‘Samuel Beckett and/in Contemporary Art since the 1960s’, one can quite confidently conjecture that this model is likely to apply, with minor revisions, to other less complex cases.

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s 9

List of References

Quoted References Samuel Beckett Beckett, Samuel. Acte sans paroles I & II. Akt ohne Worte I & II. Act without Words I & II. Text in English, French and German, translated by Elmar Tophoven. With eighteen original linocuts by, Hans Martin Erhardt. Stuttgart: Manus Presse, 1965. ---. Aus einem aufgegebenen Werk. From an Abandoned Work. D’un ouvrage abandonné. Text in English, French and German, translated by Erika and Elmar Tophoven. With three original numbered and signed etchings in colour by Max Ernst. Stuttgart: Manus Presse, 1967. ---. Beckett’s “Dream” Notebook. Edited by John Pilling. Reading: Beckett International Foundation, 1999a. ---. Bing. Text in German, translated by Elmar Tophoven. With eight original signed blind reliefs by Hans Martin Erhardt. Stuttgart: Manus Presse, 1970. ---. Bing. Translated by Elmar Tophoven. With twenty-four etchings and one woodcut by Georg Baselitz. Cologne: Galerie Michael Werner, 1991. ---. Company. With thirteen original etchings by Dellas Henke. Iowa City: Iowa Center for the Book, 1983. ---. The Complete Dramatic Works. London: Faber and Faber, 1986. ---. The Complete Short Prose, 1929-1989. Edited and with an introduction and notes by S. E. Gontarski. New York: Grove Press, 1995. ---. Film. Complete Scenario, Illustrations, Production Shots. With an Essay on Directing Film by Alan Schneider. New York: Grove Press, 1969. ---. Foirades/Fizzles. With thirty-three original etchings by Jasper Johns. London: Petersburg Press, 1976a. ---. The Grove Centenary Edition. Series editor: Paul Auster, 4 vols. New York: Grove Press, 2006. ---. He, Joe, Quadrat I und II, Nacht und Träume, Schatten, Geister Trio... Filme für den SDR. DVD. Berlin: Suhrkamp, 2008. ---. Ill Seen Ill Said. With twenty-eight original copperplates by Dellas Henke. Grand Rappids/MI: Dellas Henke, 1998. ---. Imagination Dead Imagine. With twenty-four original lithographs by Sorel Etrog. London: John Calder, 1979. ---. L’Issue. With six original signed etchings by Avigdor Arikha. Paris: Georges Visat, 1968a. ---. Kommen und Gehen. Come and Go. Va et vient. Text in English, French and German, translated by Erika and Elmar Tophoven. With seven original signed etchings by Hans Martin Erhardt. Stuttgart: Manus Presse, 1968b. ---. The Letters of Samuel Beckett. Edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn and Lois More Overbeck. Cambridge: Cambridge University Press, 2009 (vol. 1), 2011 (vol. 2). ---. Au loin un oiseau. With five original signed etchings by Avigdor Arikha. New York: Double Elephant Press, 1973. ---. The Lost Ones. With seven original signed etchings by Charles Klabunde. Stamford/CT: The New Overbrook Press, 1984. ---. Malone meurt et Oh les beaux jours. With eight illustrations by Avigdor Arikha. Paris: Editions Rombaldi, 1971. ---. Nohow On. With six original etchings by Robert Ryman. New York: The Limited Editions Club, 1989a. ---. The North. With three original etchings by Avigdor Arikha. London: Enitharmon Press, 1972.

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---. Nouvelles et textes pour rien. With six reproductions of signed pen and ink drawings by Avigdor Arikha. Paris: Minuit, 1958. ---. “Part III: Words about Painters”, in Disjecta. Miscellaneous Writings and a Dramatic Fragment. Edited by Ruby Cohn. London: John Calder, 1983 (115-152). ---. Still. Text in English and Italian, translated by Luigi Majno. With three original signed etchings in colour, and three original black and white signed etchings on Japan, by William Stanley Hayter. Milan: M’Arte Edizioni, 1974. ---. Stirrings Still. With one original two-colour lithograph and eight original litographs in black and white by Louis Le Brocquy. London: John Calder; New York: Blue Moon, 1989b. ---. Text for Nothing #8. Read by Jack MacGowan, LP audio recording, Aspen: The Magazine in a Box, nos. 5-6 “The Minimalism Issue”. Edited and designed by Brian O’Doherty (1967). ---. The Theatrical Notebooks of Samuel Beckett. Series editor: James Knowlson, 4. vols. London: Faber and Faber, 1992, 1993, 1999b. ---. Waiting for Godot. With fourteen signed etchings by Dellas Henke. Iowa City: Iowa Center for the Book, 1976b. Samuel Beckett and Art Ackerley, C. J. and S. E. Gontarski. The Grove Companion to Samuel Beckett. A Reader’s Guide to His Works, Life, and Thought. New York: Grove Press, 2004. Albright, Daniel. Beckett and Aesthetics. Cambridge; New York: CUP, 2003. Alphant, Marianne and Nathalie Léger (Eds.). Objet Beckett. Catalogue of the exhibition Samuel Beckett co-curated by Marianne Alphant and Nathalie Léger at the Centre Pompidou, Gallery 2, 14 March-25 June 2007. Paris: Centre Georges Pompidou/IMEC, 2007. Anon. “Listings”, in Irish Arts Review 23, no. 1 (Spring 2006): 44. Bal, Mieke. “Re-: Killing Time”, in Hans D. Christ and Iris Dressler (Eds.). Stan Douglas. Past Imperfect: Works, 1986-2007. Catalogue of an exhibition co-curated by Hans D. Christ and Iris Dressler in cooperation with Gudrun Inboden at the Staatsgalerie Stuttgart and Würtembergischer Kunstverein Stuttgart, 15 September 2007-6 January 2008. Ostfildern: Hatje Cantz, 2008 (64-93). Bell, L. A. J. “Between Ethics and Aesthetics: The Residual in Samuel Beckett’s Minimalism”, Journal of Beckett Studies 20, no. 1 (2011): 32-53. Bignell, Jonathan. Beckett on Screen: The Television Plays. Manchester: Manchester University Press, 2009. Bruggen van, Coosje. Bruce Nauman. New York: Rizzoli, 1988. Brater, Enoch. Beyond Minimalism: Beckett’s Late Style in the Theatre. New York: OUP, 1987. Carville, Connor. “Autonomy and the Everyday: Beckett, Late Modernism and Post-War Visual Art”, Samuel Beckett Today/Aujourd’hui 23 (2011): 63-80. Chiong, Kathryn. “Nauman’s Beckett Walk”, October 86 (Autumn 1998): 63-81. Croke, Fionnuala (Ed.). Samuel Beckett: A Passion for Paintings. Catalogue of an exhibition curated by Fionnuala Croke in collaboration with Riann Coulter at the National Gallery of Ireland, 15 June-17 September 2006. Dublin: National Gallery of Ireland, 2006. Cuno, James (Ed.). Foirades/Fizzles: Echo and Allusion in the Art of Jasper Johns. Catalogue of an exhibition curated by James Cuno at the Grunwald Center for the Graphic Arts, Wight Art Gallery, University of California Los Angeles, 20 September-15 November 1987. Los Angeles: Wight Art Gallery – UCLA, 1987. Del Degan, Dario. “Playing with Paint or Painting with Play: Positioning Beckett’s Play within Marin’s Theory of Reading Paining”, Samuel Beckett Today/Aujourd’hui 11 (2002): 237-244. Delaporte, Marie-Laure. “Samuel Beckett/Bruce Nauman: Un nouveau lieu de création spatio-

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temporel”, Samuel Beckett Today/Aujourd’hui 23 (2011): 81-93. Dittrich, Lutz, Carola Veit and Ernest Wichner (Eds.). “Obergeschoss still closed”: Samuel Beckett in Berlin 1936-1937. Catalogue of an exhibition at Literaturhaus Berlin. Berlin: Matthes & Seitz, 2006. Douglas, Stan (Ed.). Samuel Beckett: Teleplays. Catalogue of an exhibition curated by Stan Douglas at the Vancouver Art Gallery, 1 October-3 December 1988. Vancouver: Vancouver Art Gallery, 1988. Douglas, Stan and Robert Enright. “Double Take”, Frieze 109 (September 2007): 168-175. Douglas, Stan and Diana Thater. “Diana Thater in Conversation with Stan Douglas”, in Scott Watson, Diana Thater and Carol J. Clover. Stan Douglas. London: Phaidon, 1998 (8-29). Duthuit, Georges. The Fauvist Painters. New York: Wittenborn, Schultz, 1950. ---. “Jean-Paul Riopelle – A Painter of Awakening”. Translated by Samuel Beckett. Canadian Art 10, no. 1 (October 1952): 24-27. Folie, Sabine and Michael Glasmeier (Eds.). Samuel Beckett, Bruce Nauman. Catalogue of an exhibition co-curated by Christine Hoffmann and Michael Glasmeier with the academic assistance of Gaby Hartel at the Vienna Kunsthalle, 4 February-30 April 2000. Vienna: Die Kunsthalle, 2000. Glasmeier, Michael. “Erschöpfte Räume. Samuel Beckett und andere Künstler”, in Angela Lammert (Ed.). Raum und Körper in den Künsten der Nachkrigszeit. Berlin: Akademie der Künste; Dresden: Verlag der Kunst, 1998 (246-260). ---. “Bewegter Stillstand”, in Sabine Folie and Michael Glasmeier (Eds.). Samuel Beckett, Bruce Nauman. Catalogue of an exhibition co-curated by Christine Hoffmann and Michael Glasmeier with the academic assistance of Gaby Hartel at the Vienna Kunsthalle, 4 February- 30 April 2000. Vienna: Die Kunsthalle, 2000 (149-159). Graham, Dan and Ludger Gerdes. “Dan Graham Interviewed by Ludger Gerdes”, in Adachiara Zevi (Ed.). Dan Graham. Selected Writings and Interviews on Art Works, 1965-1995. Roma: I Libri di Zerynthia, 1995 (175-200). Grammatikopoulou, Christina. “Restaging Beckett: Hirst, Navridis and brothers Guimarães Taking a Breath”, Interartive 4 (November 2008): http://interartive.org/2008/11/samuel-beckett. Hartel, Gaby. “the eyes take over”: Samuel Becketts Weg zum gesagten Bild. Eine Untersuchung von ‘The Lost Ones’, ‘Ill Seen, Ill Said’ und ‘Stirrings Still’ im Kontext der visuellen Kunst. Trier: Wissenschaftlicher Verlag Trier, 2004. Herren, Graley. Samuel Beckett’s Plays on Film and Television. New York: Palgrave MacMillan, 2007. Holt, Nancy, Lucy R. Lippard and Robert Smithson. “Out of the Past. Lucy R. Lippard Talks about Eva Hesse with Nancy Holt and Robert Smithon”, Artforum 46, no. 6 (February 2008): 236- 250. Inboden, Gudrun. “Giving Form to Absence”, in Hans D. Christ and Iris Dressler (Eds.). Stan Douglas. Past Imperfect: Works, 1986-2007. Catalogue of an exhibition co-curated by Hans D. Christ and Iris Dressler in cooperation with Gudrun Inboden at the Staatsgalerie Stuttgart and Würtembergischer Kunstverein Stuttgart, 15 September 2007-6 January 2008. Ostfildern: Hatje Cantz, 2008 (124-141). Israel, Nico. “At the End of the Jetty: Beckett, Smithson, Spirals and Global Modernity”, Journal of Beckett Studies 20, no. 1 (2011): 1-31. Katz, Daniel. “Where Now? A Few Reflections on Beckett, Robert Smithson, and the Local”, Samuel Beckett Today/Aujourd’hui 22 (2010): 329-340. Kealy, Séamus (Ed.). 18: Beckett. Catalogue of an exhibition curated by Séamus Kealy at the

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Blackwood Gallery, University of Toronto at Mississauga, 9 November-21 December 2006. Mississauga: Blackwood Gallery, 2006. Knowlson, James. Damned to Fame. The Life of Samuel Beckett. New York: Simon & Schuster, 1996. ---. Images of Beckett. Cambridge: Cambridge University Press, 2003. Krauss, Rosalind. “Jasper Johns: The Functions of Irony”, October 2 (Summer 1976): 91-99. ---. “LeWitt in Progress”, October 6 (Autumn 1978): 46-60. ---. “The Mind/Body Problem: Robert Morris in Series”, in Robert Morris. The Mind/Body Problem. Catalogue of an exhibition co-curated by Rosalind Krauss and Thomas Krens at the Solomon R. Guggenheim Museum Soho, January-April 1994. New York: The Solomon R. Guggenheim Foundation, 1994 (2-17). ---. “‘The Rock’: William Kentridge’s Drawings for Projection”, October 92 (Spring 2000): 3-35. Labrusse, Rémi. “Beckett et la peinture. Le témoignage d’une correspondance inédite”, Critique 46, nos. 519-520 (August-September 1990): 670-681. Lerm Hayes, Christa-Maria. “Not I. Exhibition Review”, Circa 93 (Autumn 2000): 50-51. ---. “Nauman.. Beckett... Beckett. Nauman: The Necessity of Working in an Interdisciplinary Way”, Circa 104 (Summer 2003): 47-50. LeWitt, Sol. “Drawing for Come and Go by Samuel Beckett”, double-spread sheet, Harper’s Bazaar 3093 (August 1969): 136-137. LeWitt, Sol and Andrew Wilson. “Sol LeWitt Interviewed”, in Gabriele Detterer (Ed.). Art Recollection: Artists’ Interviews and Statements in the Nineties. Ravenna: Danilo Montanari & Exit & Zona Archives Editori, 1997 (153-160). Lommel, Michael. Samuel Beckett: Synästhesie als Medienspiel. München: Wilhelm Fink Verlag, 2006. Martínez, Rosa. “Always a Little Further”, in La Biennale di Venezia 51st International Art Exhibition, vol. 3. Catalogue of an exhibition curated by Rosa Martínez at the 51st Venice Biennial, Arsenale, June- September 2005. Venezia: La Biennale di Venezia & Marsilio, 2005. McMillan, Dougald. “Samuel Beckett and the Visual Arts: The Embarrassment of Allegory”, in Ruby Cohn (Ed.). Samuel Beckett: A Collection of Criticism. New York: McGraw-Hill Book Co., 1975 (121-135). Mercier, Vivian. Beckett/Beckett. New York: Oxford University Press, 1977 (88-113). Milz, Manfred. Samuel Beckett und Alberto Giacometti: Das Innere als Oberfläche. Ein ästheticher Dialog im Zeichen schöpferischer Entwicklungsprozesse. Würzburg: Königshausen und Neumann, 2006. Mitchell, Breon and Lois More Overbeck (Eds.). Word and Image: Samuel Beckett and the Visual Text/Mot et image: Samuel Beckett et le texte visuel. Catalogue of an exhibition and symposium at the Robert W. Woodruff Library, Emory University, Atlanta/GA, November 1999; Lilly Library, Indiana University Bloomington/IN, 20 October-18 December 1999; and Musée des Beaux-Arts, Caen, 22 March-15 April 2000. Atlanta/GA: Emory University; Paris: IMEC, 1999. Morris, Robert. “Aligned with Nazca”, in Continuous Project Altered Daily. The Writings of Robert Morris. Cambridge: MIT Press, 1993 (143-173). Nauman, Bruce. Please Pay Attention Please: Bruce Nauman’s Words. Edited by Janet Kraynak. Cambridge: MIT Press, 2003. Nixon, Mark. Samuel Beckett’s German Diaries 1936-1937. London: Continuum, 2011. Oppenheim, Lois (Ed.). Samuel Beckett and the Arts. Music, Visual Arts and Non-Print Media.

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New York and London: Garland Publishing, 1999. Oppenheim, Lois. The Painted Word: Samuel Beckett’s Dialogue with Art. Ann Arbor: University of Michigan Press, 2000. Quadflieg, Roswitha. Beckett Was Here: Hamburg im Tagebuch Samuel Becketts von 1936. Hamburg: Hoffmann und Kampe, 2006. Schaffner, Ingrid. “Circling Oblivion. Bruce Nauman through Samuel Beckett”, in Bruce Nauman: 1985-1996. Drawing, Prints and Related Works. Catalogue of ‘The 1995 Larry Aldrich Foundation Award Exhibition’, curated by Jill Snyder at The Aldrich Museum of Contemporary Art, 4 May-31 August 1997. Connecticut: The Aldrich Museum of Contemporary Art, 1997 (15-31). Smithson, Robert. “Quasi-Infinities and the Waning of Space”, Arts Magazine 41, no. 1 (November 1966): 28-31. Taban, Carla. “Samuel Beckett: du discours descriptif, fictif et critique sur la peinture à la contiguïté du discursif et du pictural”, Word & Image: A Journal of Verbal/Visual Enquiry 27, no. 2 (June 2011): 220-233. ---. “Transpositions de l’œuvre de Beckett dans l’art contemporain au Québec, 2000-2010”, Samuel Beckett Today/Aujourd’hui 23 (2011): 143-161. Thériault, Michèle. daprèsledépeupleur/afterthelostones. Catalogue of an exhibition curated by Michèle Thériault at the UQAM Gallery Montréal, 16 January-23 February 2002. Montreal: Carapace, 2002. Tophoven, Erika. Becketts Berlin. Berlin: Nikolai, 2005. Tubridy, Derval. “Sounding Spaces. Aurality in Samuel Beckett, Janet Cardiff and Bruce Nauman”, Performance Research. A Journal of the Performing Arts 12, no. 1, Special Issue “On Beckett” (2007): 5-11. ---. “Beckett, Feldman, Salcedo… Neither”, in Daniela Caselli (Ed.). Beckett and Nothing: Trying to Understand Beckett. Foreword by Terry Eagleton. Manchester: Manchester University Press, 2010 (143-159). Tuyl van, Gijs. “Condition Humaine/Corps Humain. Bruce Nauman und Samuel Beckett”, in Christine van Assche (Ed.). Bruce Nauman. Image/Text 1966-1996. Catalogue of an exhibition held at the Kunstmuseum Wolfsburg, 24 May-28 September 1997 and three other locations through January 1999. Wolfsburg: Kunstmuseum Wolfsburg; Ostfildern-Ruit: Cantz, 1997 (61-75). Watson, Scott. “Against the Habitual”, in Scott Watson, Diana Thater and Carol J. Clover. Stan Douglas. London: Phaidon, 1998 (32-67). Art and Literary Theory and History Bal, Mieke, Yve-Alain Bois, Irving Lavin, Griselda Pollock and Christopher S. Wood. “Art History and Its Theories”, The Art Bulletin 78, no. 1 (March 1996): 6-25. Belting, Hans. Art History after Modernism. Translated by Carolina Saltzwedel and Mitch Cohen with additional translation by Kenneth Northcott. Chicago: University of Chicago Press, 2003. Cheetham, Mark A., Michael Ann Holly and Keith Moxey (Eds.). The Subjects of Art History: Historical Objects in Contemporary Perspectives. Cambridge: Cambridge University Press, 1998. Culler, Jonathan. The Literary in Theory. Stanford: Stanford University Press, 2007. ---. Literary Theory: A very Short Introduction. 2nd Edition. Oxford & New York: Oxford University Press, 2011. Eagleton, Terry. Literary Theory: An Introduction. 2nd Edition. Minneapolis/MN: University of Minnesota Press, 1996.

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Foster, Hall, Rosalind Krauss, Yve Alain-Bois, Benjamin H. D. Buchloh and David Joselit. Art since 1900: Modernism, Antimodernism, Postmodernism. 2nd Revised Edition. New York: Thames & Hudson, 2011. Fry, Paul H. Theory of Literature. New Haven: Yale University Press, 2012. Haxthausen, Charles W. (Ed.). The Two Art Histories: The Museum and the University. Williamstown/ MA: Sterling and Francis Clark Art Institute; New Haven/CT: Yale University Press, 2002. Kibédi Varga, Áron “Criteria for Describing Word-and-Image Relations”. Poetics Today 10, no. 1 ‘Art and Literature I’ (Spring 1989): 31-53. ---. “Mediality and Forms of Interpretation of Artworks”, Neohelicon 30, no. 2 (2003): 183-191. Lippard, Lucy R. (Ed.). The Dematerialization of the Art Object from 1966 to 1972. Berkeley: University of California Press, 1997. Preziosi, Donald. Rethinking Art History. Meditations on a Coy Science. New Haven & London: Yale University Press, 1989. ---. The Art of Art History. A Critical Anthology. New Edition. Oxford: Oxford University Press, 2009. Consulted References (Selection) Samuel Beckett Criticism Abbott, H. Porter. The Fiction of Samuel Beckett: Form and Effect. Berkeley: University of California Press, 1973. Bishop, Tom and Raymond Federman (Eds.). Les Cahiers de l’Herne 31 ‘Samuel Beckett’. Paris: Éditions de l’Herne, 1976. Branigan, Kevin. Radio Beckett: Musicality in the Radio Plays of Samuel Beckett. Oxford: Peter Lang, 2008. Caselli, Daniela, Beckett’s Dantes. Manchester & New York: Manchester University Press, 2005. Cohn, Ruby. Back to Beckett. Princeton: Princeton University Press, 1973. ---. A Beckett Canon. Ann Arbor: The University of Michigan Press, 2001. ---. Samuel Beckett: The Comic Gamut. New Brunswick & New Jersey: Rutgers University Press, 1962. Connor, Steven. Samuel Beckett: Repetition, Theory and Text. Oxford & New York: Blackwell, 1988. Davis, Robin and Lance St. John Butler (Eds.). Rethinking Beckett. London: MacMillan, 1990. Fitch, Brian T. Beckett and Babel. An Investigation into the Status of the Bilingual Work. Toronto: University of Toronto Press, 1988. Gontarski, S. E. The Intent of Undoing in Samuel Beckett’s Dramatic Texts. Bloomington: Indiana University Press, 1985. Harper, Howard, Douglas McMillan III and Edouard Morot-Sir (Eds.). Samuel Beckett. The Art of Rhetoric. Chapel Hill: University of North Carolina Department of Romance Languages, 1976. Harvey, Lawrence E. Samuel Beckett. Poet and Critic. Princeton: Princeton University Press, 1970. Hill, Leslie. Beckett’s Fiction in Different Words. Cambridge: Cambridge University Press, 1990. Hulle van, Dirk. The Making of Samuel Beckett’s Stirrings Still/Soubresauts and Comment dire/What Is the Word. Brussels: University Press Antwerp, 2011. Kalb, Jonathan. Beckett in Performance. Cambridge & New York: Cambridge University Press, 1989. Kenner, Hugh. Samuel Beckett. A Critical Study. Berkeley & Los Angeles: University of California Press, 1968. Laws, Catherine (Ed.). Performance Research. A Journal of the Performing Arts 12, no. 1 Special

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Issue “On Beckett” (2007). Locatelli, Carla. Unwording the World. Samuel Beckett’s Prose Works after the Nobel Prize. Philadelphia: University of Pennsylvania Press, 1990. McMillan, Dougald and Martha Fehsenfeld. Beckett in the Theatre: The Author as Practical Playwright and Director. London: John Calder; New York: Riverrun Press, 1988. McMullan, Anna. Theatre on Trial: Samuel Beckett’s Later Drama. New York: Routledge, 1993. Moorjani, Angela B. Abysmal Games in the Novels of Samuel Beckett. Chapel Hill: University of North Carolina Department of Romance Languages, 1982. Myskja, Bjørn. The Sublime in Kant and Beckett: Aesthetic Judgment, Ethics and Literature. Berlin and New York: Walter de Gruyter, 2002. Pilling, John. Samuel Beckett. London: Routledge & Kegan Paul, 1976. Pilling, John (Ed.). The Cambridge Companion to Beckett. Cambridge: Cambridge University Press, 1994. Rabinovitz, Rubin. Innovation in Samuel Beckett’s Fiction. Urbana & Chicago: University of IllinoisPress, 1992. Sherzer, Dina. Structure de la trilogie de Beckett: ‘Molloy’, ‘Malone meurt’, ‘L’Innommable’. La Haye & Paris: Mouton, 1976. Tagliaferri, Aldo. Beckett et la surdétermination littéraire. Translated from the Italian by Nicole Fama. Paris: Payot, 1977. Tönning, Erik. Samuel Beckett’s Abstract Drama: Works for Stage and Screen, 1962-1985. Bern & Oxford: Peter Lang, 2007. Uhlmann, Anthony. Beckett and Poststructuralism. Cambridge: Cambridge University Press, 1999. Wulf, Catharina (Ed). The Savage Eye = L’Oeil fauve. New Essays on Samuel Beckett’s Television Plays. Amsterdam: Rodopi, 1995. Zilliacus, Class. Beckett and Broadcasting: A Study of the Works of Samuel Beckett for and in Radio and Television. Abo: Abo Akademi, 1976. Samuel Beckett and Art Applebroog, Ida. “Ida Applebroog: Process and Technology”, Art21 Interview: http://www.art21.org/texts/ida-applebroog/interview-ida-applebroog-process-and-technology. Armstrong, Gordon S. Samuel Beckett, W.B. Yeats, and Jack Yeats: Images and Words. Lewisburg/PA: Bucknell University Press; London: Associated University Presses, 1990. Beuys, Joseph and Stuart Morgan. “Interview with Joseph Beuys”, Parkett 7 (1986): 54-68. Blistène, Bernard et ali. A Theater without Theater. Catalogue of an exhibition co-curated by Bernard Blistène and Yann Chateigné with the collaboration of Pedro G. Romero at the Museu d’Art Contemporani de Barcelona, 25 May-11 September 2007 and at the Museu Colecção Berardo, Arte Moderna e Contemporânea, Lisbon, 16 November 2007- 17 February 2008. Barcelona: Museu d’Art Contemporani de Barcelona; Lisbon: Museu Colecção Berardo, 2007. Bochner, Mel and John Baldessari. “Outside the Box”, Artforum 45, no. 10 (Summer 2007): 101- 102. Bogardi, Georges. “The Studio: In Her Reconfigurations of Ideas and Found Materials, Betty Goodwin Transforms Life into Art”, Canadian Art 11, no. 3 (Fall 1994): 86-93. Brater, Enoch. “Dada, Surrealism and the Genesis of Not I”, Modern Drama 18, no. 1 (March 1975): 49-59. ---. “The Empty Can: Samuel Beckett and Andy Warhol”, Journal of Modern Literature 3, no. 5 ‘From Modernism to Post-Modernism’ (July 1974): 1255-1264. ---. “The Thinking Eye in Beckett’s Film”, Modern Language Quarterly 36, no. 2 (June 1975): 166-

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176. Caws, Mary Ann. Robert Motherwell: With Pen and Brush. London: Reaktion, 2003. Copeland, Hannah Case. Art and the Artist in the Works of Samuel Beckett. The Hague: Mouton, 1975. Cunningham, David. “Asceticism against Colour, or Modernism, Abstraction and the Lateness of Beckett”, New Formations 55, no. 1 (2005): 104-119. ---. “Ex Minimis: Greenberg, Modernism and Beckett’s Three Dialogues”, Samuel Beckett Today/ Aujourd’hui 13 (2003): 29-41. Del Degan, Dario. The Staged Painting of Samuel Beckett. Unpublished Ph.D. Dissertation. Toronto: University of Toronto, 2007. Didi-Huberman, Georges. Atlas - How to Carry the World on One’s Back?. Catalogue of an exhibition curated by Georges Didi-Huberman at the Museo Nacional Centro de Arte Reina Sofia, Madrid, 26 November 2010-March 28, 2011; ZKM, Museum für Neue Kunst, Karlsruhe, 7 May-28 August 2010; Sammlung Falckenberg, Hamburg, 24 September- 27 November 27, 2011. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2010. Frampton, Hollis. On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton. Edited with an Introduction by Bruce Jenkins. Cambridge/MA: MIT Press, 2009. Furlong, William. Speaking of Art: Four Decades of Art in Conversation. With an Introduction by Mel Gooding. London: Phaidon Press, 2010. Gale, Peggy. Artists Talk: 1969-1977. Halifax/NS: Press of the Nova Scotia College of Art and Design, 2004. Gidal, Peter. “Beckett & Others & Art: A System”, Studio International 188 (November 1974): 183-87. Hesse, Eva and Cindy Nemser. “An Interview with Eva Hesse”, Artforum 7, no. 9 (May 1970): 59-63. Johannes, Christa Erika. Relationships between some Abstract Expressionist Painting and Samuel Beckett’s Writing. Unpublished Ph.D. Dissertation. Athens/GA: University of Georgia, 1974. Joselit, David, Joan Simon and Renata Salecl. Jenny Holzer. London: Phaidon Press, 1998. Hale, Jane. “Framing the Unframable: Samuel Beckett and Francis Bacon”, Samuel Beckett Today/ Aujourd’hui 2 (1993): 95-101. Harari, Dror. “Breath and the Tradition of 1960’s New Realism: Between Theatre and Art”, Samuel Beckett Today/Aujourd’hui 22 (2010): 423-433. Huldisch, Henriette and Shamim Momin. Whitney 2008 Biennial Exhibition. New York: Whitney Museum of American Art; New Haven: Yale University Press, 2008. Kelley, Mike. “Mike Kelley: Language and Psychology”, Art21 Interview: http://www.art21.org/texts/mike-kelley/interview-mike-kelley-language-and-psychology. Kesting, Marianne. “Die Eternisierung der Fluktuation. Über den Prozeß der Wahrnehmung bei Beckett und Giacometti”, Das Kunstwerk: Zeitschrift für bildende Kunst 34, no. 2 (1981): 33- 45. ---. “Die Welt im Schädel: Beckett und Malewitsch”, Sprache im technischen Zeitalter 66 (1978): 114-126. Kosuth, Joseph. “‘Texts (Waiting for-) for Nothing, Samuel Beckett, in play’ at the Sean Kelly Gallery, New York, April 2011”, LaBiennale.tv: http://biennaleart.tv/event.php?id=16. Kudielka, Robert. “‘An Art Unresentful of Its Insuperable Indigence’… Das Paradigma der modernen Malerei in Becketts Poetik”, in Peter Brockmeier and Carola Veit (Eds.). Komik und Solipsismus im Werk Samuel Becketts. Stuttgart: M & P, 1997 (163-184). Laws, Catherine. “Feldman – Beckett – Johns: Patterning, Memory and Subjectivity”, in Björn Heile (Ed.). The Modernist Legacy: Essays on New Music. Burlington/VT: Ashgate, 2009

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(135-158). Lippard, Lucy. Eva Hesse. New York: New York University Press, 1976. Megged, Matti. Dialogue in the Void: Beckett and Giacometti. New York: Lumen Books, 1985. Morris, Robert. “Writing with Davidson: Some Afterthoughts after Doing Blind Time IV: Drawing with Davidson”, Critical Inquiry 19, no. 4 (Summer 1993): 617-627. Oppenheim, Dennis and Suzaan Boettger. “Oral history interview with Dennis Oppenheim, July- August 1995”, Archives of American Art, Smithsonian Institution: http://www.aaa.si.edu/collections/interviews/oral-history-interview-dennis-oppenheim-12924. Oppenheim, Dennis and Judith Olch Richards. “Oral History Interview with Dennis Oppenheim, June 23-24, 2009”, Archives of American Art, Smithsonian Institution: http://www.aaa.si.edu/collections/interviews/oral-history-interview-dennis-oppenheim-15693. Piper, Adrian. Out of Order, Out of Sight. 2 vols. Cambridge/MA: MIT Press, 1996. Prinz, Jessica. “Foirades/Fizzles/Beckett/Johns”, Contemporary Literature 21, no. 3 ‘Art and Literature’ (Summer 1980): 480-510. Richard J. Gerber, “A Review of Three Joseph Kosuth Installations: Texts (Waiting for –) for Nothing, Samuel Beckett, in Play (2011); Titled (Art as Idea as Idea) Nothing (original installation, Los Angeles, 1968); and ‘Ulysses,’ 18 Titles and Hours (1998), at the Sean Kelly Gallery, Chelsea, New York, 30 March-30 April 2011”, James Joyce Quarterly 47, no. 4 (Summer 2010): 670-673. Riley, Bridget. The Eye’s Mind. Collected Writings 1965-2009. Edited by Robert Kudielka. Revised and Extended 2nd Edition. London: Thames & Hudson, 2009. Schramm, Ulf. “Kritik der Theorie vom ‘Kunstwerk als Negation’. Beobachtungen an Beckett’s Endspiel und an Bildern von Vasarely und Fontana”, Philosophisches Jahrbuch 76, no. 2 (1969): 349-375. Schwab, Martin. Unsichtbares, sichtbar gemacht: Zu Samuel Beckett’s “Film”. München: W. Fink, 1996. Stella, Frank and Joan Fowler. “Frankie Says”, Circa 24 (Autumn 1985): 28-31. Temkin, Ann and Hamza Walker (Eds.). Raymond Pettibon: A Reader. Philadelphia: Philadelphia Museum of Art, 1998. Tofts, Darren. “Samuel Beckett and Francis Bacon: Pictorial Time/Critical Space”, Western Humanities Review 49, no. 2 (1995): 159-166. Wechsler, Judith. “Illustrating Samuel Beckett: The Issue of the Supererogatory”, Art Journal 52, no. 4 ‘Interactions between Artists and Writers’ (Winter 1993): 33-40. Art History and Theory ***. PressPLAY: Contemporary Artists in Conversation. London & New York: Phaidon, 2005. Alberro, Alexander and Blake Stimson (Eds.). Conceptual Art: A Critical Anthology. Cambridge/MA: MIT Press, 1999. Archer, Michael. Art since 1960. New Edition. London & New York: Thames & Hudson, 2002. Arnheim, Rudolf. Art and Visual Perception. A Psychology of the Creative Eye. Berkeley and Los Angeles: University of California Press, 1974. Barthes, Roland. Camera Lucida. Reflections on Photography. New York: Hill and Wang, 1981. ---. The Responsibility of Forms. University of California Press, 1991. Detterer, Gabriele (Ed.). Art Recollection: Artists’ Interviews and Statements in the Nineties. Ravenna: Danilo Montanari & Exit & Zona Archives Editori, 1997. Evans, David (Ed.). Appropriation. London: Whitechapel Gallery; Cambridge/MA: MIT Press, 2009. Goldie, Peter and Elisabeth Schellekens. Who’s Afraid of Conceptual Art? New York/NY: Routledge, 2010.

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Gombrich, E. H. Art and Illusion. A Study in the Psychology of Pictorial Representation. Millennium Edition. Princeton: Princeton University Press, 2000. Kosuth, Joseph. Art after Philosophy and After. Collected Writings, 1966-1990. Edited with an Introduction by Gabriele Guercio. Foreword by Jean-François Lyotard. Cambridge and London: The MIT Press, 1991. Krauss, Rosalind. “The Motivation of the Sign”, in Lynn Zelevansky (Ed.). Picasso and Braque. A Symposium. New York: Museum of Modern Art, 1992 (261-305). ---. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge/MA: MIT Press, 1985. ---. A Voyage to the North Sea: Art in the Age of the Post-Medium Condition. London: Thames & Hudson, 1999. Le Feuvre, Lisa (Ed.). Failure. London: Whitechapel Gallery; Cambridge/MA: MIT Press, 2010. Lerm-Hayes, Christa-Maria. Joyce in Art: Visual Art Inspired by James Joyce. Foreword by Fritz Senn. Envoi by James Elkins. Dublin: Lilliput Press, 2004. Lyotard, Jean-François. Discours, figure. Paris: Kincksieck, 1971. Marin, Louis. “Toward a Theory of Reading in the Visual Arts: Poussin’s The Arcadian Shepherds”, in Susan Suleiman and Inge Crosman (Eds.). The Reader in the Text: Essays on Audience and Interpretation. Princeton: Princeton University Press, 1980 (293-324). Meyer, James (Ed.). Minimalism. London: Phaidon, 2000. Mitchell, W. J. T. Picture Theory. Essays on Verbal and Visual Representation. Chicago: University of Chicago Press, 1994. Morris, Catherine (Ed.). 9 Evenings Reconsidered: Art, Theatre and Engineering, 1966. Cambridge/ MA: MIT List Visual Arts Center, 2006. Osborne, Peter (Ed.). Conceptual Art. London & New York: Phaidon, 2002. Selby, Aimee (Ed.). Art and Text. London: Black Dog Publishing, 2009. Shapiro, Meyer. “On Some Problems in the Semiotics of Visual Arts: Field and Vehicle in Image- Signs”, in Robert E. Innis (Ed.). Semiotics: An Introductory Anthology. Bloomington: Indiana University Press, 1985 (206-225). Smithson, Robert. Robert Smithson: The Collected Writings. Edited by Jack Flam. Berkeley: University of California Press, 1996. Snow, Michael. The Collected Writings of Michael Snow. With a Foreword by Louise Dompierre. Waterloo/ON: Wilfrid Laurier University Press, 1994. Sollins, Susan et ali. Art21: Art in the 21st Century. 5 vols. New York: Harry N. Abrams, 2003- 2012. Sollins Susan and Susan Dowling. Art21: Art in the 21st Century. PBS TV series. Alexandria/VA: Art21, Inc.; Distributed by PBS Home Video, 2001-2012. Stafford, Barbara Maria. Visual Analogy: Consciousness as the Art of Connecting. Cambridge/MA: MIT Press, 1999. Stoichita, Victor I. The Self-Aware Image: An Insight into Early Modern Meta-Painting. Translated from the French by Anne-Marie Glasheen. Cambridge: Cambridge University Press, 1997. Warburg, Aby. Werke in einem Band. Auf der Grundlage der Manuskripte und Handexemplare. Edited by Martin Treml, Sigrid Weigel und Perdita Ludwig. Berlin: Suhrkamp, 2010. Art Resources: Abstracts, Bibliographies, Databases, Indexes, Museums, Galleries, etc. Arntzen, Etta and Robert Rainwater. Guide to the Literature of Art History. Chicago: American Library Association, 1980. Archives of American Art. Smithsonian Institution: http://www.aaa.si.edu. Art Abstracts (H. W. Wilson). EBSCO Publishing: http://www.ebscohost.com/academic/art- abstracts.

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Art & Architecture Complete. EBSCO Publishing: http://www.ebscohost.com/academic/art- architecture- complete. Arts and Humanities Full Text. ProQuest: http://www.proquest.com/en- US/catalogs/databases/detail/arts.shtml. Art Full Text (H. W. Wilson). EBSCO Publishing: http://www.ebscohost.com/academic/art-full-text. Art Index (H. W. Wilson). EBSCO Publishing: http://www.ebscohost.com/academic/art-index. Art Index Retrospective: 1929 -1984 (H. W. Wilson). EBSCO Publishing: http://www.ebscohost.com/academic/art-index-retrospective. Art Museum Image Gallery. EBSCO Publishing: http://www.ebscohost.com/academic/art-museum- image-gallery. Art Museum Image Gallery: Special Collection. EBSCO Publishing: http://www.ebscohost.com/academic/art-museum-image-gallery-special-collection. Art Source. EBSCO Publishing: http://www.ebscohost.com/academic/art-source. ARTBibliographies Modern. ProQuest: http://www.proquest.com/en- US/catalogs/databases/detail/artbm-set-c.shtml. artlibraries.net: Virtual Catalogue for Art History. http://artlibraries.net/index_en.php. ARTstor Digital Library. http://www.artstor.org/index.shtml. Bibliography of the History of Art/Répertoire de la littérature de l’art. Getty Research Institute: http://library.getty.edu/bha. British Humanities Index. ProQuest: http://www.proquest.com/en-US/catalogs/databases/detail/bhi- set- c.shtml. DAAI – Design and Applied Arts Index. ProQuest: http://www.proquest.com/en- US/catalogs/databases/detail/daai-set-c.shtml. Ehresmann, Donald L. Fine Arts: A Bibliographic Guide to Basic Reference Works, Histories, and Handbooks. 3rd Edition. Englewood/CO: Libraries Unlimited, 1990. Ford, Simon (Ed.). Information Sources in Art, Art history and Design. München: K.G. Saur, 2001. International Bibliography of Art. ProQuest: http://www.proquest.com/en- US/catalogs/databases/detail/iba.shtml. JSTOR Digital Library. http://www.jstor.org. Kohle, Hubertus and Katja Kwastek (Eds.). Computer, Kunst und Kunstgeschichte. Köln: Deubner, 2003. Also see: http://www.kunst-und-wissen.de/Computer_links.htm. Marmor, Max and Alex Ross. Guide to the Literature of Art History 2. Chicago: American Library Association, 2005. Museum of Modern Art (MOMA). New York: http://www.moma.org. Musée national d’art moderne, centre Georges Pompidou: http://www.centrepompidou.fr. Oxford Art Online. Oxford University Press: http://www.oxfordartonline.com. Search Tools and Databases. The Getty Research Institute: http://www.getty.edu/research/tools. Swan Jones, Lois. Art Information and the Internet: How to Find It, How to Use It. Phoenix/AZ: Oryx Press, 1999. Tate: www.tate.org.uk.

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Knowledge Mobilization Plan The main knowledge mobilization strategy of the proposed project is its Internet component, since it will be continuous, freely accessible and it will include a social media element. This component will also be the first operational one. Operation is planned to start by the end of the project’s second year, with subsequent ongoing development in terms of uploaded content in the third year and beyond. The exhibition and monograph components of the project will also contribute to knowledge mobilization, although in a less continuous fashion. They are planned to take place and respectively be published at the end of the third year of the project. It is likely that these two components’ reach in terms of number and type of audience (age, profession, geographical location, etc.) be more limited than in the case of the Internet component. Nonetheless, if partner organizations will be found, the exhibition can have international circulation. Measuring the number of people that access the Internet and exhibition components is quite easy, via hit counting in the first case and ticket counting in the second. The quality of the interaction between the audience and these two components will also be evaluated, via surveys and questionnaires.

Knowledge mobilization methods will also include participation in both academic and art professional conferences, workshops, meetings, etc. The knowledge mobilized on these occasions will be not only outbound, from the project to the audience and peers, but also inbound, from the audience and peers to the project. The project will have enough flexibility, at least in its first year and a half to two years, to integrate and adapt solutions that it may not come to generate itself. Subsequent participation in such activities of knowledge mobilization is likely to be more outbound than inbound, at least as regards the best possible way for designing the website-cum-portal and organizing its content. Anybody interested will be able to contribute web content, especially once the website-portal is launched, a process which will be nonetheless moderated. Volunteers around the world can also participate in data verification.

Further modalities of knowledge mobilization include the publication of journal articles, book chapters and reports of at least two kinds: in-depth studies dealing with specific aspects of Beckett- related contemporary artworks and discourses that it is neither the monograph nor the Internet component’s function to tackle in detailed manner. The second kind of publication which also is out of the range of the project’s three components – Internet website-cum-portal, monograph and exhibition – and which will find its best dissemination venue in journals, book collections, etc. is the in-depth description of the project’s various stages of development, as well as its methodological, theoretical and logistical challenges.

The project has the capability of facilitating exchanges between individuals, organizations and individuals and organizations both within and outside academia, that were previously unaware of their shared interests. It can thus consolidate interest communities and facilitate the development of new collaborative projects of which it itself need not be a direct part, other than having enabled mutual knowledge. Pending the project’s resources it itself can collaborate in other projects that are relevant to its scope.

The project’s overall knowledge mobilization strategy is to respond – as time and personnel resources allow – to requests of presentation and instruction/training from any interested party, be it art professional or academic organizations and groups, educational institutions, media, etc. It will also endeavor, at least in its first stages, to signal its existence to these various parties. Later and if the need arises, it can train trainers.

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Expected Outcomes Summary The proposed project will generate several kinds of benefits/outcomes.

In terms of knowledge creation, the project will discover and delineate the extent of its object of study, i.e. contemporary art works and discourses drawing on Beckett’s oeuvre. Methodologically, it will employ and further best available approaches for data collection from both recorded and (hitherto) unrecorded sources, in its specifically circumscribed area. It will also employ and further best available practices for the description, organization, analysis and assessment of its object of study. Theoretically, the project will not only lay out the methods and theories that already ground or are embedded within its very object (see Detailed Description), but it will also eventually propose a model for literature-arts appropriation and transmission processes.

In terms of knowledge preservation and dissemination, the project will function – especially, but not only through its Internet website-cum-portal component – both as a hub for its object of study and as a gateway to connected resources (such as artists’, art practitioners’, art discourses’, galleries’, museums’, etc. websites). Furthermore, it will record and make available as yet unrecorded and/or difficultly accessible information. If through its multi-authored monograph and exhibition modules, the project will give a largely static account of its object of study at a given moment in time, its Internet component will allow it to function as a ‘work in progress’ that will keep growing with every new and pertinent (in terms that still need to be defined) Beckett- connected artwork and discourse.

In terms of audience, the project will be relevant, as a knowledge resource, to researchers interested in further in-depth study of particular aspects of its object. It will also be relevant to artists, art practitioners and discoursers, as well as researches, who can use the project not only as a knowledge resource but also as a platform for exchange (the latter especially via the Internet component). The project can be also used for teaching purposes at various levels and it can be in fact used by any member of the general public with an interest in it. Furthermore, assistants – both waged/salaried and volunteers – involved in the development of the project will benefit from it in terms of gaining various kinds of research and professional skills.

In terms of effects and implications, the project can become a model on several levels: collaboration between researchers in various disciplines; collaboration between academia and professionals, organizations and institutions in the field of arts; research training, turning research into practice training and professional skills training for the assistants participating in the project and other constituencies; as well as use of integrated digital arts & humanities and social media.

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Proposed Student Training Strategies The project will hire 2 doctoral students and (the equivalent of) 2 undergraduate students each year.

These students will be responsible for carrying out the following duties: - Collect data via extensive bibliographical researches in a variety of published, audio-visual, electronic, public and private archival resources, so as to find Beckett-related contemporary artworks and art discourses: undergraduate and graduate. - Travel for data collection and verification (i.e. research travel): graduate. - Record, transcribe, translate (into English, possibly also French) and annotate data: undergraduate and graduate. - Familiarize themselves with specific theoretical-methodological models underlying the data (as explained in the Detailed Description): graduate. - Participate in the process of developing criteria for organizing, describing, analyzing and assessing the data: graduate. - Database operation and/or creation: undergraduate and graduate. - Write up both summaries and shorter or longer descriptions of individual Beckett-related contemporary artworks and art discourses, as well as summaries and descriptions of groups/ classes of such, once taxonomic criteria will have been established: undergraduate and graduate. - Participate in the elaboration and conduction of interviews with art professionals (artists and art discoursers) on their Beckett-related work/interest: undergraduate and graduate. - Secure image and text rights (usage and reproduction) from publishers, museums, art galleries, artists, writers, scholars, etc.: undergraduate and graduate. - The Internet component of the project presupposes additional duties such as website updating and social media, possibly also participation in website design and maintenance: undergraduate and graduate. - The exhibition component presupposes additional duties such as lending and insurance contracts, event organization and publicity: undergraduate and graduate. - Travel for the purpose of participation/presentation in scholarly and art professional conferences, meetings or workshops: undergraduate and graduate. - Travel for the purpose of exhibition research/organization: graduate. - Publication of research findings: graduate. - Mentor undergraduate co-workers and volunteers on the project: graduate.

The project will also be open to students, both undergraduate and graduate, who want to volunteer with it at the administering organization. It will also be open to volunteers around the world, via its Internet component. Volunteers will be responsible for some of the above duties. Salaried students – and to a lesser degree volunteers – will have the opportunity to familiarize themselves with many aspects of knowledge creation, mobilization and implementation. The student’s activities with the project will complement their academic training which oftentimes foregrounds mainly/only knowledge acquisition.

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s