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Rachel Dalton Bibliography Adamson, Glenn. Industrial Strength Design: How Brook Stevens Shaped Your World. Edited by Karen Jacobsen. Cambridge, Massachusetts: MIT Press, 2003. ________. “The Enfant Terrible of Industrial Design: Planned Obsolescence and Other Crimes Against Modernism, 1956-1978.” In Industrial Strength Design: How Brook Stevens Shaped Your World, edited by Karen Jacobsen, 129-178. Cambridge, Massachusetts: MIT Press, 2003. Heskett, John. “The Desire for the New: The Context of Brook Steven’s Career.” In Industrial Strength Design: How Brook Stevens Shaped Your World, edited by Karen Jacobsen, 1-8. Cambridge, Massachusetts: MIT Press, 2003. Wilson, Kristina. “Brook Stevens, the Man in Your Life: Shaping the Domestic Sphere, 1935-50.” In Industrial Strength Design: How Brook Stevens Shaped Your World, edited by Karen Jacobsen, 13-17. Cambridge, Massachusetts: MIT Press, 2003. Clowes, Jody. “Ego-inspiring Styling and the American Dream.” In Industrial Strength Design: How Brook Stevens Shaped Your World, edited by Karen Jacobsen, 23-31. Cambridge, Massachusetts: MIT Press, 2003. Alloway, Lawrence. “Junk Culture.” Architectural Design 31 (March 1961): 122-123. _______________. Collages and Objects. London: Institute of Contemporary Art, Swift Publicity Limited, 1954. Applin, Jo. “ ‘This Threatening and Possibly Functioning Object’: Lee Bontecou and the Sculptural Void.” Art History 29/3 (June 2006): 476-502. Ashton, Dore. “Exhibition of Drawings at the Leo Castelli Gallery.” Studio 164 (September 1962): 106-7. __________. “But, but, but……An assemblage of wayward opinion on the Art of Assemblage.” Arts and Architecture 79 (1962): 4-5, 32. __________. “Illusion and Fantasy: Lee.” Metro 8/19 (April 1963): 28-33. 156 157 __________. “Art.” Arts and Architecture 80 (January 1963): 5. __________. “Willem de Kooning.” In Willem de Kooning, unpaginated. Hazardville, Connecticut: The Meridian Gravure Co., Smith College Museum of Art, The Hayden Gallery, MIT, 1965. __________. “Art.” Arts & Architecture. 8/11 (December 1966): 5 -6. __________.“The Advent of Surrealism.” In The New York School, 85-98. Berkeley: University of California Press, 1992. Ashton, Jennifer. “Laura (Riding) Jackson and the New Criticism.” In From Modernism to Postmodernism, 95-118. New York: Cambridge University Press, 2005. Baro, Gene. “A Gathering of Americans.” Arts Magazine 37/10 (September 1963): 28-33. Barr, Jr., Alfred H., Garnett McCoy, Baldwin, Smith, and Allen Rosenbaum. “A Continued Story: Alfred H. Barr, Jr., Princeton University, and William C. Seitz.” Archives of American Art Journal 21/3 (1981): 8-13. Battcock, Gregory, editor. Minimal Art: A Critical Anthology. Los Angeles: University of California Press, Ltd., 1995. Originally published as Battcock, Gregory, editor. Minimal Art: A Critical Anthology. New York: E. P. Dutton & Co,. Inc.,1968. Battcock, Gregory. Introduction to Minimal Art: A Critical Anthology, edited by Gregory Battcock, 19-36. Los Angeles: University of California Press, Ltd., 1995. Fried, Michael. “Art and Objecthood.” In Minimal Art: A Critical Anthology, edited by Gregory Battcock, 116-147. Los Angeles: University of California Press, Ltd., 1995. Originally published in Michael Fried, “Art and Objecthood.” Artforum 10 (June 1967): 12-23. Greenberg, Clement. “Recentness of Sculpture.” In Minimal Art: A Critical Anthology, edited by Gregory Battcock, 180-186. Los Angeles: University of California Press, Ltd., 1995. Originally published in Clement Greenberg. “Recentness of Sculpture.” American Sculpture of the Sixties, edited by Maurice Tuchman, 24-26. Los Angeles: Los Angeles County Museum of Art, 1967. Benedikt, Michael. “Sculpture as Architecture.” In Minimal Art: A Critical Anthology, edited by Gregory Battcock, 61-91. Los Angeles: University of California Press, Ltd., 1995. Originally published in Michael Benedikt. “Sculpture as Architecture: New York Letter, 1966-67.” Art International 10/7 (1966). 158 Lippard, R. Lucy. “Eros Presumptive.” In Minimal Art: A Critical Anthology, edited by Gregory Battcock, 209-221. Los Angeles: University of California Press, Ltd., 1995. Originally published in Lucy R. Lippard. “Eros Presumptive.” The Hudson Review 20/1 (Spring 1967): 91-99. Morris, Robert. “Notes on Sculpture.” In Minimal Art: A Critical Anthology, edited by Gregory Battcock, 222-235. Los Angeles: University of California Press, Ltd., 1995. Originally published in two parts: Robert Morris. “Notes on Sculpture, Part I.” Artforum 4/6 (February 1966): 42-4; Robert Morris. “Notes on Sculpture, Part II.” Artforum 5/2 (October 1966): 20-3. Transcript of Artner’s conversation with Bontecou, Chicago Tribune Online Edition, February 2, 2004, http://www.chicagotribune.com/features/arts/chi040229bontecou- story. Lee Bontecou Artist File, Whitney Museum of American Art Archives. Bontecou, Lee, et al. “A Homecoming: Lee Bontecou Speaks at the League.” Linea 9/1 (Winter 2005): 10-13. Lee Bontecou Artist File, Virginia Museum of Fine Art Library. Bontecou, Lee to Dorothy Miller, received August 8, 1960. Lee Bontecou Artist File, Museum Collection Files, Department of Painting and Sculpture, MoMA, New York. Bontecou, Lee. Artist Questionnaire, June 20, 1960. Lee Bontecou Artist File, Museum Collection Files, Department of Painting and Sculpture, MoMA, New York. ____________. “War Machines.” By Michael Workman. New City, February 19, 2004. Lee Bontecou Artist File, Whitney Museum of American Art Library, New York. Bontecou, Lee and Elizabeth A. T. Smith. “Lee Bontecou Doesn’t Care What You Think.” Interviewed by Mara Tapp. Chicago Reader, February 27, 2004. Lee Bontecou Artist File, Whitney Museum of American Art Library, New York. Bontecou, Lee. Artist Questionnaire, August 27, 2005. Lee Bontecou Artist File, Museum Collection Files, Department of Painting and Sculpture, MoMA, New York. Boyer, Paul. Fallout. Columbus, Ohio: Ohio state University Press, 1998. ________. “The Day America First Heard the News.” Chap. 1 in Fallout. Columbus, Ohio: Ohio state University Press, 1998. ________. “How Americans Imagined the Bomb They Dropped.” Chap. 2 in Fallout. Columbus, Ohio: Ohio state University Press, 1998. 159 ________. “President Truman, the American People and the Atomic Bomb.” Chap. 3 in Fallout. Columbus, Ohio: Ohio state University Press, 1998. ________. “The American Medical Profession and the Threat of Nuclear War.” Chapter 5 in Fallout. Columbus, Ohio: Ohio state University Press, 1998. ________. “Edward Teller and Project Chariot.” Chap. 6 in Fallout. Columbus, Ohio: Ohio state University Press, 1998. Bradley, David, No Place to Hide. Boston: Little, Brown and Co., 1948. Bree, Germain. Review of The Banquet Years, by Roger Shattuck. Modern Language Notes 75/2 (February 1960): 171-4. Broude, Norma and Mary D. Garrard, editors. The Power of Feminist Art. New York: Harry N. Abrams, 1994. _______________________. “Feminism and Art in the Twentieth Century.” Introduction to The Power of Feminist Art, edited by Norma Broude and Mary D. Garrard, 10-33. New York: Harry N. Abrams, 1994. _______________________. “Conversations with Judy Chicago and Miriam Shapiro.” In The Power of Feminist Art, edited by Norma Broude and Mary D. Garrard, 66-86. New York: Harry N. Abrams, 1994. Buchwald, Art. “Where Junk is Art And Art is Junk.” William C. Seitz papers, II. 3. The Museum of Modern Art Archives, New York. Butler, Barabara. “New York Fall 1961.” The Art of Assemblage Exhibition File, Museum of Modern Art Library, New York. Canaday, John. “Art out of Anything.” New York Times (October 1, 1961), http://www.nytimes.com/ref/membercenter/nytarchive.html. ___________. “Art: Spectacular Show New ‘Assemblage’ Display at Modern Museum is called a ‘Dazzler.’” New York Times (October 4, 1961), http://www.nytimes.com/ref/membercenter/nytarchive.html. ___________. “A Mixed up Show ‘Art of Assemblage’ Leaves a Little Something to be Desired.” New York Times (October 8, 1961), http://www.nytimes.com/ref/membercenter/nytarchive.html. ___________. “Art: 15 Exhibit at Modern.” New York Times (May 22, 1963), http://www.nytimes.com/ref/membercenter/nytarchive.html. 160 ___________. “Sculpture Coming Up, It Dominates Painting in the Sixties.” New York Times (January 7, 1962), http://www.nytimes.com/ref/membercenter/nytarchive.html. ___________. “Art: A Wild, but Curious, End-of –Season Treat.” The New York Times (June 7, 1963), http://www.nytimes.com/ref/membercenter/nytarchive.html. ___________. “ Americans Once More: Museum of Modern Art Makes New Choices.” New York Times (May 26, 1963), http://www.nytimes.com/ref/membercenter/nytarchive.html. ___________. “Art: New Talent in Printmaking Show.” New York Times (May 22, 1971), http://www.nytimes.com/ref/membercenter/nytarchive.html. Carson, Rachel. Silent Spring. Boston: Houghton Mifflin Company, 1962. Chadwick, Whitney. “Gender, Race, and Modernism after the Second World War.” In Women, Art, and Society, 316-354. London: Thames and Hudson, Ltd., 2007. Chattopadhyay, C. “The Uncanny Eye: Lee Bontecou.” Sculpture 23/2 (March 2004): 28- 33. Colpitt, Frances. “The Shape of Painting in the 1960s.” Art Journal 50 /1 (Spring 1991): 52-6. Cooper, Bernard. “The Hole Truth.” October 2003. Lee Bontecou Artist File. Whitney Museum of American Art, New York. Coplans, John. “Higgins, Price, Chamberlain, Bontecou, Westermann.” Artforum 2/10 (April 1964): 38-40. Cornell, Joseph, file entry on Lee Bontecou, February 1, 1962, Archives of American Art, Smithsonian Institution, Washington, DC. “Cornucopia: Lee Bontecou.” Newsweek
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