177 Selected Bibliography Books and Chapters Compiled by Rebecca Zamora Andrew Dickson White Museum of Art. Earth Art. Ithaca, N.Y.: Office of University Publications, Cornell University, 1970. Andrews, Matthew. Land, Art: A Cultural Ecology Handbook. London: RSA, 2006. Applin, Jo. Eccentric Objects: Rethinking Sculpture in 1960s America. Forthcoming, New Haven and London: Yale University Press, 2013. Araeen, Rasheed. Making Myself Visible. London: Kala Press, 1984. Art Institute of Chicago. Sculpture, a Generation of Innovation: June 23– August 27, 1967. Exh. cat. Chicago: Art Institute of Chicago, 1967. Barker, Ian. Anthony Caro; Quest for the New Sculpture. Hampshire, U.K.: Lund Humphries, 2004. Battcock, Gregory. The New Art: A Critical Anthology. New York: E. P. Dutton, 1973. Beardsley, John. Earthworks and Beyond. New York: Abbeville Press, 1989. Beckett, Jane, and Fiona Russell, eds. Henry Moore: Critical Essays. Aldershot: Ashgate, 2003. Berthoud, Roger. The Life of Henry Moore. New York: E. P. Dutton, 1987. Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. New York: Oxford University Press, 1997. Bois, Yve-Alain, and Rosalind Krauss. Formless: A User’s Guide. New York: Zone Books, 1997. Boström, Antonia, Christopher Bedford, Penelope Curtis, and John Dixon Hunt. The Fran and Ray Stark Collection of 20th-Century Sculpture at the J. Paul Getty Museum. Los Angeles: J. Paul Getty Museum, 2008. Bruggen, Coosje van. Bruce Nauman. New York: Rizzoli, 1988. Brundage, Susan, ed. Bruce Nauman, 25 Years, Leo Castelli. New York: Rizzoli, 1994. Bruyn, Eric de. “Land Art in the Mediascape: On the Politics of Counterpublicity in the Year 1969.” In Ready to Shoot, edited by Ulrike Groos, pp. 134–46. Düsseldorf: Kunsthalle Düsseldorf; Cologne: Snoeck, 2004. Burnham, Jack. Beyond Modern Sculpture: The Effects of Science and Technology on the Sculpture of this Century. New York: G. Braziller, 1968. Causey, Andrew. Sculpture Since 1945. Oxford History of Art. Oxford: Oxford University Press, 1998. Corris, Michael, ed. Conceptual Art: Theory, Myth, and Practice. Cambridge and New York: Cambridge University Press, 2004. Cropper, Elizabeth, ed. The A.W. Mellon Lectures in the Fine Arts: Fifty Years. New Haven: Yale University Press, 2003. Curtis, Penelope. Sculpture in 20th Century Britain. Leeds, England: Henry Moore Institute, 2003. Dell, Simon. On Location: Siting Robert Smithson and His Contemporaries. London: Black Dog, 2008. Compiled by Zamora, “Selected Bibliography,” Anglo-American Exchange in Postwar Sculpture, 1945–1975 (Getty, 2011) PROOF 1 2 3 4 5 6 178 Compiled by Rebecca Zamora Dimitrijevic, Nina. Bruce McLean. Exh. cat. Basel: Kunstahlle; London: Whitechapel Art Gallery; Eindhoven: Stedelijk Van Abbemuseum, 1982. Douglas, Mary. Purity and Danger: An Analysis of Concepts of Pollution and Taboo. London; New York: Routledge, 1992 (Originally published: New York: Praeger, 1966). Finn, David, and Judith Jedlicka. The Art of Leadership: Building Business Art Alliances. New York: Abbeville Press, 1998. Flam, Jack, ed. Robert Smithson: Collected Writings. Berkeley: University of California Press, 1996. Ford, Boris, ed. Modern Britain. Vol. 9, The Cambridge Cultural History of Britain. Cambridge: Cambridge University Press, 1992. Fried, Michael. Art and Objecthood. Chicago and London: Chicago University Press, 1998. Fuchs, Rudi. Richard Long. London: Thames and Hudson, 1986. Fulton, Hamish. Hamish Fulton: Selected Walks, 1969–1989. Buffalo, N.Y.: Albright-Knox Art Gallery, 1990. Hollow Lane. London: Situation Publications, 1971. Garlake, Margaret. New Art New World: British Art in Postwar Society. New Haven and London: Yale University Press, 1998. Getsy, David. Body Doubles: Sculpture in Britain, 1877–1905. New Haven and London: Yale University Press, 2004. Gooding, Mel. Bruce McLean. Oxford: Phaidon, 1990. Graziani, Ron. Robert Smithson and the American Landscape. New York: Cambridge University Press, 2004. Greenberg, Clement. Art and Culture: Critical Essays. Boston: Beacon Press, 1961. Clement Greenberg: The Collected Essays and Criticism. Edited by John O’Brian. 4 vols. Chicago: University of Chicago Press, 1986–93. “The European View of American Art (The Nation, November 1950).” Reprinted in Henry Moore and the Geometry of Fear, by James Hyman, pp. 60–61. London: James Hyman Fine Art, 2002. Grieve, Alastair. Constructed Abstract Art in England after the Second World War: A Neglected Avant-Garde. London: Yale University Press, 2005. Guilbault, Serge. How New York Stole the Idea of Modern Art. Chicago: University of Chicago Press, 1983. Hall, James. The World as Sculpture: The Changing Status of Sculpture from the Renaissance to the Present Day. London: Pimlico, 2000. Hamill, Sarah. David Smith in Two Dimensions: Sculpture, Photography, and Space. Forthcoming, Berkeley: University of California Press, 2012. Harrison, Charles. “Grounds for Optimism: The Work of Gerry Schum.” In Ready to Shoot, edited by Ulrike Groos, pp. 26–33. Düsseldorf: Kunsthalle Düsseldorf; Cologne: Snoeck, 2004. Hedgecoe, John. Henry Spencer Moore. London and New York: Simon and Schuster, 1968. Hobbs, Robert. Robert Smithson: Sculpture. Ithaca and London: Cornell University Press, 1981. Holt, Nancy, ed. The Writings of Robert Smithson: Essays with Illustrations. New York: New York University Press, 1979. Hyman, James. The Battle for Realism and Figurative Art in Britain during the Cold War, 1945–1960. London: Yale University Press, 2001. Compiled by Zamora, “Selected Bibliography,” Anglo-American Exchange in Postwar Sculpture, 1945–1975 (Getty, 2011) PROOF 1 2 3 4 5 6 179 Selected Bibliography Jewish Museum, New York. Primary Structures: Younger American and British Sculptors. Exh. cat. New York, 1966. Johnson, Geraldine, ed. Sculpture and Photography: Envisioning the Third Dimension. Cambridge: Cambridge University Press, 1998. Judd, Donald. Donald Judd: Complete Writings. Halifax: Press of the Nova Scotia College of Art and Design, 1975. Kepes, Gyorgy. Arts of the Environment. Henley: Aidan Ellis, 1972. King, James. The Last Modern: A Life of Herbert Read. New York: St. Martin’s Press, 1990. Kosinski, Dorothy M., and Julian Andrews. Henry Moore: Sculpting the Twentieth Century. New Haven: Yale University Press, 2001. Kozloff, Max. “American Painting during the Cold War.” In Pollock and After: The Critical Debate, 2nd edn., edited by Francis Frascina, pp. 130–46. London and New York: Routledge, 2000. Kramer, Hilton. “Henry Moore: A Very English Romantic.” In The Age of the Avant-Garde, section II, chapter 22. New York: Farrar, Straus and Giroux, 1973. Krauss, Rosalind. The Optical Unconscious. Cambridge: MIT Press, 1993. Passages in Modern Sculpture. Cambridge, Mass.: MIT Press, 1981. The Sculpture of David Smith: A Catalogue Raisonné. New York: Garland Pub., 1977. Terminal Iron Works: The Sculpture of David Smith. Cambridge, Mass.: MIT Press, 1971. Kraynak, Janet, ed. Please Pay Attention Please: Bruce Nauman’s Words, Writings and Interviews. Cambridge, Mass.: MIT Press, 2003. Laguna Beach Museum of Art. A Tribute to Henry Seldis. Laguna Beach, Calif.: The Museum, 1978. Lee, Pamela N. Chronophobia: On Time in the Art of the 1960s. Cambridge: MIT Press, 2002. Lewallen, Constance M., Robert R. Riley, Robert Storr, Anne Middleton Wagner, and Bruce Nauman. A Rose Has No Teeth: Bruce Nauman in the 1960s. Berkeley: University of California Press, 2007. Lippard, Lucy. Overlay: Contemporary Art and the Art of Prehistory. New York: Pantheon Books, 1983. Six Years: The Dematerialization of the Art Object. New York: Praeger, 1973. Lippincott, J. Gordon. Design for Business. Chicago: P. Theobald, 1947. London County Council, Battersea Park, London, and Museum of Modern Art, New York. Sculpture: Open Air Exhibition of Contemporary British and American Works. London, 1963. Long, Richard. Richard Long: Walking and Marking. Edinburgh: National Galleries of Scotland, 2007. Richard Long: Walking in Circles. London: Hayward Gallery, 1991. McCoy, Garnett, ed. David Smith. New York: Praeger, 1973. McLean, Bruce, and Nena N. Dimitrijevic. Bruce McLean, Kunsthalle Basel 1981, Whitechapel Art Gallery, London 1982, Stedelijk Van Abbemuseum, Eindhoven, 1982. Exh. cat. London: Trustees of the Whitechapel Art Gallery, 1981. Moore, Henry. “The Sculptor in Modern Society” (1952). In Art in Theory, 1900–2000: An Anthology of Changing Ideas, edited by Charles Harrison Compiled by Zamora, “Selected Bibliography,” Anglo-American Exchange in Postwar Sculpture, 1945–1975 (Getty, 2011) PROOF 1 2 3 4 5 6 180 Compiled by Rebecca Zamora and Paul Wood, pp. 677–79. Malden, Mass., and Oxford: Blackwell Pub., 2003. Moore, Henry, Herbert Read, and Alan Bowness. Henry Moore: Sculpture and Drawings. 6 vols. London: Lund, Humphries, 1944–88. Morris, Robert. “On Drawing.” In Pop Art Redefined, edited by John Russell and Suzi Gablik, pp. 94–95. New York: Praeger, 1969. Moure, G., ed. Behind the Facts: Interfunktionen, 1968–1975. Barcelona: Ediciones Poligrafa, 2004. Müller, Grégoire. The New Avant-Garde. London: Pall Mall Press, 1972. New Generation, The: 1965. Exh. cat. London: Whitechapel Art Gallery, 1965. Newman, Amy. Challenging Art: Artforum. New York: Soho Press, 2000. O’Neill, John P., ed. Barnett Newman: Selected Writings and Interviews. Annotated by Mollie McNickle. New York: Knopf, 1990. Pevsner, Nikolaus. The Englishness of English Art. London: Architectural Press, 1956. Read, Benedict, and David Thistlewood, eds. Herbert Read: A British Vision of World Art. Leeds: Leeds City