HA3A5 Globalisation and Contemporary Art | University of Warwick

HA3A5 Globalisation and Contemporary Art | University of Warwick

09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick HA3A5 Globalisation and Contemporary View Online Art (2015/16) Alberro, A. (1997). The Turn of the Screw: Daniel Buren, Dan Flavin, and the Sixth Guggenheim International Exhibition. October, 80. https://doi.org/10.2307/778808 Alberro, A., & Stimson, B. (2009a). Institutional Critique: an anthology of artists’ writings. MIT Press. Alberro, A., & Stimson, B. (2009b). Institutional Critique: an anthology of artists’ writings. MIT Press. Alberro, A., & Stimson, B. (2009c). Institutional Critique: an anthology of artists’ writings. MIT Press. ALEXANDER ALBERRO and NORA M. ALTER. (2010). Staging the Political: Repetition, Difference, and Daniel Buren’s ‘Cabanes Éclatées’. Grey Room, 40, 6–23. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40929562?seq=1#page_scan_tab _contents Alex Potts. (2001). Installation and Sculpture. Oxford Art Journal, 24(2), 7–23. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3600405?seq=1#page_scan_tab_ contents Anderson, J., Comité international d’histoire de l'art, & International Congress of the History of Art. (2009). Crossing cultures: conflict, migration and convergence : the proceedings of the 32nd International Congress of the History of Art. Miegunyah Press. Anderson, P. (1998). The origins of postmodernity. Verso. Andrea Fraser. (2001). Little Frank And His Carp. https://www.youtube.com/watch?v=auOKsXnMmkg Andrea Fraser. (2006). Why Does Fred Sandback’s Work Make Me Cry? Grey Room, 22, 30–47. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/20442711?seq=1#page_scan_tab _contents Andre Rottmann. (2013). Complicity and Contestation Andre Rottmann on Andrea Fraser at the Museum Ludwig, Cologne. Texte Zur Kunst, 23(90), 229–223. https://www.textezurkunst.de/90/rottmann-fraser-complicity-and-contestation/ Baumgarten, L., & Coles, A. (2000). Site-specificity: the ethnographic turn: Vols De-, dis-, ex-. Black Dog Press. 1/12 09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick Belting, H., & Buddensieg, A. (2009a). The global art world: audiences, markets, and museums. Hatje Cantz. Belting, H., & Buddensieg, A. (2009b). The global art world: audiences, markets, and museums. Hatje Cantz. Benjamin H. D. Buchloh. (2001). Detritus and Decrepitude: The Sculpture of Thomas Hirschhorn. Oxford Art Journal, 24(2), 43–56. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3600407?seq=1#page_scan_tab_ contents Benjamin H. D. Buchloh. (2005). An Interview with Thomas Hirschhorn. October, 113, 77–100. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3397654?seq=1#page_scan_tab_ contents Birnbaun, D. (2003). Running on Empty: The Art of Dominique Gonzalez-Foerster. Artforum International, 42(3), 173–168. http://0-search.proquest.com.pugwash.lib.warwick.ac.uk/docview/214346146?accountid=1 4888 Birnbaun, D. (2007). Enchanting Empiness. Parkett, 80, 74–79. https://arlir.iii.com/nonret~S0&atitle=Enchanting+Empiness&title=Parkett&amp ;aufirst=Daniel&auinit=&aulast=Birnbaun&issn=&eissn=&coden =&volume=80&issue=&spage=74&epage=79&quarter=&s sn=&date=2007&sid=&reqtype3 Bishop, C. (2005). Installation art: a critical history. Tate. Bishop, C. (2012a). Artificial hells: participatory art and the politics of spectatorship (1st [edition]). Verso Books. Bishop, C. (2012b). Digital Divide. Artforum International, 51(1), 435–441. http://0-search.proquest.com.pugwash.lib.warwick.ac.uk/docview/1039645510?accountid= 14888 Bourriaud, N. (2002). Relational aesthetics: Vol. Collection Documents sur l’art. Les Presses du réel. Bourriaud, N., Schneider, C., & Herman, J. (2005). Postproduction: culture as screenplay : how art reprograms the world (2nd ed., reprinted with new preface). Lukas & Sternberg. Buchloh, B. H. D. (n.d.). The Whole Earth Show. Art in America, 77(5), 150–158. Buchloh, B. H. D. (1983). Michael Asher and the Conclusion of Modernist Sculpture. Art Institute of Chicago Museum Studies, 10. https://doi.org/10.2307/4104341 Buchloh, B. H. D., Hirschhorn, T., Gingeras, A. M., & Basualdo, C. (2004). Thomas Hirschhorn: Vol. Contemporary artists. Phaidon. Budgen, S. (n.d.). A new spirit of capitalism (review of Luc Boltanski and Ève Chiapello, Le Nouvel esprit du capitalisme). New Left Review, 1, 149–156. 2/12 09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick https://0-newleftreview.org.pugwash.lib.warwick.ac.uk/II/1/sebastian-budgen-a-new-spirit-o f-capitalism Buren, D. (1982). Why Write? Art Journal, 42(2). https://doi.org/10.2307/776534 Burton, J. (2011). On Knot Curating. The Exhibitionist, 42–54. https://arlir.iii.com/nonret~S0&atitle=On+Knot+Curating&title=The+Exhibitioni st&aufirst=Johanna&auinit=&aulast=Burton&issn=&eissn=&amp ;coden=&volume=&issue=&spage=42&epage=54&quarter=&a mp;ssn=&date=2011&sid=&reqtype3 Carey-Thomas, L., & Akomfrah, J. (2012). Migrations: journeys into British art. Tate Pub. Chin - Tao Wu. (2009). Biennials Without Borders? Tate Papers. http://www.tate.org.uk/research/publications/tate-papers/12/biennials-without-borders Claire Bishop. (n.d.-a). But is it installation art? Tate Papers, 3. http://www.tate.org.uk/context-comment/articles/it-installation-art Claire Bishop. (2004). Antagonism and Relational Aesthetics. October, 110, 51–79. http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3397557?seq=1#page_scan_tab_ contents Colas, S. (1992). The Third World in Jameson’s Postmodernism or the Cultural Logic of Late Capitalism. Social Text, 31/32. https://doi.org/10.2307/466230 Coles, A. (2007a). Design and art: Vol. Documents of contemporary art. Whitechapel. Coles, A. (2007b). Design and art: Vol. Documents of contemporary art. Whitechapel. Contemporary Art: 1989 to the Present. (18 C.E.a). John Wiley & Sons. https://www.amazon.co.uk/Contemporary-Art-Present-Alexander-Dumbadze/dp/144433866 8/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1463746822&sr=1-1-spell&keywords=contempo rary+art+1989+to+th+pesent Contemporary Art: 1989 to the Present. (18 C.E.b). John Wiley & Sons. https://www.amazon.co.uk/Contemporary-Art-Present-Alexander-Dumbadze/dp/144433866 8/ref=sr_1_sc_1?s=books&ie=UTF8&qid=1463746822&sr=1-1-spell&keywords=contempo rary+art+1989+to+th+pesent Contemporary Art: 1989 to the Present. (18 C.E.c). John Wiley & Sons. https://www.amazon.co.uk/Contemporary-Art-Present-Alexander-Dumbadze/dp/144433866 8/ref=sr_1_1?ie=UTF8&qid=1463994772&sr=8-1&keywords=contemporary+art+1989+to +present Crimp, D. (1981). Richard Serra: Sculpture Exceeded. October, 18. https://doi.org/10.2307/778411 Curating by Numbers. (n.d.). Tate Papers, 12. http://www.tate.org.uk/research/publications/tate-papers/12/curating-by-numbers Davidts, W. (2006). Art Factories: Museums of Contemporary Art and the Promise of 3/12 09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick Artistic Production, from Centre Pompidou to Tate Modern. Farications, 16(1), 23–42. https://arlir.iii.com/nonret~S0&atitle=Art+Factories:+Museums+of+Contemporary+A rt+and+the+Promise+of+Artistic+Production,+from+Centre+Pompidou+to+Tate+Moder n&title=farications&aufirst=Wouter&auinit=&aulast=Davidts&iss n=&eissn=&coden=&volume=16&issue=1&spage=23&epa ge=42&quarter=&ssn=&date=2006&sid=&reqtype3 Dean Tacita Kodak 2006. (18 C.E.). https://www.youtube.com/watch?v=2XCWm1ZPKWg Demand, T., Koolhaas, R., & Szeemann, H. (2013). When attitudes become form: Bern 1969, Venice 2013 (G. Celant (Ed.)). Fondazione Prada, Ca’ Corner della Regina. Demos, T. J., & Kwon, M. (2003). Rethinking Site-Specificity. Art Journal, 62(2). https://doi.org/10.2307/3558510 Eagleton, T., & Bouwhuis, J. (2009). Now is the time: art & theory in the 21st century. NAi. Enwezor, O., & Documenta. (2003). Créolité and Creolization: Documenta 11, Platform 3. Hatje Cantz. Esanu, O. (2012). What was Contemporary Art? ARTMargins, 1(1), 5–28. https://doi.org/10.1162/ARTM_a_00003 Esner, R., Kisters, S., & Lehmann, S.-A. (Eds.). (2013). Hiding making - showing creation: the studio from Turner to Tacita Dean. Amsterdam University Press. https://0-www-jstor-org.pugwash.lib.warwick.ac.uk/stable/10.2307/j.ctt6wp7vb Filipovic, E., Van Hal, M., Øvstebø, S., & Bergen kunsthall (Eds.). (2010a). The biennial reader. Bergen Kunsthall. Filipovic, E., Van Hal, M., Øvstebø, S., & Bergen kunsthall (Eds.). (2010b). The biennial reader. Bergen Kunsthall. Foster, H. (n.d.). ‘Serra in the Desert’. Artforum, 320–327. http://0-nouveau.europresse.com.pugwash.lib.warwick.ac.uk/Link/WARWICKT_1/news%c2 %b720140901%c2%b7QAACR%c2%b7072 Foster, H. (2002a). The anti-aesthetic: essays on postmodern culture. New Press. Foster, H. (2002b). The anti-aesthetic: essays on postmodern culture. New Press. Foster, H. (2003). Arty Party. The London Review of Books, 25(23), 21–22. https://0-www.lrb.co.uk.pugwash.lib.warwick.ac.uk/v25/n23/hal-foster/arty-party Foster, H. (2013). The art-architecture complex. Verso. Foster, H., Hughes, G., & Buchloh, B. H. D. (2000). Richard Serra: Vol. October files. MIT Press. http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&sco pe=site&db=nlebk&db=nlabk&AN=138690 4/12 09/25/21 HA3A5 Globalisation and Contemporary Art | University of Warwick Fraser, A. (2003). Official Welcome. In U B U W E B - Film and Video. Hamburger Kunstverein. http://www.ubu.com/film/fraser_welcome.html Fraser, A. (2008). Procedural Matters. Artforum International, 46(10), 374–381. http://0-search.proquest.com.pugwash.lib.warwick.ac.uk/docview/214341492?accountid=1 4888 Gabriel Orozco, Benjamin H. D. Buchloh, Carrie Lambert-Beatty and Megan Sullivan. (2009). To Make an Inner Time: A Conversation with Gabriel Orozco. October, 130, 177–196.

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