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Series 1:
1970–NOW

Series 2:
1900–1970

Series 3:
MATERIALS & METHODOLOGIES


About   |   Glossary   |   Resources   |   Reading List   |   Talks   |   Booklets

Reading List

Modern and Contemporary Art

Roland Barthes, Camera Lucida: Reflections on Photography , New York: Hill and Wang, 1982.

Walter Benjamin, Illuminations , (ed.) Hannah Arendt, trans. Harry Zohn, London: Fontana, 1973.

Bruce Altshuler, The Avant-Garde in Exhibition: New Art in the Twentieth Century , New York: Harry N. Abrams, 1994.

Perry Anderson, The Origins of Postmodernity , London: Verso, 1998.

Gaston Bachelard, The Poetics of Space , Boston: Beacon Press, 1994.

Emma Barker (ed.), Contemporary Cultures of Display , London: Yale University Press in association with The Open University, 1999.

Nicolas Bourriaud, Relational Aesthetics , Dijon: Les Presse Du Réel, 1998.

Martha Buskirk, The Contingent Object of Contemporary Art , Cambridge, MA: The MIT Press, 2005.

Frances Colpitt (ed.), Abstract Art in the Late Twentieth Century , Cambridge University Press, 2002.

Claire Doherty, Contemporary Art: From Studio to Situation , London: Black Dog Publishing, 2004.

Editors of Phaidon Press, Vitamin 3-D: New Perspectives in Sculpture and Installation , London and New York: Phaidon Press, 2009.

Steve Edwards & Paul Woods (eds.), Art of the Avant-Gardes (Art of the Twentieth Century) , New Haven and London: Yale University Press in association with the Open University, 2004.

Hal Foster, Rosalind Krauss, Yve-Alain Bois & Benjamin Buchloh (eds.), Art Since 1900: Modernism, Antimodernism, Postmodernism , London: Thames and Hudson, 2004.

Hal Foster, The Return of the Real: The Avant-Garde at the End of the Century , Cambridge, MA: The MIT Press, 1996.

Francis Frascina & Jonathan Harris, Art in Modern Culture: An Anthology of Critical Texts , London: Phaidon in association with the Open University Press, 2009.

Francis Frascina & Charles Harrison (eds), Modern Art and Modernism: A Critical Anthology , London: Paul Chapman Publishing, Ltd., 1982.

London: Yale University Press in association with The Open University, 2003.

Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne (eds.), Thinking About Exhibitions , London and New York: Routledge, 1996.

Charles Harrison and Paul Wood (eds.), Art in Theory 1990 - 1990: An Anthology of Changing Ideas , Malden MA and Oxford: Wiley-Blackwell, 2003.

Charles Harrison, Paul Wood & Jason Giager (eds.), Art in Theory 1815-1900: An Anthology of Changing Ideas , Oxford: Blackwell, 1998.

David Hopkins, After Modern Art 1945 – 2000 , Oxford University Press, 2000.

Fredric Jameson, ‘Postmodernism in Consumer Society’, in Hal Foster (ed.), The Anti-Aesthetic: Essays on Postmodern Culture , NY: The New Press, 2002.

Rosalind Krauss, The Originality of the Avant-Garde and Other Modernist Myths , Cambridge, MA: The MIT Press, 1985.

Miwon Kwon, One Place After Another: Site-specific Art and Locational Identity , Cambridge, Mass: MIT Press, 2004.

Lucy Lippard, Six Years: The Dematerialisation of the Art Object , Berkeley: University of California Press, 1997.

Jean Francois Lyotard, The Postmodern Condition: A Report on Knowledge , Minneapolis: University of Minnesota Press, 1984.

Pam Meecham & Julie Sheldon, Modern Art: A Critical Introduction , London: Routledge, 2000.

Brian O’Doherty, Inside the White Cube: The Ideology of the Gallery Space , Berkeley: University of California Press, 2000.

Gill Perry (ed.), Themes in Contemporary Art , New Haven and London: Yale University Press in association with the Open University, 2004.

Jean Robertson & Craig McDaniel, Themes of Contemporary Art: Visual Art After 1980 , Oxford University Press, 2005.

Brandon Taylor, Contemporary Art: Art since 1970 , New Jersey: Prentice Hall, 2004.

Dorothy Walker, Modern Art in Ireland , Dublin: Lilliput, 1997.

Linda Weintraub, Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society, 1970s – 1990s , Litchfield, CT: Art Insights Inc., 1997.

Linda Weintraub, Making Contemporary Art: How Today’s Artists Think and Work , Thames & Hudson, 2003.

Caroline Wiseman, Modern Art Now: From Conception to Consumption , Ipswich: Strawberry Art Press, 2006.

Paul Wood, Francis Frascina, Johathan Harris & Charles Harrison (eds.), Modernism in Dispute: Art since the Forties , New Haven & London: Yale University Press in Association with the Open University, 1994.

Paul Wood (ed.), Varieties of Modernism , New Haven and London: Yale University Press in association with the Open University, 2004.

Conceptual Art

Alexander Alberro, Conceptual Art and the Politics of Publicity , Cambridge, MA: The MIT Press, 2003.

Alexander Alberro and Blake Stimson (eds.), Conceptual Art: A Critical Anthology , Cambridge, MA: The MIT Press, 1999.

Gregory Battcock (ed.), Idea Art: A Critical Anthology , New York: E. P. Dutton, 1973.

Michael Corris, Conceptual Art: Theory, Myth, and Practice , Cambridge University Press, 2004.

Luis Camnitzer, Jane Farver, and Rachel Weiss (eds.), Global Conceptualism: Points of Origin 1950s-1980s , Queens Museum of Art, New York, 1999.

Frances Colpitt, Knowledge: Aspects of Conceptual Art , Seattle, WA: University of Washington Press, 1992.

Tony Godfrey, Conceptual Art , Phaidon Press, 1998.

Peter Goldie and Elisabeth Schellekens (eds.), Philosophy and Conceptual Art , Clarendon Press Gloustershire, 2007.

Klaus Honnef, Concept Art , Cologne: Phaidon, 1971.

Liz Kotz, Words to be Looked At: Language in 1960 Art , Cambridge, MA: The MIT Press, 2007.

Lucy Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972 , Berkeley: University of California Press, 1997.

Daniel Marzona, Conceptual Art , Cologne: Taschen, 2005.

Ursula Meyer, Conceptual Art , New York: E.P. Dutton, 1972.

Robert C. Morgan, Between Modernism and Conceptual Art: A Critical Response , Jefferson, NC: McFarland & Co., 1997.

Catherine Moseley, Conception: Conceptual Documents 1968 to 1972 , Birmingham: ARTicle Press, 2002.

Michael Newman and Jon Bird (eds.), Rewriting Conceptual Art , London: Reaktion,1999.

Peter Osborne, Conceptual Art , Phaidon Press, 2002.

Anne Rorimer, New Art in the 60s and 70s: Redefining Reality , Thames & Hudson, 2004.

Paul Wood (ed.), Now they are. Texts of Paul Wood and Art & Language , Brussels: Editions Labor et Galerie Isy Brachot, 1992.

New Media Art

Roland Barthes, Camera Lucida: Reflections on Photography , New York: Hill and Wang, 1982.

Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’ in Illuminations , (ed.) Hannah Arendt, trans. Harry Zohn, London: Fontana, 1973, pp 219-254.

Curiger Bice, The Expanded Eye: Stalking the Unseen , Hatje Cantz Verlag, 2006.

Paul Christiane, Digital Art , London: Thames and Hudson, 2008.

Maeve Connolly, The Place of Artists’ Cinema: Space, Site and Screen , Bristol and Chicago: Intellect and University of Chicago Press, 2009.

Catherine Elwes, Video Art: A Guided Tour , I.B. Tauris, 2005.

Charlie Gere, Digital Culture , London: Reaktion Books, 2003.

Oliver Grau, Virtual Art: From Illusion to Immersion , Cambridge, MA: The MIT Press, 2003.

Oliver Grau (ed.), MediaArtHistories , Cambridge, MA: The MIT Press, 2007.

Rachel Greene, Internet Art , London: Thames and Hudson, 2004.

Andy Grundberg, Photography and Art: Interactions since 1946 , New York: Abbeville Press, 1987.

Mark Hansen, New Philosophy for New Media , Cambridge, MA: The MIT Press, 2004.

Philip Hayward, Culture, Technology & Creativity in the Late Twentieth Century , New Barnett: John Libbey Publishing, 1990.

Ian Jeffrey, Photography: A Concise History , London: Thames and Hudson, 1981.

Tanya Leighton (ed.), Art and the Moving Image: A Critical Reader , London: Tate Publishing in association with Afterall, 2008.

Martin Lister, Jon Dovey, Seth Giddings, Iain Grant & Kieran Kelly (eds.), New Media: A Critical Introduction , London: Routledge, 2009.

Margot Lovejoy, Digital Currents: Art in the Electronic Age , New York: Routledge, 2004.

Lev Manovich, The Language of New Media , Cambridge, MA: The MIT Press, 2002.

Sylvia Martin, Video Art , Taschen, 2006.

Marshall McLuhan, The Medium is the Message: An Inventory of Effects , New York: Random House, 1967, reissued by Gingko Press, 2001.

Florence de Mèredieu, Digital and Video Art , New York: Larousse, Kingfisher, Chambers, 2005.

David Parkinson, History of Film , London: Thames and Hudson, 1996.

Frank Popper, From Technological to Virtual Art , Cambridge, MA: The MIT Press, 2007.

Michael Rush, New Media in Art , New York: Thames & Hudson, 2005.

Michael Rush, Video Art , New York: Thames and Hudson, 2007.

Edward A. Shanken, Art and Electronic Media , London: Phaidon Press, 2009.

Susan Sontag, On Photography , Picador, 2001.

Mark Tribe, Jana Reena & Uta Grosenick (eds.), New Media Art , Taschen, 2006.

Bruce Wands, Art of the Digital Age , London: Thames & Hudson, 2006.

Liz Wells, Photography: A Critical Introduction , London: Routledge, 2004.

Gene Youngblood, Expanded Cinema , New York: E.P. Dutton, 1970.

Participatory and Relational Art

Robert Atkins, Politics, Participation, and Meaning in the Age of Mass Media , Thames and Hudson, 2008.

Deborah Barndt (ed.), Wild Fire: Art as Activism , Toronto: Sumach Press, 2006.

Ciaran Benson (ed.), Art and the Ordinary – The ACE Report , Dublin: ACE Committee, 1989.

Homi K. Bhabha, The Location of Culture , London: Routledge, 1994.

Johanna Billing, Maria Lind, and Lars Nilsson (eds.), Taking the Matter into Common Hands: Contemporary Art and Collaborative Practices , London: Black Dog Publishing, 2007.

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

Nicolas Bourriaud, Relational Aesthetics , Dijon: Les Presse du Reél, 1998.

Nicolas Bourriaud, Altermodern , London: Tate Publishing, 2009.

William Cleveland, Art and Upheaval: Artists on the World’s Frontlines , Oakland, CA: New Village Press, 2008.

Claire Doherty (ed.), Contemporary Art: From Studio to Situation , London: Black Dog Publishing, 2004.

Charles Esche, Art and Social Change: A Critical Reader , London: Tate Publishing, 2008.

Nina Felshin (ed.), But Is It Art?: The Spirit of Art as Activism , Seattle, WA: Bay Press, 1995.

Tom Finkelpearl, Dialogues in Public Art , Cambridge, MA: MIT Press, 2000.

Sandy Fitzgerald (ed.), An Outburst of Frankness: Community Arts in Ireland - A Reader , Dublin: tasc at New Island, 2006.

Paulo Freire, Pedagogy of the Oppressed , London: Continuum International Publishing Group, 2000.

Linda Frye Burnham and Steven Durland (eds.), The Citizen Artist: 20 Years of Art in the Public Arena, An Anthology from High Performance Magazine 1978-1998 , Critical Press, 1998.

Rudolf Frieling (ed.), The Art of Participation: 1950 to Now , San Francisco Museum of Modern Art in association with Thames & Hudson, 2008.

Alfred Gell, Art and Agency: An Anthropological Theory , Oxford: Clarendon Press, 1998.

Charlie Gere and Michael Corris, Non-relational Aesthetics, (Transmission: the Rule of Engagement) , London: Artwords Press, 2008.

Jürgen Habermas, The Theory of Communicative Action, Volumes 1&2 , Trans. Thomas McCarthy, Boston: The Beacon Press, 1984.

Maurice Halbwachs, On Collective Memory , Trans. Lewis A. Coser, University of Chicago Press, 1992.

Michael Hardt and Antonio Negri, Empire , Cambridge, MA: Harvard University Press, 2000.

Geoffrey Hendricks (ed.), Critical Mass: Happenings, Fluxus, Performance, Intermedia, and Rutgers University,1958-1972 , Rutgers University Press, 2003.

Grant Kester, Conversation Pieces: Community and Communication in Modern Art , University of California Press, 2004.

Miwon Kwon, One Place After Another: Site-specific Art and Locational Identity , Cambridge, Mass: MIT Press, 2004.

Markus Miessen and Shumon Basar (eds.), Did Someone Say Participate? – An Atlas of Spatial Practice , Cambridge, MA: MIT Press, 2006.

Chantal Mouffe (ed.), Dimensions of Radical Democracy: Pluralism, Citizenship, Community , London: Verso, 1992.

Ailbhe Murphy et al (eds.), Unspoken Truths , Irish Museum of Modern Art, 1996.

Frank Popper, Art, Action and Participation , London: Studio Vista, 1975.

Jacques Rancière, The Emancipated Spectator , Verso, 2009.

Blake Stimson and Gregory Sholette (eds.), Collectivism after Modernism: The Art of Social Imagination after 1945 , University of Minnesota Press, 2007.

Michael Warner, Publics and Counterpublics , New York: Zone Books, 2002.

Installation Art

Bruce Altshuler, The Avant-Garde in Exhibition: New Art in the Twentieth Century , New York: Harry N. Abrams, 1994.

Gaston Bachelard, The Poetics of Space , Boston: Beacon Press, 1994.

Emma Barker (ed.), Contemporary Cultures of Display , London: Yale University Press in association with The Open University, 1999.

Andrew Benjamin (ed.), Installation Art , London: Academy Editions, 1993.

Claire Bishop, Installation Art: A Critical History , London: Tate Publishing, 2005.

Nicolas Bourriaud, Relational Aesthetics , Dijon: Les Presses du Réel, 1998.

Martha Buskirk, The Contingent Object of Contemporary Art , Cambridge, MA and London: MIT Press, 2003.

Nicolas De Oliveira, Nicola Oxley, Michael Petry and Michael Archer, Installation Art , Washington DC and London: Smithsonian Books, Thames & Hudson, 1996.

Nicolas De Oliveira, Nicola Oxley and Michael Petry, Installation Art in the New Millennium , London and New York: Thames & Hudson, 2003.

Claire Doherty (ed.), Contemporary Art: From Studio to Situation , London: Black Dog Publishing, 2004.

Editors of Phaidon Press, Vitamin 3-D: New Perspectives in Sculpture and Installation , London and New York: Phaidon Press, 2009.

Hal Foster, The Return of the Real: The Avant-Garde at the End of the Century , Cambridge, MA: MIT Press, 1996.

Roselee Goldberg, Performance: Live Art Since the ‘60s , London: Thames & Hudson, 2004.

Jennifer A. González, Subject to Display: Reframing Race in Contemporary Installation Art , Cambridge MA: The MIT Press, 2008.

Reesa Greenberg, Bruce W. Ferguson and Sandy Nairne (eds.), Thinking About Exhibitions , London and New York: Routledge, 1996.

Ilya Kabakov, On the “Total” Installation . Ostfildern: Hatje Cantz Verlag, 1995.

Lewis Kachur, Displaying the Marvelous. Marcel Duchamp, Salvador Dali and Surrealist Exhibition Installations , Cambridge MA: MIT Press, 2001.

Allan Kaprow, Assemblage, Environments & Happenings , New York: Harry N. Abrams, 1966.

Lucy R. Lippard, Six Years: The Dematerialisation of the Art Object from 1966 to 1972 , Berkeley: University of California Press, 1997.

Thomas McEvilley, Sculpture in the Age of Doubt , New York: Allworth Press, 1999.

Maurice Merleau-Ponty, Phenomenology of Perception , London: Routledge Classics, 2002.

Brian O’Doherty, Inside the White Cube: The Ideology of the Gallery Space , Berkeley: University of California Press, 2000.

Faye Ran, A History of Installation Art and the Development of New Art Forms: Technology and the Hermeneutics of Time and Space in Modern and Postmodern Art from Cubism to Installation , New York: Peter Lang Publishing, 2009.

John B. Ravenal, Artificial Light: New Light-based Sculpture and Installation Art , Virginia Museum of Fine Arts, 2008.

Julie H. Reiss, From Margin to Center: The Spaces of Installation Art , Cambridge, MA: MIT Press, 2001.

Mark Rosenthal, Understanding Installation Art: From Duchamp to Holzer , Munich: Prestel Publishing, 2003.

Erika Suderburg, Space, Site, Intervention: Situating Installation Art , University of Minnesota Press, 2000.

Linda Weintraub, Art on the Edge and Over: Searching for Art’s Meaning in Contemporary Society , 1970s – 1990s, Litchfield, CT: Art Insights Inc., 1997.

Public Art

Gaston Bachelard, The Poetics of Space , Boston, MA: Beacon Press, 1994.

Cameron Cartiere and Shelly Willis (eds.), The Practice of Public Art , London: Routledge, 2008.

Ruth Charity, Reviews: Artists and Public Space , London: Black Dog Publishing, 2005.

Alex Coles (ed.), Site-Specificity: The Ethnographic Turn , London: Blackdog Publishing, 2000.

Tacita Dean and Jeremy Millar, Place , London: Thames and Hudson, 2005.

Rosalyn Deutsche, Evictions: Art and Spatial Politics , Cambridge, MA: MIT Press, 2002.

Claire Doherty (ed.), From Studio to Situation , London: Black Dog Publishing, 2004.

Tom Finkelpearl, Dialogues in Public Art , Cambridge, MA/London: MIT Press, 2001.

Jürgen Habermas, The Structural Transformation of the Public Sphere: An Inquiry into a Category of Bourgeois Society , trans. Thomas Burger and Frederick Lawrence, Cambridge, MA: MIT Press, 1991.

Dolores Hayden, The Power of Place: Urban Landscapes as Public History , Cambridge, MA: MIT Press, 1995.

IXIA, Desirable Places: the contribution of artists to creating spaces for public life , London: Central Books, 2004.

Jane Jacobs, The Death and Life of Great American Cities , New York: Random House, 1961.

Jeffrey Kastner, Tom Eccles and Anne Wehr (eds.), Plop: Recent Projects of the Public Art Fund , London: Merrell, 2004.

Miwon Kwon, One Place After Another: Site-Specific Art and Locational Identity , Cambridge, MA: MIT Press, 2004.

Suzanne Lacy, Mapping the Terrain: New Genre Public Art , Seattle, WA: Bay Press, 1995.

Henri Lefebvre, The Production of Space , trans. D. Nicholson-Smith, Oxford: Blackwell, 1991.

Lucy Lippard, The Lure of the Local: Sense of Place in a Multicultural Society , New York: New Press, 1997.

Florian Matzner (ed.), Public Art: A Reader , Ostfilfern-Ruit: Hatje Cantz Verlag, 2004.

Malcolm Miles, Art, Space and the City: Public Art and Urban Futures , London: Routledge, 1997.

W.J.T. Mitchell (ed.), Art and the Public Sphere , Chicago: University of Chicago Press, 1992.

Public Arts, Wakefield, Making Places: Working with Art in the Public Realm , Public Arts, Wakefield, 2001. Arlene Raven, Art in the Public Interest , London: UMI Research Press, 1989.

Irit Rogoff, Terra Infirma: Geography’s Visual Culture , London: Routledge, 2000.

Sara Selwood, The Benefits of Public Art: The Polemics of Permanent Art in Public Places , London: Policy Studies Institute, 1995.

Harriet F. Senie and Sally Webster (eds.), Critical Issues in Public Art: Content, Context, and Controversy , Washington: Smithsonian Institution Press, 1998.

Edward Soja, Postmodern Geographies: The Reassertion of Space in Critical Social Theory , London: Verso, 1989.

Alan Sonfist (ed.), Art in the Land , New York: Dutton, 1983.

Julian Stallbrass, Pauline Van Mourik Broekman and Niru Ratnam (eds.), Locus Solus: Site, Identity, Technology in Contemporary Art , London: Blackdog Publishing, 2000.

Erika Suderberg, Space, Site, Intervention: Situating Installation Art , Minneapolis, MN: University of Minnesota Press, 2000.

Gerrie Van Noord, Off Limits: 40 Artangel Projects , London: Artangel and Merrel, 2002.

Performance Art

Philip Auslander, Liveness: Performance in a Mediatized Culture , 2nd edition, London and New York: Routledge, 2008.

Christopher Bannerman, Joshua Sofaer and Jane Watt (eds.), Navigating the Unknown: The Creative Process in Contemporary Performing Arts , London: Middlesex University Press, 2006.

Daniel Brine (ed.), The Live Art Almanac , London: Live Art Development Agency, 2008.

Marvin Carlson, Performance: A Critical Introduction , 2nd edition, New York: Routledge, 2003.

Nicky Childs and Jeni Walwin (eds.), A Split Second of Paradise: Live Art, Installation and Performance , London: Rivers Oram Press, 1998.

David Davies, Art as Performance , Oxford: Wiley-Blackwell, 2004.

RoseLee Goldberg, Performance: Live Art, 1909 to the Present , New York: Harry N. Abrams, 1979.

RoseLee Goldberg, Performance Art: From Futurism to the Present , 3rd edition, New York: Thames and Hudson, 2011.

RoseLee Goldberg, Performance: Live Art Since the ‘60s , New York: Thames and Hudson, 2004.

Adrian Heathfield (ed.), Small Acts: Performance, the Millennium and the Marking of Time , London: Black Dog Publishing, 2000.

Adrian Heathfield, Live: Art and Performance , New York: Tate Publishing, 2004.

Adrian Henri, Total Art: Environments, Happenings, and Performance , New York: Praeger, 1974.

Leslie Hill and Helen Paris (eds.), Performance and Place , Hampshire: Palgrave Macmillan, 2006.

Jens Hoffman and Joan Jonas, Perform , London: Thames and Hudson, 2005.

Amelia Jones and Andrew Stephenson (eds.), Performing the Body/Performing the Text , London and New York: Routledge, 1999.

Amelia Jones, Body Art: Performing the Subject , Minneapolis: University of Minnesota Press, 1998.

Jill Lane and Peggy Phelan (eds.), The Ends of Performance , New York: New York University Press, 1998.

Live Art Development Agency in collaboration with Live Art UK (eds.), In Time: A Collection of Live Art Case Studies , London: Live Art Development Agency in collaboration with Live Art UK, 2010.

Live Art Development Agency, The Live Art Almanac Vol. 2 , London: Live Art Development Agency, 2011.

Thomas McEvilley, Triumph of Anti-Art: Conceptual and Performance Art in the Formation of Post-Modernism , Kingston and New York: McPherson & Co. 2005.

Kathy O’Dell, Contract with the Skin: Masochism, Performance Art, and the 1970s , Minneapolis: University of Minnesota Press, 1998.

Sally O’Reilly, The Body in Contemporary Art , London: Thames and Hudson, 2009.

Peggy Phelan, Unmarked: The Politics of Performance , London and New York: Routledge, 1993.

Paul Schimmel, Russell Ferguson and Kristine Stiles (eds.), Out of Actions: Between Performance and the Object, 1949-1979 , London and New York: Thames and Hudson, 1998.

Rebecca Schneider, The Explicit Body in Performance , London and New York: Routledge, 1997.

Joshua Sofaer, The Many Headed Monster , London: Live Art Development Agency, 2009.

Diana Taylor, The Archive and the Repertoire: Performing Cultural Memory in the Americas , Durham, NC: Duke University Press, 2003.

Nato Thompson and Gregory Sholette (eds.), The Interventionists: Users’ Manual for the Creative Disruption of Everyday Life , Cambridge, MA: Mass MoCA/MIT Press, 2004.

Les Vergine, Body Art and Performance: The Body as Language , Milan: Skira, 2000.

Tracey Warr (ed.) and Amelia Jones (survey), The Artist’s Body , London: Phaidon Press, 2000.

Photography

Roland Barthes, Camera Lucida: Reflections on Photography , trans. Richard Howard, New York: Hill and Wang, 1981.

Geoffrey Batchen, Burning with Desire: the Conception of Photography , Cambridge, MA: MIT Press, 1997.

Walter Benjamin, ‘The Work of Art in the Age of Mechanical Reproduction’ (1936), in Illuminations , London: Fontana, 1973, pp. 219-253.

Richard Bolton (ed.), The Contest of Meaning: Critical Histories of Photography , Cambridge, MA: MIT Press, 1989.

Victor Burgin (ed.), Thinking Photography , London: Macmillan, 1982.

David Campany (ed.), Art and Photography , London and New York: Phaidon Press, 2003.

Charlotte Cotton, The Photograph as Contemporary Art , London and New York: Thames and Hudson, 2004.

T. J. Demos, Vitamin Ph: New Perspectives on Photography , London: Phaidon Press, 2006.

Emma Dexter and Thomas Weski (eds.), Cruel and Tender: The Real in Twentieth-Century Photography , London: Tate, 2003.

Steve Edwards, Photography: A Very Short Introduction , Oxford and New York: Oxford University Press, 2006.

Jessica Evans (ed.), The Camerawork Essays: Context and Meaning in Photography , London: Rivers Oram Press, 1997.

Vilem Flusser, Towards a Philosophy of Photography , London: Reaktion Books, 2000.

Michael Fried, Why Photography Matters as Art as Never Before , New Haven, CT: Yale University Press, 2008.

Michel Frizot, A New History of Photography , Cologne: Konemann, 1998.

Martin Lister (ed.), The Photographic Image in Digital Culture , London: Routledge, 1995.

J. J. Long, Andrea Noble and Edward Welch (eds.), Photography: Theoretical Shapshots , London and New York: Routledge, 2009.

Nathan Lyons (ed.), Photographers on Photography: A Critical Anthology , Englewood Cliffs, NJ: Prentice Hall, 1966.

Mary Warner Marien, Photography: A Cultural History , Upper Saddle River, NJ: Prentice Hall, 2002.

W. J. T. Mitchell, Iconography: Image, Text, Ideology , Chicago: University of Chicago Press, 1986.

Beaumont Newhall, The History of Photography: From 1839 to the Present Day , New York: The Museum of Modern Art, 1982.

Fred Ritchin, After Photography , London and New York: W. W. Norton, 2009.

Naomi Rosenblum, A World History of Photography , New York: Abbeville Press, 1997.

Aaron Scharf, Art and Photography , Harmondsworth: Penguin, 1974.

Stephen Shore, The Nature of Photographs , London: Phaidon Press, 2007.

Susan Sontag, On Photography , New York: Farrar, Straus and Giroux, 1977.

John Szarkowski, The Photographer’s Eye , New York: The Museum of Modern Art, 2007.

John Tagg, The Disciplinary Frame: Photographic Truths and the Capture of Meaning , Minneapolis: University of Minnesota, 2009.

Alan Trachtenberg (ed.), Classical Essays on Photography , New Haven: Leete’s Island Books, 1980.

Liz Wells (ed.), The Photography Reader , London: Routledge, 2002.


 

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