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Education and Community > What Is_? Programme

> Reading List

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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