Bibliography MA2

Contextual study:

Badiou, A. (1988) Being and Event. Translated by Feltham, O. Originally published in French as L’ˆetre et l’´ev´enement, Paris. [online] Available at: http://incainstitute.org/pdf/alain-badiou-being-and-event.pdf (Accessed: 14.02.19)

Badiou, A. (1988) The Event in Deleuze. Translated by Roffee, J. from the original French "L'événement selon Deleuze" in Badiou, A. Logiques des mondes; Paris: Seuil, 2006. Parrhesia: A Journal of critical philosophy [online] Available at: https://www.lacan.com/baddel.htm (Accessed: 14.02.19)

Baker, C. (2010) Tracing the Physical. Studies in Material Thinking, Vol. 4 (September 2010), ISSN 1177-6234, AUT University. [online] Available at: http://www.materialthinking.org/papers/15 (Accessed: 14.02.19)

Beck, C. & Gleyzon, F (2016) Deleuze and the event(s). Journal for Cultural Research, [online] Available at: https://www.tandfonline.com/doi/full/10.1080/14797585.2016.1264770 (Accessed: 14.02.19)

Deleuze,G. in conversation with Parnet, C. (2002) Dialogues II, London & New York: Continuum. p.124. Moulard-Leonard, V. (2008) Bergson-Deleuze Encounters, New York: SUNY Press. p.8. In Foa, Maryclare and Grisewood, Jane and Hosea, Birgitta and McCall, Carali (2009) Drawn Together: Collaborative Performance. Tracey: Drawing and Visualisation Research Journal. ISSN 1742-3570. [online] Available at: http://ualresearchonline.arts.ac.uk/6187/1/drawn-together.pdf  (Accessed: 14.02.19)

Dewey, J. (1934) Art as experience. New York, Minton, Balch & Company, Ebook format.

Fay, B. (2013) What is Drawing - A Continuous Incompleteness. Dublin Institute of Technology. [online] Available at: https://arrow.dit.ie/cgi/viewcontent.cgi?article=1017&context=aaschadpoth (Accessed: 14.02.19)

Foa, Maryclare and Grisewood, Jane and Hosea, Birgitta and McCall, Carali (2009) Drawn Together: Collaborative Performance. Tracey: Drawing and Visualisation Research Journal. ISSN 1742-3570. [online] Available at: http://ualresearchonline.arts.ac.uk/6187/1/drawn-together.pdf  (Accessed: 14.02.19)

Serra, R. 1977 in Borden, L. 1994 in Hoptman, L. (2002) Drawing Now: Eight Propositions. The Museum of Modern Art, ISBN 0870703625, 9780870703621

Barriball, A. (2004) Door.  https://www.mutualart.com/Artwork/Door/D896EDD904EB057D

Documentation of performance, Drawn Together, Centre for Drawing Project Space, Wimbledon College of Art, 05/03/09. All images © Maryclare Foá / Jane Grisewood / Birgitta Hosea / Carali McCall.

Long, R. (1967) A line Made By Walking. http://www.richardlong.org/Sculptures/2011sculptures/linewalking.html

Testing boundaries:
Books:

Ballah, Kay. (2014) Preparing My Daughter For Rain. ISBN:1500233439. Self Published.

Carson, A. (2016) Float. London: Jonathan Cape.

Danchev, A. (2011) 100 Artists’ Manifestos From the Futurists to the Stuckists. London: Penguin Classics Random House.

Frost, R. (2013) The Collected Poems of Robert Frost. London: Vintage Books.

Gregson, T.K. (2014) Chasers of the Light, poems from the typewriter series. London: Penguin Randon House.

Hemmings, J. (ed.) (2012) The Textile Reader. London: Berg.

Kaur, R. (2015) Milk and Honey. Missouri: Andrew McMeel Publishing.

Magi, J. (2015) Book of excavated notes book text. Self Published for exhibition September 2015.

Midgley, M. (2001) Science and Poetry. Oxfordshire: Routledge.

Phaidon Editors. (2013) Vitamin D2, New Perspectives in Drawing. London: Phadion Press Ltd.

Online Resources:

BMW Tate Live: Performance Room series, Tate Modern, (28 February 2013) Joan Jonas, Draw Without Looking, https://www.tate.org.uk/research/publications/performance-at-tate/resources/films-and-videos/joan-jonas

Latham, J. (17” 2002) One-Second Drawing (Time Signature 5:1) https://www.tate.org.uk/art/artworks/latham-one-second-drawing-17-2002-time-signature-5-1-t02070

SFMoMa Channel, (2010) Matthew Barney on the origins of "DRAWING RESTRAINT"

https://www.youtube.com/watch?v=83WTxmkye04&feature=youtu.be

E-flux journal, (2008) https://www.e-flux.com/journal/

TateShots, (2009) Robert Morris – Bodyspacemotionthings | TateShots

https://www.youtube.com/watch?v=IeUiL5vzSzA

BBC, (2018) Tacita Dean: Looking to See https://www.bbc.co.uk/programmes/b0bczlrw

Tate Papers, no. 18 (Autumn 2012) Drawing in the Dark Involuntary Drawing: Susan Morris ISSN 1753-9854 https://www.tate.org.uk/research/publications/tate-papers/18/drawing-in-the-dark

Tsouti-Schillinger, N. (2013) Between Word and Image: the Blind Time Drawings of Robert Morris. The City University of New York http://zeitgenoessischeaesthetik.de/wp-content/uploads/2013/07/site_morris_BetweenWord.pdf

Brieber, David et al. (2014) Art in time and space: context modulates the relation between art experience and viewing time.” PloS one vol. 9,6 e99019. 3 Jun. 2014, doi:10.1371/journal.pone.0099019 https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4043844/

Bourriaud, N. Relational Aesthetics http://www.kim-cohen.com/seth_texts/artmusictheorytexts/Bourriaud%20Relational%20Aesthetics.pdf

Transpositions, (2011) Wesley Vander Lugt . The Context of Art http://www.transpositions.co.uk/the-context-of-art/

The Conversation. (2014) Circles of context: giving a work of art its meaning http://theconversation.com/circles-of-context-giving-a-work-of-art-its-meaning-29401

Getting Your Sh*t Together https://www.gyst-ink.com/life-planning-and-goal-setting

Kantrowitz, A. Brew, A & Fava, M (2011) THINKING THROUGH DRAWING: PRACTICE INTO KNOWLEDGE Proceedings of an interdisciplinary symposium on drawing, cognition and education http://ttd2011.pressible.org/files/2012/05/Thinking-through-Drawing_Practice-into-Knowledge.pdf

Studio research (2016) Issue-4-November http://studioresearch.com.au/wp/wp-content/uploads/2016/12/STUDIO-RESEARCH-Issue-4-November-2016.pdf

The Drawing Center, (2003) The Stage of Drawing: Gesture and Act.  Published on Apr 4, 2003   https://issuu.com/drawingcenter/docs/drawingpapers36_stageofdrawing

Tate Papers no 14, (2010) Lovatt. A. Ideas in Transmission: LeWitt’s Wall Drawings and the Question of Medium.. ISSN 1753-9854 https://www.tate.org.uk/research/publications/tate-papers/14/ideas-in-transmission-lewitt-wall-drawings-and-the-question-of-medium

Bohm, D. (1996) On Dialogue. London, New York. Routledge.

Krcma, E.J. Drawing Time: Trace, Materiality and the Body in Drawing After 1940. http://discovery.ucl.ac.uk/1444907/1/U592217.pdf

Pallasmaa, The Eyes of the Skin, Architecture and the Senses http://arts.berkeley.edu/wp-content/uploads/2016/01/Pallasmaa_The-Eyes-of-the-Skin.pdf

Ingold, T. (2009) The Textility of Making http://sed.ucsd.edu/files/2014/05/Ingold-2009-Textility-of-making.pdf

Julie Mehretu: Workday | Art21 "Extended Play" https://www.youtube.com/watch?v=iejZMhJv030&t=0s&index=37&list=WL

The Menil Collection: Conversation with Amy Sillman: Drawing in the Continuous Present https://www.youtube.com/watch?v=BLOgc466nRk&t=1420s

Tehching Hsieh: One Year Performance 1980--1981
http://dasplatforms.com/videos/tehchi…

The Menil Collection - This video collection is great, really interesting artist lectures and insights https://www.youtube.com/user/themenilcollection/videos

Referenced from MA1:

Adorno, T. (1997) Aesthetic Theory. London: Bloomsbury.

Barthes, R. (1977) 'Death of the Author'. In Barthes, R. (1977) Image Music Text, London: Fontana Press. pp 142-148

Berger, J. (1972) Ways of Seeing, London: Penguin.Berger, J. (1980) 'Francis Bacon and Walt Disney'. In About Looking, London: Bloomsbury. pp 118-125.

Bishop, C. (2013) Radical Museology: or, What's 'Contemporary' in Museums of Contemporary Art?, London: Koenig Books.

Campt, T.B. (2017) Listening to Images. Durham: Duke University Press.Chandler, D. (1997) Introduction. An Introduction to Genre Theory. Aberystwyth University. [online] At:https://www.researchgate.net/publication/242253420_An_Introduction_to_Genre_Theory

Debord, G. (1967) Society of the Spectacle. London: Rebel Press.

Dorfman, E. (2014) Foundations of the Everday, Shock, Deferral, Repetition. London: Rowman & Littlefield International.

Eraut, M. (2004) Informal Learning in the Workplace.

Etzi, R. & Gallace, A. (2016) ‘The arousing power of everyday materials: an analysis of the physiological and behavioural responses to visually and tactually presented textures’ In: Experimental Brain Research, 06/2016, Volume 234, Issue 6 [online] At: https://link.springer.com/article/10.1007%2Fs00221-016-4574-z (Accessed on 17.04.18)

Findlay, I. (2009) 'A Poetry of Objects' In: World Sculpture News, Spring 2009, pp. 36-41. [online] At: https://www.ivde.net/usr/library/documents/hassan-sharif/sharif_world_sculpture_news_2009.pdf (Accessed on 10.05.18)

Foley, M. (2012) Embracing the Ordinary: Lessons From the Champions of Everyday Life. London: Simon & Schuster.

Heartney, E. (2008). Art and Today. London: Phaidon Press.

Highmore, B. (2002) "Crashed-Out: Laundry Vans, Photographs and a Question of Consciousness." In Crash Cultures: modernity, mediation and the material, edited by Jane Arthurs and Iain Grant, 53-62. Bristol: Intellect Books, 2002.

Highmore, B. (2002) The Everyday Life Reader. London: Routledge.

Lefebvre, H. (2014) Critique of Everyday Life: The One Volume Edition. London: Verso.

Lefebvre, H. (2004) Rhythmananlysis, Space, Time and Everyday Life. London: Bloomsbury.

McNiff, S. (2008) Art-based Research in Knowles and Cole (2008) Handbook of the Arts in Qualitative Research, SAGE.

O’Dougherty, B. (2007) Studio and Cube, New York: The Temple Hoyne Buell Center for the Study of American Architecture.

O’Dougherty, B. (1986) Inside the White Cube: The Ideology of the Gallery Space, San Francisco: The Lapis Press.Open University, (s.d.) An Introduction to Material Culture: What is Material Culture. At: http://www.open.edu/openlearn/history-the-arts/culture/visual-art/introduction-material-culture/content-section-3

Relyea, L. (2013). Your Everyday Art World. London: The MIT Press.

Stiles, K. and Selz, P. (1996, republished April 2011) Theories and Documents of Contemporary Art: A Sourcebook of Artists Writings. London, University of California Press.

Sullivan, G. (2010) Art Practice as Research: Inquiry in the Visual Arts. London and Thousand Oaks, CA, SAGE.

Ward, O. (2014). Ways of Looking: How to Experience Contemporary Art. London: Laurence King.

28/12/2017 - Video Lecture 4 - VL4 - Archive to Interview - notes and response

Looking at contemporary artists and the commentary that is made on or about their work. Looking at online resources and issues to consider, review some formal sites for future research.Thomas Schutte Thomas Schutte (b. 1954) - Gerhard Richter was tutor and due to Richters accomplishments in paint, Schutte opted for sculpture as he couldn't say any more (compete?). manipulates scale and materials - googling images means that sometimes names, materials, context, scale etc are lost. search engines will also find 'related' images, people that are influenced by, shown in similar places etc.Thomas Schutte Big Buildings, Models and Views. Bundeskunsthalle, Bonn, Germany, 23 July 2010 - Private view with Adrian Searle, art critic for the Guardian, recording of his visit to the exhibition.

Bundeskunsthalle, Bonn http://www.kah-bonn.de/index_e.htm

Model for a hotel - http://www.thomas-schuette.de/ajax.php#/4.04.22.002

huge white room with high ceiling - Model for Hotel - 4th plinth, more successful in gallery rather than on the plinth. modernistic rather than modernist - Ferienhaus fur Terroristen 2007 - chipboard and scrim - colours, you can dimly perceive the outside space, window without being windows. Searle sounds creepy at this point, uncomfortable. The identification of race is unnecessary, the 'angels' that dangle from the ceiling, birds, etc - adds a lot of personal interpretation - 'stupid heads' - judgmental - 'priests in prada' social commentary on work that sways your interpretation of the work, dependant on how you perceives Searles opinions. uses deprecative language, silly, stupid, strange' etc. comparing the works to mundane imagery that could be seen as derogatory. Big Buildings 1989 -

Big Buildings, 1989 - http://www.thomas-schuette.de/ajax.php#/2.01.09.004

buildings whose purpose you'll never understand - is that the point or Searles opinion? feeling like storage - questions on architecture, massively bias commentary. He talks about the space being magnificent, but not the works....philosophising questions - whats real? the claims Schutte is free, and free to do what he likes, but with sadness and joyousness and finally says its magnificent.Angela's encounter with Schuttes website and the watercolours he produces.

Thomas Schutte website http://www.thomas-schuette.de/website_content.php

Model for a Hotel, 4th Plinth, Trafalgar Square - nov 2007 - may 2009Ossian Ward - time out - the sculpture failed to surprise - looks no better than the proposal model that had been shown beforehand. all art is a form of proposition, a proposal of a proposal. Mocks monumentally

Ossian Ward, Time Out, 14 November 2007 http://www.timeout.com/london/art/features/3834/Trafalgar_Square-s_fourth_plinth.html

Richard Dormant - telegraph - Model for hotel, an abstract assemblage of acrylic and galls that looks like it will blow away in a breeze but weighs 4 tons. favours monumentally - light changes the visual experience of the work, each view is complete but also not satisfactory, each is different. its complicated, not possible to adequately describe such a purely visual experience. an invitation, a proposition, to view and create an individual experience - how my work at Mind the gap was, dependant on lighting the viewer would get a different experience. 

Richard Dorment, Telegraph, 7 November 2007 http://www.telegraph.co.uk/culture/film/3669081/Trafalgar-Square-plinth-beauty-weighs-four-tonnes.html

Kiki SmithKiki Smith (b. 1954) - A curator, a gallery and an art journalFather was sculpture - Tony SmithDifferent perspective so on work.Elizabeth brown, writing as a curator in 1994 - one of the most influential artists of her generation, makes sculpture of and about the body in materials as diverse as bronze, paper and wax.....  overly descriptive, positive spin. doesn't offer meaning, or too much context. From a promotions point of view, she wants an audience for the artist in the museums so will write a wide and overseeing type of text with mass appeal rather than being specific and possibly closing audiences out.

Singer (detail), 2008, cast aluminium, 65 x 27 x 24 in. https://www.brooklynmuseum.org/exhibitions/kiki_smith/

Brown, E. (1995) Kiki Smith: sojourn in Santa Barbara. Santa Barbara. University Art Museum, University of California.

Mary Ryan gallery website, biography - post - 2001,: classifying Smith as a feminist artist. work is imbued with political significance and undermines traditional erotic representation of women artists by males, and uses metaphor for hidden social issues. Descriptive of the visual aspects of the work, but then goes on to list issues that she has actively debated such as race, gender, aids and domestic violence. Is this evolution of the artist or simply a different type of writing? Being for a gallery website it is for a specific audience, also possibly a commercial audience, investors and collectors if the work is for sale or to generate interest in future works for sale. Collectors tend to have style and subject matter that they support and will be specific in their ideals of artists and contexts of work which allows galleries to be very explicit in the details of artists they represent.

Mary Ryan Gallery, New York,  info at http://www.artinfo.com/galleryguide 

Christine Kuan - interview with artist. Reference library, post 2008. collaboration, and public art. paper as material, paper as sculpture, craft, women artist, the body, influence of asian artist etc. Guided by questions from interviewer but gives more balanced view of the artists work.

Christine Kuan interview in Oxford Art online. http://www.oxfordartonline.com/public/page/smith

Is it possible to get a fixed picture in artists work? The aspects of bio coming in for inform an artists work. 

Biography as Art PracticeLouise BourgeoisBiography is her work -Maman, installed outside Tate in 2007room installations - intense and threatening atmosphere, related to her experience of childhood and family histories. drawings are retrospective journal of life as woman and mother.unattributed obituary - nice in tone, biographic - discusses her career, path to 'success' as an artist

Obituary in the Telegraph, 1 June 2010 http://www.telegraph.co.uk/news/obituaries/culture-obituaries/art-obituaries/7794878/Louise-Bourgeois.html

Richard Dorment - equipped with intimate knowledge of her life story - the symbolism is easy to understand and is indexible. Academic like to utilise her work for interpretations, becoming a celebrity for what she said about her work than any aesthetic quality of emotional truth it had. Will it last once she is no longer around to discuss it? - suggests she invented 'confessional' art, and that it means little without her personal history to explain it. She has controlled this

Richard Dorment, Telegraph, 1 June 2010 http://www.telegraph.co.uk/culture/art/7794168/Louise-Bourgeois-invented-confessional-art.html

Siri Hustvedt (earlier piece) - her story is so embedded in the work that it 'seduces' critics into biographical or psychoanalytical readings - its happened naturally. The object and the narrative are inseparable, and that the issue, its purely biographical and doesn't make statements to wider more relatable contexts.

Siri Hustvedt, Guardian, 6 October 2007 http://www.guardian.co.uk/books/2007/oct/06/art

Contrasting example of autobiographical work outside the gallery:Bobby BakerPerformance artist Bobby Baker (b.1953) - domestic life, cooking, motherhood and the conflict of work, and work as an artist. Comedic, uses food in her performances, uniform for performance, utensils as props. Works in public, with public - John Lewis and Battersea dogs home.1993 - Kitchen show, - routine tasks of kitchen work. contemplation of tasks on a small scale provokes questions both personal and political - she believes domestic relationships influence world affairs - how we treat each other are symbolic of international relations etc. Mental illness led to time away from performance and she documented the diary in drawings - viewable on the Wellcome Trust website.

Animation on Bobby Baker‘s website http://houseworkhouse.bobbybakersdailylife.com/

Arnold, K. Wellcome Trust 26.2.2009 http://www.wellcome.ac.uk/News/Media-office/Press-releases/2009/WTX053511.htm

Elaine Aston transforming Women's’ Lives: Bobby Baker’s Performances of ‘Daily Life’. http://eprints.lancs.ac.uk/24354/1/download1.pdf

Queen Mary, University of London http://www.drama.qmul.ac.uk/staff/bakerb.htm

Turner Prize2010 - Susan Philips - Lowlands - sound piece. Is the Turner prize still cutting edge? Dorment is dismissive - and quite rude!

Richard Dorment 4.10.2010 Turner Prize shortlist http://www.telegraph.co.uk/culture/art/turner-prize/8042138/Turner-Prize-shortlist-2010-Tate-Britain-review.html

Richard Dorment  7.12.2010 Turner Prize winner http://www.telegraph.co.uk/culture/art/turner-prize/8186053/Turner-Prize-I-loathe-the-kind-of-think-me-sensitive-tuneless-stuff-Ms-Philipsz-sings.html

Jones and Searle are complimentary - link between the political orientations of the broad sheets and the responses of the art critics.

Jonathan Jones 4.5.2010 Turner Prize shortlist http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2010/may/04/turner-prize-shortlist-2010

Adrian Searle http://www.guardian.co.uk/artanddesign/video/2010/oct/07/turner-prize-2010-adrian-searle-video

2006 - Tomma Abts - Turner prize - Stuckists protest -

Tomma Abts, Ebe 2005, acrylic and oil on canvas, 48 cm x 38 cm - http://www.tate.org.uk/whats-on/tate-britain/exhibition/turner-prize-2006/turner-prize-2006-artists-tomma-abts

Interview of artist - no research, starts with nothing, just paint on canvas - form in mind and builds layers, image and object, illusion and being a real thing - an installation of paintings. Paradox, open but finished. Shows a state of mind.Stuckists - 'Tomma Abts paints silly little diagrams that make 1950's wallpaper look profound in comparison' - Ouch! There are thousands of artist that have something relevant to say. They also revealed conflict of interest at Tate.They are painters - believe it should be figurative, artists that don't paint are not artists and art that has to be in a gallery is not art. Success is to get out of bed and paint.Andrew Marr on the Stuckists - agrees with some points of the Stuckist manifesto - funding and support from 'big money' etc, and the access to education in the arts.

Andrew Marr,BBC Radio 4 Start the Week 31.1.11 http://www.bbc.co.uk/programmes/b00y288b

Resourceslist of resources:Online resources - UCA online library - gives access to other online library and catalogues for other libraries and museums.Also look at local universities libraries- American university of Sharjah, American University of Dubai, NYUAD - Tashkeel's small library, Barjeel/Maraya centre library, ad Dubai public libraries - project space Art Jamel - Art Dubai etc. enquire about accessOnline Archives: Art Journals online:Academic Journals:JiscmailOnline Seminars and talks:Conferences - arts focus

Something to think about...

In what way do artists' biographies inform or detract from the viewers experience of the work?

What are the implications Ward's assertion that, 'That all art is a form of proposition and anything's possible.'?

If you could only read or hear one view on an exhibition would you chose to hear the artist's view or that of a critic or reviewer and why?

REMEMBER TO READ WIDELY AND MAINTAIN A HEALTHY SCEPTICISM.

Links to the recent reading group tasks on biographic lead art and the death of the author by Barthes, that the work will exisit regardless of the creator, the work creater the author not the other way rounf, they auther does not exisit if the work does not exist, the work birth the auther.http://maraya.ae/index.php?r=exhibitions/view&id=65http://maraya.ae/index.php?r=site/page&id=10