VPR1113 Research practices

Fraser, Andrea. Why Does Fred Sandback's Work Make Me Cry?

Gardner, Anthony. Art in the Face of Fame: Ricky Swallow’s Reflection of Reputation , Reading Room: A Journal of Art and Culture – Autobiography in the wake of conceptualism Issue 01/2007, pp.60-79

Storr, Robert. Painting History – Painting Tragedy in Gerhard Ricter: Doubt and Belief in Painting, Museum of Modern Art, New York, 2003, pp. 250 -263.

Butler, Rex. Bright Shadows: Art, Aboriginality and Aura in A Secret History of Australian Art, Craftsman House, Sydney, 2002, pp. 129 – 147.

Carter, Paul. Peculiar to the Night: the knowledge of Craft in Knowledge Makers Papers from the Craft Victoria Forum on Research and Craft Practice 19 July 1997, ed. S. Attiwill, (Melbourne: Craft Victoria, 1998 )

Burgin, Victor. Art Common Sense and Photography in Visual Culture: the Reader. SAGE Publication, London, 1999

Lippard, Lucy. Escape Attempts in Six years: the dematerialization of the art object from 1966 to 1972 .edited and annotated by L Lippard. (Berkeley : University of California Press, 1997)

Every Form of Art Has a Political Dimension Author(s): Chantal Mouffe, Rosalyn Deutsche, Branden W. Joseph, Thomas Keenan Source: Grey Room, No. 2 (Winter, 2001), pp. 98-125

Katz, Jonathan. Rauchenberg’s Honeymoon in Art/Text, No. 61 May-July 1998

Krauss, Rosalind. The Destiny of the Informe , Formless – A User’s Guide, Zone Books, New York, 1996, pp. 235 – 252.

Crow, Thomas. The Return of Hank Herron in Endgame – Reference and Simulation in Recent Painting, MIT press, Massachusetts, 1987, pp. 11 – 27.

Juan Davila, 'Aboriginality: A Lugubrious Game?', Art & Text 23/24 1987. Also in Rex Butler, (ed), What is Appropriation? An anthology of critical writings on Australian art of the 80's and 90's, Institute of Modern Art and Power Publications 1996

LEE, PAMELA M. Bridget Riley’s Eye/Body Problem, OCTOBER Fall 1998, Fall 2001, pp. 27–46.

Amelia Jones; Geoffrey Batchen; Ken Gonzales-Day; Peggy Phelan; Christine Ross; Guillermo Gómez-Peña; Roberto Sifuentes; Matthew Finch: “The Body and Technology”, Art Journal , Vol 60, no. 1 (Spring 2001) pp. 20-39.

Buren, Daniel. The Function of the Studio in October 10, Fall 1979

Port Melbourne, Vic.: Craftsman House, an imprint of Thames and Hudson, 2005.

Schwabsky, Barry. Painting in the Interrogative Mode, Vitamin P, Phaidon Press Inc., New York, 2002, pp. 6-10

Murray, Kevin. Introduction to Craft Unbound: make the common precious.

Foster, Hal. Design and Crime in Design and Crime and Other Diatribes, Verso, London, 2002, pp. 13 - 26.

Babette Mangolte, “Afterward: A Matter of Time”, in Camera Obscura, Camera Lucida; Essays in Honor of Annette Michelson, eds. Richard Allen and Malcolm Turvey, Amsterdam University Press, 2003. pp.261-274.

Den Besten, Liesbeth. Keeping the Gift Moving in Gift: Papers and Exhibitions 2007, Think Tank – a European Initiative for the Applied Arts, Austria, 2007, pp. 14 – 18. http://www.thinktank04.eu/page.php?4,116

Tanya Harrod, The gift: a starting point for a discussion of craft in Gift: Papers and Exhibitions 2007, Think Tank – a European Initiative for the Applied Arts, Austria, 2007, pp.28-31 http://www.thinktank04.eu/page.php?4,116

Bachelard, Gaston. The House. From Cellar to Garret. The Significance of the Hut , The Poetics of Space, Beacon Press, Boston, 1958, pp. 3 – 37.

Den Besten, Liesbeth. Deskilled Craft and Borrowed Skill, Think Tank – a European Initiative for the Applied Arts, Austria, 2008, http://www.thinktank04.eu/page.php?4,137,139

White, Anthony. Industrial Painting’s Utopias: Lucio Fontana’s “Expectations”

Sontag, Susan. In Plato’s Cave in On Photography, Farrar, Straus and Giroux, New York, 1977

Bois, Yve-Alain. Introduction: Resisting Blackmail (pp. xi - xxx) & Painting as Model (pp. 245 - 258) in Painting as Model, MIT press, Massachusetts, 1993.

Potts, Alex. Minimalism and High Modernism in The Sculptural Imagination: Figurative, Modernist, Minimalist, Yale University Press, New Haven, 2000, pp. 178

Trinh T. Minh-Ha, “Documentary Is/Not a Name”, October, vol. 52. (Spring 1990) pp. 76-98.

Interview between Felix Gonzalez-Torres and Tim Rollins Felix Gonzalez-Torres, New York : A.R.T. Press, c1993.

October Spring 1997, No.80: 125-134 OR from One place after another : site-specific art and locational identity , Cambridge, Mass. : MIT Press, c2002.

Greenhalgh, Paul. The History of Craft in The Culture of Craft Status and Future, ed. P.Dormer, (New York: Manchester University Press, 1997)

Moore, Catriona. Margaret Preston at Home in Radical Revisionism: An Anthology of Writings on Australian Art, edited by Rex Butler, IMA, Brisbane, 2005, pp. 200 – 212.

Morris, Robert. Some Notes on the Phenomenology of Making: The Search for the Motivated in Continuous Project Altered Daily: The Writings of Robert Morris 1993 MIT Press, Cambridge Massachusetts

Adamson, Glen. Wearable Sculptures: Modern Jewellery and the Problem of Autonomy & Reframing the Pattern and Decoration Movement in Thinking Through Craft, Berg Publishing, New York, 2007.

Philip Brophy Curating Video Art 101 in Photofile (Issue 94, Winter 2005) OR

Owens, Craig. The Discourse of Others: Feminists and Postmodernism. IN FOSTER,

Joselit, David. Notes on surface - Towards a Genealogy of Flatness, in Theory in contemporary art since 1985 / edited by Zoya Kocur and Simon Leung. # Publisher:Malden, MA : Blackwell Pub., c2005, pp. 292 – 308.

Thurman, Judith Profile on Vanessa Beecroft, The Wolf at the Door , The New Yorker, March 17, 2003

Hickey, Dave. Introduction in Invisible Dragon: Four essays on Beauty, Los Angeles

Wall, Jeff. Marks of Indifference: Aspects of Photography in, or as, Conceptual Art, in Veronica’s Revenge: Contemporary Perspectives on Photography, E Janus (ed.) LAC Switzerland, 1998

Lucy Orta in conversation with Nicolas Bourriaud OR Pipilotti Rist in conversation with Hans Ulrich Obrist In pressPlay: Contemporary Artists in Conversation Phaidon Press, London, 2005

Merleau-Ponty, Maurice. Cezanne's Doubt (1945) in Maurice Merleau-Ponty : basic writings / [edited by] Thomas Baldwin. London ; New York : Routledge, 2004. pp. 9- 24

H. (Ed.) Postmodern Culture. Port Townsend, Bay Press. 1983 O’Doherty, Brian. Inside the White Cube: Notes on the Gallery Space http://www.societyofcontrol.com/whitecube/insidewc.htm or Santa Monica, CA : Lapis Press, 1986. Or Art Forum 1976

Baker, George. Film Beyond Its Limits , Grey Room, Fall 2006, No. 25, Pages 92 - 125

Kwon, Miwon. One Place after Another: Notes on Site Specificity

Krauss, Rosalind. Sculpture in the Expanded Field, October, Vol. 8, (Spring, 1979), pp. 30-44

To Make an Inner Time: A Conversation with Gabriel Orozco Benjamin H. D. Buchloh, Carrie Lambert-Beatty, Megan Sullivan October Fall 2009, No. 130: 177–196.

Off With the Pixies: An Interview with Hany Armanious Lara Travis, Like Art Magazine, No. 14 Autumn 2001

Schorr, Collier. The Fine Line Between This and That (on Sarah Lucas’ photographic self-portraiture) in PARKETT No. 45 1995

Paul Taylor, ‘A Culture of Temporary Culture’ , Art & Text #16 (Burnout) 1984. pp. POSITIONS

Rowley, Sue. There once lived…craft and narrative traditions.” in Craft and Contemporary Theory , ed. S. Rowley (St Leonards: Allen & Unwin, 1997)

Crimp, Douglas. The End of Painting October, Vol. 16 pp. 69-86 Published by: The MIT Press OR Pictures, October, Vol. 8 (Spring, 1979), pp. 75-88

Ian Burn, The Metropolis is only Half the Horizon in The Boundary Rider, catalogue, The Biennale of Sydney Ltd. 1992,

Koolhaas, Rem. Junkspace, October, Vol. 100, Obsolescence. (Spring, 2002), pp. 175-190.