VPR3002 Visual practices 6

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

H. (Ed.) Postmodern Culture. Port Townsend, Bay Press. 1983 O’Doherty, Brian. Inside the White Cube: Notes on the Gallery Space

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

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

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 )

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

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

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

http://www.societyofcontrol.com/whitecube/insidewc.htm or Santa Monica, CA : Lapis Press, 1986. Or Art Forum 1976

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

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

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.

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

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

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

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

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

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

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)

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

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.

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.

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.