TEXTS & TALKS

ADORNO, THEODOR. “AESTHETIC THEORY” 1970.

BARTHES, ROLAND. “CAMERA LUCIA: REFLECTIONS ON PHOTOGRAPHY” 1980

BARTHES, ROLAND. “DEATH OF THE AUTHOR” 1967

BARTHES, ROLAND. “IMAGE, MUSIC, TEXT” 1977

BATAILLE, GEORGE. “OEUVRES COMPLÈTE” ÉDITION GALLIMARD. 1970.

BAZIN, ANDRÉ. “THE ONTOLOGY OF THE PHOTOGRAPHIC IMAGE” FILM QUARTERLY VOL. 13 # 4. 1960.

BEAUDRILLARD, JEAN. “PHOTOGRAPHY, OR THE WRITING OF LIGHT.” TRANSLATED BY FRANÇOIS DEBRIX. CTHEORY. 2000.

BECKETT, SAMUEL. CASCANDO, 1936. 

BELL, CLIVE. “THE AESTHETIC HYPOTHESIS” 1914. 

BENJAMIN, WALTER. “A SHORT HISTORY OF PHOTOGRAPHY” 1931.

BENJAMIN, WALTER. “THE WORK OF ART IN THE AGE OF MECHANICAL REPRODUCTION” 1936. 

JOHN BERGER “UNDERSTANDING A PHOTOGRAPH” IN SELECTED ESSAYS AND ARTICLES: THE LOOK OF THINGS. LONDON:PELICAN: 1977

BERGER, JOHN. “WAYS OF SEEING” EPISODE ONE. 1972.

BERGER, JOHN. “WAYS OF SEEING” EPISODE TWO. 1972.

BERGER, JOHN. “WAYS OF SEEING” EPISODE THREE. 1972.

BERGER, JOHN. “WAYS OF SEEING” EPISODE FOUR. 1972.

BISHOP, CLAIRE. “DIGITAL DEVIDE” ARTFORUM. SEPTEMBER 2012.

BORGES, JORGE LUIS. LABYRINTHS. 1962. 

BRAKHAGE, STAN. “FROM METAPHORS ON VISION” THE AVANT-GARDE FILM: A READER OF THEORY AND CRITICISM. (NEW YORK: ANTHOLOGY FILM ARCHIVES, 1978), PP 120-128.

CAGE, JOHN. ON SILENCE: LECTURES AND WRITINGS BY JOHN CAGE. WESLEYAN UNIVERSITY PRESS. 1973. 

CARSON, ANNE. SHORT TALKS. VINTAGE BOOKS. 1995. 

CLARK, T.J.. THE PAINTING OF POSTMODERN LIFE? QUADERNS PORTATILS. 2000.

CRIMP, DOUGLAS. “PICTURES” X-TRA. VOL.8 #1, 2005.

DAMISCH, HUBERT. “THE ORIGIN OF PERSPECTIVE” MIT PRESS. 1995

DAMISH, HUBERT. “FIVE NOTES FOR A PHENOMENOLOGY OF THE PHOTOGRAPHIC IMAGE.” OCTOBER, VOL. 5, (SUMMER, 1978), P.70-72. 

DAVIS, DOUGLAS. “THE WORK OF ART IN THE AGE OF DIGITAL REPRODUCTION (AN EVOLVING THESIS: 1991-1995)” LEONARDO, VOL.28 NO.5, THIRD ANNUAL NEW YORK DIGITAL SALON (1995), PP.381-386

DEBORD, GUY. “THE SOCIETY OF SPECTACLE” ZONE BOOKS. 1994.

DERRIDA, JACQUES. “THE TRUTH IN PAINTING” THE UNIVERSITY OF CHICAGO PRESS. 1987. 

D. POWELL, JOHN. ” PRESERVING THE UNPRESERVABLE: A STUDY OF DESTRUCTION ART IN CONTEMPORARY MUSEUM.” MA MUSEUM STUDIES. UNIVERSITY OF LEICESTER. 2007.

DIDI-HUBERMAN, GEORGE. “DEVANT L’IMAGE: DEVANT LE TEMPS” 1992-1999.

ELIOT. TS. THE WASTELAND. 1922.

FLUSSER, VILEM. ” TOWARDS A PHILOSOPHY OF PHOTOGRAHY” (EXCERPTS). 2000. 

FOUCAULT, MICHEL. “OF OTHER SPACES: UTOPIAS AND HETEROTOPIAS”. 1967

FOUCAULT, MICHEL. “THIS IS NOT A PIPE” 1973.

FRIED, MICHAEL. “ART AND OBJECTHOOD.” 1967.

FRIEDBERG, ANNE. THE VIRTUAL WINDOW. MIT PRESS. 2006. 

FRY, ROGER. “AN ESSAY IN AESTHETICS”. 1909. 

GIBSON, WILLIAM. NEW ROSE HOTEL. 1984. 

GREENBERG, CLEMENT. “AVANT-GARDE AND KITSCH” 1939.

HASKELL, BARBARA. “AGNES MARTIN” WHITNEY MUSEUM OF AMERICAN ART, NEW YORK. 1992. 

HEIDEGGER, MARTIN, “ART AND SPACE” TRANSLATED BY CHARLES E.SEIBERT. 

HICKEY, DAVE. “ENTER THE DRAGON: ON THE VERNACULAR OF BEAUTY” 1993.

HOCKNEY, DAVID. “SECRET KNOWLEDGE” EPISODE ONE. BBC. 2003.

HOCKNEY, DAVID. “SECRET KNOWLEDGE. EPISODE TWO. BBC. 2003.

JORN, ASGER. “FORMS CONCEIVED AS LANGUAGE”. 1949.

KANT, IMMANUEL. “THE CRITIQUE OF JUDGEMENT” ORIGINALLY TRANSLATED BY JAMES CREED MEREDITH AND PUBLISHED IN 1911. 

KLEE, PAUL. “ON MODERN ART” 1924.

KRAUSS, ROSALIND E.” NOTES ON THE INDEX, PART 1″ 1976.

KRAUSS, ROSALIND E. “A VOYAGE ON THE NORTH SEA: ART IN THE AGE OF THE POST-MEDIUM CONDITION” THAMES & HUDSON. 1999.

KRAUSS, ROSALIND E. “REINVENTING THE MEDIUM.”CRITICAL INQUIRY. VOL.25 #2. “ANGELUS NOVUS”: PERSPECTIVE ON WALTER BENJAMIN. (WINTER, 1999) P.289-305

KRUGER, BARBARA. “”TAKING” PICTURES” 1982.

KOSUTH, JOSEPH. “ART AFTER PHILOSOPHY” 1969. 

LEIBY, SOPHIA. “POST-INTERNET PAINTING AND THE DEATH OF AFFECT.” POOOOL.INFO. 2011

MAHOLY-NAGY, LASZLO. PAINTING, PHOTOGRAPHY, FILM. LONDON: LUND HUMPHRIES, 1969. 

MANOVICH, LEV. “POST-MEDIA AESTHETIC” 2005.

MATISSE, HENRI. NOTES OF A PAINTER. 1908. 

METELERKAMP, PETER. “QUESTIONING REALISM: BAZIN AND PHOTOGRAPHY” 2001.

MITCHELL, W.J.T. “WHAT IS AN IMAGE?” NEW LITERARY HISTORY VOL.15, NO.3, IMAGE/IMAGO/IMAGINATION (SPRING,1984), 503-537.

MORLEY, SIMON. “INTRODUCTION / THE CONTEMPORARY SUBLIME.”

MORRIS, ROBERT. “NOTES ON SCULPTURE PART 1” ARTFORUM. 1966 

OWENS, CRAIG. “THE ALLEGORICAL IMPULSE: TOWARD A THEORY OF POSTMODERNISM.” 1980.

OWENS, CRAIG. “THE ALLEGORICAL IMPULSE: TOWARD A THEORY OF POSTMODERNISM” 1980. (PART TWO)

POUND, EZRA. THE ABC OF READING. FABER & FABER. 1951. 

PRICE, SETH. “DISPERSION” 2002. 

RANCIÈRE, JACQUES. “THE AESTHETIC REVOLUTION AND ITS OUTCOME” 2002.

RAY, MAN. THE AGE OF LIGHT. 1933.

RØDLAND, TORBJØRN. “SENTENCES ON PHOTOGRAPHY” TRIPLE CANOPY, ISSUE #12: “BLACK BOX”, 2011.

SERRA, RICHARD. TALK WITH CHARLIE ROSE. 2001.

SMITHSON, ROBERT. “ENTROPY AND THE NEW MONUMENTS. ARTFORUM. 1966.

SMITHSON, ROBERT. ” A PROVISIONAL THEORY OF NON-SITES” 1968.

SONESSON, GÖRAN . “SEMIOTICS OF PHOTOGRAPHY – ON TRACING THE INDEX”  REPORT 4 FROM THE PROJECT “PICTORIAL MEANING IN THE SOCIETY OF INFORMATION”. LUND UNIVERSITY, 1989

STEYERL, HITO. “IN DEFENSE OF THE POOR IMAGE.”E-FLUX JOURNAL #10. 2009

SZARKOWSKI, JOHN. PRESS RELEASE OF “MIRRORS AND WINDOWS. AMERICAN PHOTOGRAPHY SINCE 1960” AT THE MUSEUM OF MODERN ART, NEW YORK. 1978.

TUAZON, OSCAR. TALK AT THE NEW SCHOOL.

VAN GELDER, HILDE. WESTGEEST HELEN. “PHOTOGRAPHY AND PAINTING IN MULTI-MEDIATING PICTURES.” VISUAL STUDIES, VOL.24, NO.2, 2009.

VERWOERT, JAN. “WHY ARE CONCEPTUAL ARTISTS PAINTING AGAIN? BECAUSE THEY THING IT’S A GOOD IDEA. AFTERALL.ORG. 2005. 

VIERKANT, ARTIE. “THE IMAGE OBJECT POST INTERNET.” JSTCHILLIN.ORG. 2010

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