Coronavirus (Covid-19): Latest updates and information
Skip to main content Skip to navigation

ha322bibliography

* essential ! preparatory reading for session [] not in the library

ART WITHIN WALLS:

THE EXHIBITION OF TWENTIETH-CENTURY ART

General background reading:

* Bruce Altshuler, The Avant-Garde in Exhibition: New Art in the 20th Century, New York (Abrams) 1994.

* Emma Barker (ed.), Contemporary Cultures of Display, London (The Open University and Yale University Press) 1999

David Britt (ed.), Modern Art: Impressionism to Post-Modernism, London (Thames and Hudson) 1989.

Herschel B. Chipp, Theories of Modern Art, Berkeley (University of California Press) 1968.

Susan Compton (ed.), British Art in the 20th Century, exhib.cat. Royal Academy of Arts London, Munich (Prestel) 1987.

* Thomas Crow, The Rise of the Sixties, The Everyman Library, London (George Weidenfeld and Nicolson Ltd) 1996.

Liz Dawtrey, Toby Jackson, Mary Masterton, Pam Meecham, Paul Woods, eds., Investigating Modern Art, New Haven and London (Yale University Press and the Open University) 1996.

Ian Dunlop, The Shock of the New: Seven Historic Exhibitions of Modern Art, London (Weidenfield and Nicolson) 1972.

* Briony Fer, David Batchelor, Paul Wood, Realism, Rationalism, Surrealism: Art Between the Wars, London (Yale University Press and The Open University) 1993.

* Francis Frascina, Paul Wood, Jonathan Harris, Charles Harrison, Modernism in Dispute: Art Since the Forties, London (Yale University Press and The Open University) 1993.

* Matthew Gale, Dada & Surrealism, London (Phaidon) 1997.

* Tony Godfrey, Conceptual Art, London (Phaidon) 1998.

* Reesa Greenberg, Bruce W. Ferguson, Sandy Nairne (eds.), Thinking about Exhibitions, London (Routledge) 1996.

Charles Harrison, Paul Wood (eds.), Art in Theory 1990-1990: An Anthology of Changing Ideas, Oxford (Blackwell) 1992.

* Charles Harrison, Francis Frascina, Gill Perry, Primitivism, Cubism, Abstraction: The Early Twentieth Century, London (Yale University Press and The Open University) 1993.

Georg Heard Hamilton, Painting and Sculpture in Europe 1880-1940, Harmondsworth (Pelican History of Art) 1972.

Robert Hughes, The Shock of the New: Art and the Century of Change, London (Thames and Hudson) 1980 (new ed. 1991).

Christos M. Joachimides, Norman Rosenthal (eds.), German Art in the 20th Century, exhib. cat. Royal Academy of Arts London, Munich (Prestel) 1985.

Christos M. Joachimides, Norman Rosenthal (eds.), Italian Art in the 20th Century, exhib. cat. Royal Academy of Arts London, Munich (Prestel) 1989.

Christos M. Joachimides, Norman Rosenthal (eds.), American Art in the 20th Century, exhib. cat. Royal Academy of Arts London, Munich (Prestel) 1993.

Rosalind Krauss, Passages in Modern Sculpture, London (Thames and Hudson) 1977.

Rosalind Krauss, The Optical Unconscious, Cambridge/Mass. (The MIT Press) 1993.

Norbert Lynton, The Story of Modern Art, London (Phaidon) 1980 (new ed. 1989).

* Pam Meecham, Julie Sheldon, Modern Art: A Critical Introduction, London (Routledge) 2000.

Herbert Read, A Concise History of Modern Painting, London (Thames and Hudson) 1968 (reprinted 1974).

Herbert Read, A Concise History of Modern Sculpture, London (Thames and Hudson) 1964.

Meyer Schapiro, Modern Art: 19th and 20th Centuries, London (Chatto & Windes) 1978.

Nicholas Serota, Experience or Interpretation: The Dilemma of Museums of Modern Art, London (Thames and Hudson) 1996.

Nikos Stangos (ed.), Concepts of Modern Art: From Fauvism to Postmodernism, 3rd ed., London (Thames and Hudson) 1994.

Brandon Taylor, The Art of Today, London (Weidenfeld and Nicholson) 1995.

Art Magazines for Contemporary Art:

Artforum

Art Monthly

Frieze

Modern Painters

Tate Magazine

Third Text

[] ArtNEWS

[] Flash Art

[] Parkett

THE MAKING OF A TRADITION: MODERNISM

  1. Traditions of Installations

    - Charlotte Klonk, “Mounting Vision: Charles Eastlake and the National Gallery of London”,

    Art Bulletin, vol.82, June 2000, pp.331-347.

    ! - Martha Ward, ‘Impressionist Installations and Private Exhibitions’, Art Bulletin, vol.73, December 1991, pp.599-622.

    - Deanna Marohn Bedix, Diabolical Designs: Paintings, Interiors and Exhibitions of James McNeill Whistler, Washington, 1995, pp.205-268.

    - Eva Mendgen, ‘Art or Decoration’, in Eva Mendgen (ed.), In Perfect Harmony: Picture and Frame 1850-1920, exhib. cat. Van Gogh Museum, Zwolle, 1995, pp.97-126.

    - Matthias Waschek, ‘Camille Pissarro: From Impressionist Frame to Decorative Object’, in Eva Mendgen (ed.), In Perfect Harmony: Picture and Frame 1850-1920, exhib. cat. Van Gogh Museum, Zwolle, 1995, pp.139-148.

      - Matthias Waschek, ‘Georges Seurat: The Frame as Boundary and Extension of the Artwork’, in Eva Mendgen (ed.), In Perfect Harmony: Picture and Frame 1850-1920, exhib. cat. Van Gogh Museum, Zwolle, 1995, pp.149-162.

      1. 0,10 Petrograd 1915

      ! - Stephanie Barron and Maurice Tuchman (eds.), The Avant-Garde in Russia, 1910-1930: New Perspectives, exhib.cat. Los Angeles County Museum of Art, Cambridge/Mass., 1980, pp.12-40, (pp.92-101).

      - The Great Utopia: The Russian Avant-garde 1915-1932, exhib.cat. Solomon Guggenheim Museum, New York, 1992, pp.112-124.

      Kasimir Malevich

      - Kazimir Malevich, Essays on Art, 2 vols., Troels Andersen (ed.), Xenia Glowacki-Prus and Arnold McMillin (trans.), Copenhagen, 1968.

      - Kazimir Malevich, The World as Non-Objectivity, Troels Andersen (ed.), Xenia Glowacki- Prus and Edmund T. Little (trans.), Copenhagen, 1976.

      Kazimir Malevich, The Artist, Infinity, Suprematism, Troels Andersen (ed.), Xenia Hoffmann (trans.), Copenhagen, 1978.

      - Charlotte Douglas, Swans of Other Worlds: Kazimir Malevich and the Origins of Abstraction in Russia, Michigan, 1980.

      - W. Sherwin Simmons, Kasimir Malevich's Black Square, New York, 1981.

      - Larissa A. Zhadova, Malevich, Suprematism and Revolution in Russian Art 1910-1930, London, 1982.

      ! - Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art, Princeton, 1983, pp.3-43, pp.238-299.

      - John E. Bowlt, Russian Art of the Avant-Garde, Theory and Criticism, New York, 1988.

      - Eugeniya Petrova et al., Malevich: Artist and Theoretician, Paris, 1990.

      - Rainer Crone, David Moos, Kazimir Malevich: The Climax of Disclosure, London, 1991.

      - Serge Fauchereau, Malevich, London, 1992.

      - John Milner, Kazimir Malevich and the Art of Geometry, New Haven and London, 1996.

      1. Abstract Cabinet, Landesmuseum, Hanover 1927 and 1928

      ! - Mary Anne Staniszewski, The Power of Display: A History of Exhibition Installations at the Museum of Modern Art, Cambridge, Mass., 1998, pp.xxi-57.

      ! - El Lissitzky, ‘Exhibition Rooms’, in Sophie Lissitzky-Küppers, El Lissitzky: Life, Letters, Texts, trans. H. Aldwinckle and Mary Whittall, rev. ed., London, 1980, pp.366-367.

      El Lissitzky

      ! - El Lissitzky, ‘Prouns’, in El Lissitzky, exhib. cat. Galerie Gmurzynska, Cologne, 1976, pp.60-72.

      ![] - Alan Birnholz, ‘Time and Space in the Art and Thought of El Lissitzky’, The Structurist, no. 15/16, 1975/1976, pp. 89-96.

      - Steven A. Mansbach, Visions of Totality: Laszlo Moholy-Nagy, Theo Van Doesburg, and El Lissitzky, Ann Arbor, Mich., 1980.

      - Sophie Lissitzky-Küppers, El Lissitzky: Life, Letters,Texts, trans. H. Aldwinckle and Mary Whittall, rev. ed., London, 1980.

      ! - Benjamin H. Buchloh, ‘From Faktura to Factography’, October, vol. 30, autumn 1984, pp. 82-119. (Also in October: The First Decade, 1988)

      - Peter Nesbit (ed.), El Lissitzky, 1890-1941, exhib. cat. Busch-Reisinger Museum, Cambridge, Mass., 1987.

      - Margarita Tupitsyn, El Lissitzky: Beyond the Abstract Cabinet, New Haven, 2000.

      1. Exhibition of Degenerate Art, Munich 1937

      - Berthold Hinz, Art in the Third Reich, New York, 1979.

      - Georg Bussman, '"Degenerate Art" - A Look at a Useful Myth', Christos M. Joachimides, Norman Rosenthal, German Art in the 20th Century, Munich, 1985.

      ! - Stephanie Barron (ed.), "Degenerate Art": The Fate of the Avant-Garde in Nazi Germany, Los Angeles, 1991, pp.9-23.

      - Peter Adam, The Arts of the Third Reich, London, 1992.

      ! - Dawn Ades et al. (ed.), Art and Power: Europe under the Dictators 1930-45, London, 1995, pp. 258-339.

      'The Great German Art Exhibition', Munich 1937

      - Berthold Hinz, Art in the Third Reich, New York, 1979.

      - Peter Adam, The Arts of the Third Reich, London, 1992.

      - Dawn Ades et al. (ed.), Art and Power: Europe under the Dictators 1930-45, London, 1995, pp. 258-339.

      1. Museum of Modern Art, New York (1929 -)

      - Alfred H. Barr, Cubism and Abstract Art, exhib.cat. Museum of Modern Art, New York, 1936, 3rd ed., New York, 1986.

      - Alfred H. Barr (ed.), Fantastic Art, Dada, Surrealism, exhib.cat. Museum of Modern Art, New York, 1936, 4th ed., New York, 1968.

        - Alfred H. Barr, Painting and Sculpture in the Museum of Modern Art, 1929-1967, New York, 1977.

        - Eva Cockcroft, `Abstract Expressionism, Weapon of the Cold War', Artforum, vol. 12, no. 10, June 1974, reprinted in Francis Frascina (ed.), Pollock and After: The Critical Debate, London, 1985, pp. 125-133.

        - Christoph Grunenberg, `The Politics of Presentation: The Museum of Modern Art, New York', in Marcia Pointon (ed.), Art Apart, Manchester, 1994, pp.192-211.

        - Sam Hunter (intr.), The Museum of Modern Art, New York: The History and the Collection, New York, 1984, pp.8-41.

        - Carol Duncan, Alan Wallach, `Museum of Modern Art As Late Capitalist Ritual: An Iconographic Analysis', Marxist Perspectives, vol.1, no.4, Winter 1978, pp.28-51.

        ! - S.N. Platt, `Modernism, Formalism, and Politics: the Cubism and Abstract Art Exhibition of 1936 at the Museum of Modern Art', Art Journal, vol. 47, no.4, Winter 1988, pp.284-295.

        - Carol Duncan, `The MoMa's Hot Mamas', Art Journal, summer 1989, pp.171-178.

        Or: Carol Duncan, Civilizing Rituals: Inside Public Art Museums, London, 1995, pp, 102-132.

        ! - Michael Kimmelman, `Revisiting the Revisionists: The Modern, Its Critics, and the Cold War', in John Elderfield (ed.), The Museum of Modern Art at Mid-Century: At Home and Abroad, New York, 1994, pp.38-55.

        - Alan Wallach, `The Museum of Modern Art: The Past's Future', in Francis Frascina, Jonathan Harris (eds.), Art in Modern Culture: An Anthology of Critical Texts, London, 1992, pp.282- 291.

          - Terry Smith, Making the Modern: Industry, Art, and Design in America, Chicago and London, 1993, pp.385-404.

          - Mary Anne Staniszewski, The Power of Display: A History of Exhibition Installations at the Museum of Modern Art, Cambridge, Mass., 1998, pp.61-81.

          ! Kirk Varndedoe, `The Evolving Torpedo: Changing Ideas of the Collection of Painting and Sculpture of The Museum of Modern Art’, in John Elderfield (ed.), The Museum of Modern Art at Mid-Century: Community and Change, New York, 1996, pp.13-73.

          ! - Lynn Zelevansky, ‘Dorothy Miller’s “Americans”, 1942-63’, in John Elderfield (ed.), The Museum of Modern Art at Mid-Century: At Home and Abroad, New York, 1994, pp.57-107.

          1. Reading Week
          2. The `Independent Group' and the `Situation Exhibitions', London

          - Lawrence Alloway, ‘The Development of British Pop’, in Lucy Lippard (ed.), Pop Art, New York, 1966 (rev. 1970), pp.27-66.

          ! - David Robbins (ed.), The Independent Group, Cambridge Mass., 1990.

          - Marco Livingstone, `UK Pop', in Marco Livingstone (ed.), Pop Art, exhib. cat. Royal Academy London, London, 1991, pp.146-211.

          - David Mellor, The Sixties Art Scene in London, London, 1993.

          ! - Anne Massey, The Independent Group: Modernism and Mass Culture in Britain, 1945-59, Manchester, 1995, pp.33-108.

          For comparison of exhibition techniques

          - John Szarkowski, `The Familiy of Man’, in John Elderfield (ed.), .), The Museum of Modern Art at Mid-Century: At Home and Abroad, New York, 1994, pp. 13-37.

          Richard Hamilton

          ! - Richard Morphet, Richard Hamilton, exhib. cat. Tate Gallery, London, 1970, pp.7-55.

          - Richard Hamilton, exhib. cat. Solomon Guggenheim Museum, New York, 1973.

          - Richard Hamilton, Collected Words, 1953-1982, London, 1982.

          - Richard Hamilton: Image and Process, Studies, Stage and Final Proofs from the Graphic Works, 1952-1982, exhib. cat. Tate Gallery, Stuttgart, 1983.

          - Richard Hamilton, exhib. cat. Tate Gallery, London, 1992.

          - Sarat Maharaj, Richard Hamilton, XLV Biennale di Venezia, exhib. cat. British Pavilion, Venice, The British Council, London, 1993.

          THE TRADITION IN QUESTION: FROM OBJECTS TO SITUATIONS

          1. American Pop Art (Andy Warhol’s ‘Campbell Soup Cans’ at Ferus Gallery, Los Angeles, 1962, ‘Clouds’ at Leo Castelli Gallery, New York, 1966, ‘Andy Warhol’ at Whitney Museum of American Art, New York, 1971)

          - Lucy Lippard (ed.), Pop Art, 1966 (rev. 1970).

          - Russell Ferguson (ed.), Hand Painted Pop: American Art in Transition 1955-1962, exhib. cat. Museum of Contemporary Art, Los Angeles, 1983.

          ! - Rosalind Krauss, ‘The Last Moderns’, in Denise Hooker (ed.), Art of the Western World, London, 1989, pp.408-419.

          - Marco Livingstone (ed.), Pop Art, exhib. cat. Royal Academy of Arts London, London, 1991, chapter 1 and 2.

          - David McCarthy, Pop Art, London, 2000.

          Andy Warhol

          - John Coplans, Andy Warhol, New York, 1970.

          - Rainer Crone, Andy Warhol, J.W. Gabriel (trans.), London, 1970.

          - Andy Warhol, From A to B and Back Again: The Philosophy of Andy Warhol, London, 1975.

          - Andy Warhol and Pat Hackett, Popism: The Warhol ‘60s, London, 1981.

          - Robert Hughes, ‘The Rise of Andy Warhol’, in B. Wallis (ed.), Art after Modernism, New York, 1984, pp.45-57.

          - Michael O’Pray, Andy Warhol: Film Factory, London, 1989.

          - Gary Garrels (ed.), The Work of Andy Warhol, Seattle, 1989.

          ! - Benjamin H.D. Buchloh, ‘Andy Warhol’s One-Dimensional Art: 1956-1966’, in Kynaston McShine (ed.), Andy Warhol: A Retrospective, exhib.cat. Museum of Modern Art, New York, 1989, pp. 39-61.

          ! - Thomas Crow, ‘Saturday Disasters: Trace and Reference in Early Warhol’, in Thomas Crow, Modern Art in the Common Culture, New Haven and London, 1996, pp.49-65.

          1. `Primary Structures', The Jewish Museum, New York, 1966

          - Gregory Battcock (ed.), Minimal Art: A Critical Anthology, New York, 1968.

          -, Barbara Haskell (ed.), Blam! The Explosion of Pop,Minimalism and Performance 1958- 1964, exhib. cat. Whitney Museum of American Art, New York, 1984.

          - Rosalind Krauss, `Richard Serra', a translation’, in Rosalind Krauss, The Originality of the Avant-Garde and Other Modernist Myths, Cambridge Mass., 1985, pp.260-274.

          - Kenneth Baker, Minimalism, New York, 1988.

          ! - Rosalind Krauss, ‘The Last Moderns’, in Denise Hooker (ed.), Art of the Western World, London, 1989, pp.420-423.

          ! - Anna C. Chave, `Minimalism and the Rhetoric of Power', Arts Magazine, vol.64, no.5, January, 1990, reprinted in Francis Frascina, Jonathan Harris (eds.), Art in Modern Culture: An Anthology of Critical Texts, London, 1992, pp.264-281.

          - David Batchelor, Minimalism, London, 1997.

          Robert Morris

          - Michael Compton, David Sylvester, Robert Morris, exhib. cat. Tate Gallery, London, 1971.

          - Rosalind Krauss, Passages in Modern Sculpture, New York, 1977, pp.201-288.

          [] - Maurice Berger, Labyrinths: Robert Morris, Minimalism, and the 1960s, New York, 1989.

          - Robert Morris, Continuous Project Altered Daily: The Writings of Robert Morris, Cambridge Mass. 1993.

          ! - Rosalind Krauss, ‘The Mind/Body Problem: Robert Morris in Series’, and Maurice Berger, Wayward Landscapes’, in Robert Morris: The Mind/Body Problem, exhib. cat. Solomon R. Guggenheim Museum, New York, 1994, pp.2-17, pp.18-33.

          - Catherine Grenier, `Robert Morris and Melancholy: The Dark Side of the Work’, in Robert Morris, exhib. cat. Centre Georges Pompidou, Paris, 1995.

          1. Institutional Critique (1966-)

          - Benjamin Buchloh, ‘Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions”, (1990), in Rosalind Krauss et. al. (eds.), October: The Second Decade, 1986-1996, Cambridge/Mass., 1997, pp.117-155.

          - Reesa Greenberg, “The Exhibited Redistributed”, in Reesa Greenberg, Bruce W. Ferguson, Sandy Nairne (eds.), Thinking about Exhibitions, London, 1996, pp.349-367.

          - Sandy Nairne, “The Institutionalization of Dissent”, in Reesa Greenberg, Bruce W. Ferguson, Sandy Nairne (eds.), Thinking about Exhibitions, London, 1996, pp.387-410.

          ! - Brian O’Doherty, “The Gallery as Gesture”, in Inside the White Cube: The Ideology of the Gallery Space, new ed., Berkeley, 1999, pp.87-113.

          - Christoph Grunenberg, “The Modern Art Museum”, in Emma Barker (ed.), Contemporary Cultures of Display, London, 1999, pp. 26-49.

          Michael Asher

          ! - Anne Rorimer, ‘Michael Asher: Recent Work’, Artforum, vol.18, April 1980, pp.46-50.

          [] - Michael Asher, Writings 1973-1983 on Works 1969-1979, Benjamin Buchloh (ed.), Halifax, 1983.

          ! - Thomas Crow, ‘Site-Specific Art: The Strong and the Weak’, in Thomas Crow, Modern Art in the Common Culture, New Haven and London, 1996, pp.131-150.

          [] - ‘Michael Asher’, exhib. cat. Kunsthalle Bern, Bern, 1996.

          Christo

          - Werner Spies, Christo: Surrounded Islands, Amsterdam, 1984.

          - Marina Vaizey, Christo, London, 1990.

          ! - Jacob Baal-Teshuva, Christo and Jeanne-Claude, Cologne, 1995.

          - Christo and Jeanne-Claude Projects: Selected from the Lilja Collection, 2nd ed., London, 1996.

            - Christo and Jeanne-Claude, Wrapped Reichstag, Cologne, 1996.

            - The Gates: Project for Central Park, New York City: A Work in Progress, Milan, 1998

            - Over the River: Project For the Arkansas River, State of Colorado: A Work in Progress, Milan, 1998

            CONTEMPORARY ARTISTS/MUSEUMS

            For the following session you might also want to check the Art Index (on CD-Rom in the Library) for journal articles on various artists as well as exhibition catalogues and the excellent Phaidon monographs on contemporary artists (available in the library on: Stan Douglas, Jimmie Durham, Richard Deacon, Mona Hatoum, Jenny Holzer, Ilya Kabakov, Mike Kelley, Thomas Schütte, Jeff Wall, Gillian Wearing, Rachel Whiteread. On order: Christian Boltanski, Mark Dion, Marlene Dumas, Antony Gormley, Paul Graham, Mary Kelly, Paul McCarthy, Nancy Spero, Jessica Stockholder, Luc Tuymans, Lawrence Weiner, Cildo Mireilles).

            1. Contemporary Artists

            - Sarah Kent, Shark Infested Waters: The Saatchi Collection of British Art in the 90s, London, 1994.

            - Norman Rosenthal, et. al., Sensation: Young British Artists from the Saatchi Collection, exhib. cat. Royal Academy of London, London, 1997.

            - Tony Godfrey, Conceptual Art, London, 1998, pp. 379-424.

            - Duncan McCorquodale, et.al., Occupational Hazard: Critical Writing on Recent British Art, London, 1998.

            - Julian Stallabrass, High Art Lite, London, 1999.

            1. The Museum of the Future?

            ! - Rosalind Krauss, ‘The Cultural Logic of the Late Capitalist Museum’, in R. Krauss et al., October: The Second Decade, 1986-1996, Cambridge/Mass., 1997, pp.427-441.

            ! - John Elderfield (ed.), Imagining the Future of the Museum of Modern Art, New York, 1998, pp.11-26, pp.69-73, pp.267-282.

            - Victoria Newhouse, Towards a New Museum, New York, 1998.

            - Brandon Taylor, Art for the Nation, Manchester, 1999, p.237-241.

            - Emma Barker (ed.), Contemporary Cultures of Display, London (The Open University and Yale University Press), 1999.

            - Gerhard Mack, Art Museums Into the 21st Century, Basel, 1999.

            ! - Iwona Blazwick et al., Tate Modern: The Handbook, London, 2000.

            C.Klonk/November 2003