1.0 [THE CRITICAL FUNCTION OF ART]

Adams, Hazard and Leroy Searle ed. (1986). Critical Theory Since 1965. Tallahassee: Florida State University Press.

Adorno, Theodor (2002/1970). Aesthetic Theory. Trans. Robert Hullot-Kentor. London: Continuum.

Adorno, Theodor W. and Max Horkheimer (2002/1947). Dialectic of Enlightenment. Stanford: Stanford University Press.

Appignanesi, Lisa ed. (1989). Postmodernism. ICA Documents 4. London: Free Association Books.

Ball, Hugo (1996/1927). Flight Out of Time: A Dada Diary. Los Angeles and London: University of California Press.

Batchelor, David (1992). Under The Canary. Frieze, Issue 5, June-August 1992.

Batchelor, David (1995). Unpopular Culture. Frieze, Issue 20, January-February 1995.

Boltanski, Luc and Eve Chiapello (2005/1999). The New Spirit of Capitalism. London: Verso.

Bolton, Richard (1998). Enlightened Self-Interest: The Avant-Garde in the ‘80’s. Art, activism, and oppositionality: essays from Afterimage, Grant H. Kester ed. Durham and London: Duke University Press, pp. 23-47.

Buchloh, Benjamin (1984). Theorizing the Avant-Garde. Art in America, Vol. 72, No. 10, Nov 1984, pp. 19-21.

Buchloh, Benjamin (2000). Neo-Avantgarde and Culture Industry Essays on European and American Art from 1955 to 1975. Cambridge, Mass.: MIT Press.

Buchloh, Benjamin (2004). The Social History of Art: Models and Concepts. In Art Since 1900: Modernism, Antimodernism, Postmodernism, Hal Foster, Rosalind Krauss, Yve-Alain Bois, Benjamin Buchloh ed. London: Thames and Hudson, pp. 22-31.

Bürger, Peter (2007/1974). Theory of the Avant-Garde. Minneapolis: University of Minnesota Press.

Danto, Arthur (1986). The End of Art. In The Philosophical Disenfranchisement of Art. New York: Columbia University Press, pp. 81-116.

Danto, Arthur (1992). Learning to Live with Pluralism. In Beyond the Brillo Box. New York: Farrar, Straus & Giroux.

Danto, Arthur (1998). After the End of Art: Contemporary art and the pale of history. Jersey: Princeton University Press.

Duchamp, Marcel (1959/1957). The Creative Act. In Robert Lebel, Marcel Duchamp. New York: Paragraphic Books, pp. 77-78. Republished in The New Art, Gregory Battock ed. New York: Dutton (1966), pp. 23-26. AUDIO

Duve, Thierry de (1994). When Form Has Become Attitude – And Beyond. In Theory in Contemporary Art Since 1985. Malden, MA: Blackwell, pp. 19-31.

Foster, Hal ed. (1983). Anti-Aesthetic: Essays on Postmodern Culture. Seattle: Bay Press.

Foster, Hal (1996). Who’s Afraid of the Neo-Avant-Garde? In Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press.

Foucault, Michel (1977). Intellectuals and Power. In Language, Counter-Memory, Practice, ed. Donald F. Bouchard. Ithaca: Cornell University Press, pp. 205-217.

Foucault, Michel (2007/1979). What is Critique? In The Politics of Truth, intro John Rajchman, Sylvere Lotringer ed. Los Angeles: Semiotext(e), pp. 41-81.

Goldfarb, Doron and Max Arends et al (2014). Collectivizing the Barr Model. Leonardo Vol. 47, Nr. 3, 2014, p. 270.

Goodeve, Thyrza Nichols (1997). Interview with Barbara Kruger. Art in America – The Art of Public Address, Nov 1997, pp. 92-99.

Greenberg, Clement (1986). Modernist Painting. In Collected Essays and Criticism Vol. 4, Modernism with a Vengeance, 1957-1969. Chicago: University of Chicago Press, p. 85-93.

Greenberg, Clement (2002/1939). Avant-Garde and Kitsch. In Art in theory 1900-2000: an anthology of changing ideas, Charles Harrison, Paul Wood and Jason Gaiger eds. Oxford: Blackwell, pp. 539-549.

Groys, Boris (2012). Under the Gaze of Theory. E-flux Journal #35, May 2012.

Habermas, Jurgen (1983/1980). Modernity—An Incomplete Project. In The Anti-Aesthetic: Essays on Postmodern Culture, Hal Foster ed. Seattle: Bay Press, pp. 3-15.

Hardt, Michael and Toni Negri (2000). Empire. Cambridge, Mass.: Harvard University Press.

Harrison, Charles, Paul Wood and Jason Gaiger eds. (2002). Art in Theory 1900-2000: An anthology of changing ideas. Oxford: Blackwell.

Jameson, Fredric (1991). Postmodernism or, the cultural logic of late capitalism. Durham, NC: Duke University Press.

Jay, Martin (1996). The Dialectical Imagination: A History of the Frankfurt School and the Institute of Social Research 1923-1950. Berkeley: University of California Press.

Jeffries, Stuart (2016). Grand Hotel Abyss: The Lives of the Frankfurt School. London: Verso.

Kahneman, Daniel (2011). Thinking, Fast and Slow. New York: Farrar, Straus & Giroux.

Leger, Marc James (2014). The Idea of the Avant Garde – And What It Means Today. Manchester University Press.

Lippard, Lucy ed. (1997). Six Years: the dematerialization of the art object from 1966 to 1972. London: University of California Press.

Lyotard, Jean-Francois (1984/1979). The postmodern condition. Manchester: Manchester University Press.

Malevich, Kazimir (1972/1927). Suprematism. In Artists on Art. London: Pantheon, p. 453.

Manifesto Club (2006). Championing Artistic Autonomy. In Artquest 5 Years. London: Artquest, p.3.

Max Horkheimer (1982). Critical Theory. New York: Seabury Press.

Mouffe, Chantal (2007). Artistic Activism and Agonistic Spaces. Art & Research, Volume 1, No. 2, Summer 2007.

Noble, Richard (2000). Accessibility for All, Freedom for the Few. In Art for All? Their Policies and our Culture, Mary Warnock and Wallinger, Mark eds. London: Peer, pp. 76-77.

Osborne, Peter (2013). Anywhere Or Not At All: Philosophy of Contemporary Art. London: Verso.

Piper, Adrian (1996/1980). Some Thoughts on the Political Character of This Situation. In Out of Order, Out Of Sight Volume II: Selected Writings in Art Criticism. Cambridge, Mass.: MIT Press, pp. 43-44.

Ranciere, Jacques (2009). Problems and Transformations of Critical Art. In Aesthetics and Its Discontents. Cambridge: Polity Press, pp. 45-60.

 Richter, Hans (1997). Dada: Art and Anti-art. London: Thames and Hudson. New York: McGraw Hill. New York, Oxford University Press (1978).

Rogers, Henry (2000). Introduction. In Making a Scene, edited by Henry Rogers and David Burrows. Birmingham: Article Press.

Smith, Chris (2000). A Vision for the Arts. In Art for All? Their Policies and our Culture, Mary Warnock and Mark Wallinger ed. London: Peer, pp. 172-173.

Stallabrass, Julian (1997). Money, Disembodied Art, and the Turing Test for Aesthetics. In Ground control: technology and utopia, Susan Buck-Morris, Julian Stallabrass ed. London: Black Dog, pp. 62-111.

Stallabrass, Julian (2001). High Art Lite: British Art in the 1990s. London: Verso.

Steinberg, Leo (1975). Other Criteria. In Other Criteria: confrontations with twentieth century art. London, New York: Oxford University Press, pp. 55-91.

Stiles, Kristine and Peter Howard Selz (1996). Theories and Documents of Contemporary Art: a sourcebook of artists’ writings. Berkeley: University of California Press.

Wallinger, Mark (2000). Fool Britannia: Not New, Not Clever, Not Funny. In Art for All? Their Policies and our Culture. Mary Warnock and Mark Wallinger eds. London: Peer, pp.132-134. Extract published in The Guardian, 12 December 2000.

Wallis, Brian (1984). Art After Modernism: Rethinking Representation. New York: New Museum & Boston: David R. Godine.

Wang, Dan S. (2003). Practice in critical times. A conversation with Gregory Sholette Stephanie Smith, Temporary Services & Jacqueline Terrassa. CAA Art Journal, Vol. 62, No. 2, Summer 2003, pp. 68-81.

Warner, Michael (2002). Publics and Counterpublics. New York: Zone Books.

2.1 [THE POLITICS OF ART]

Adorno, Theodor (1978/1962). Commitment. Performing Arts Journal, Vol. 3, No. 2, Autumn 1978, pp. 3-11 (extract pp. 5-7).

Adorno, Theodor (2002/1970). Aesthetic Theory. Trans. Robert Hullot-Kentor. London: Continuum.

Adorno, Theodor, Walter Benjamin, Ernst Bloch, Bertolt Brecht and Georg Lukacs (2007/1977). Aesthetics and Politics. Afterword by Fredric Jameson. London: Verso.

Batchelor, David (1989). A Small Kind of Order: Donald Judd interview. Artscribe International #78, Nov-Dec 1989.

Batchelor, David (1995). Unpopular Culture. Frieze Issue 20, Jan/Feb 1995.

Benjamin, Walter (1969/1934). The Author as Producer. In Reflections. New York: Schocken, pp. 220-238.

Benjamin, Walter (1969/1935). The Work of Art in the Age of Mechanical Reproduction, trans. Harry Zohn. In Illuminations. New York: Schocken, pp. 217-251.

Benjamin, Walter (2003). On the Concept of History, trans. Harry Zohn. In Walter Benjamin: Selected Writings, Vol. 4, 1938–1940. Cambridge, Mass.: Harvard University Press, pp. 389-400.

Berry, Josephine (2019). Between Kitchen Semiotics and the Privatised Public: How is the Personal Political in Art Today? Private Life symposium. Edinburgh University (Jun 2019).

Bickers, Patricia (2002). Oh Politics Schmolitics! Art in the Postmodern Age. Third Text, Vol. 16, Issue 4, pp. 335-343.

Bradley, Will and Charles Esche ed. (2007). Art and social change: a critical reader. New York: Tate Publishing.

Bryan-Wilson, Julia (2009). Art Workers: Radical Practice in the Vietnam War Era. Berkeley: University of California Press.

Buchloh, Benjamin (1982). Allegorical Procedures: Appropriation and Montage in Contemporary Art. Artforum 21, no. 1, Sep 1982, pp. 43–56.

Buchloh, Benjamin (1990). Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions. October 55, Winter 1990, pp. 105-143.

Buck-Morss, Susan (2003). A Global Counter-Culture? In Thinking Past Terror. New York: Verso, pp. 63-74.

Bürger, Peter (2007/1974). Theory of the Avant-Garde. Minneapolis: University of Minnesota Press.

Cassou, Jean ed. (1970). Art and confrontation: France and the arts in an age of change trans Nigel Fomell. London: Studio Vista.

Durkheim, Emile (1997/1893). The Division of Labor in Society. New York: Free Press.

Frascina, Francis (1999). Art, Politics and Dissent: Aspects of the Art Left in Sixties America. Manchester: Manchester University Press.

Fraser, Andrea (2005). From the Critique of Institutions to an Institution of Critique. Artforum 44/1, Sep 2005, pp. 278–283.

Graham, Dan (1999/1969). Art Workers’ Coalition Open Hearing Presentation. In Conceptual Art: A Critical Anthology, ed. Alexander Alberro and Blake Stimson. Cambridge: MIT Press, pp. 92-94.

Groys, Boris (2009). Politics of Installation. E-flux Journal #2 01/2009.

Jouffroy, Alain (1970). What’s to be done about art? In Art and confrontation: France and the arts in an age of change. Edited by Jean Cassou, trans Nigel Fomell. London: Studio Vista, pp. 175-201.

Judd, Donald (1975). Specific Objects. In Complete writings 1959-1975. New York: New York University Press, pp. 181-189.

Kant, Immanuel (2007/1790). The Critique of Judgement. New York: Oxford University Press, §44.

Kuoni, Carin ed. (1990). Energy Plan for the Western Man: Joseph Beuys in America. New York: Four Walls Eight Windows.

Marcuse, Herbert (2009/1937). The Affirmative Character of Culture. In Negations: Essays in Critical Theory. Boston: Deacon Press, pp. 65-98.

Mouffe, Chantal (2001). Every Form of Art Has a Political Dimension. Chantal Mouffe interviewed by Rosalyn Deutsche, Branden W. Joseph and Thomas Keenan. Grey Room 02, Winter 2001, pp. 98-125.

Mouffe, Chantal (2005). On the Political. London, Routledge.

Mouffe, Chantal (2007). Artistic Activism and Agonistic Spaces. Art & Research, Volume 1, No. 2, Summer 2007.

Mouffe, Chantal (2008). Art and Democracy: Art as an Agonistic Intervention in Public Space. Open 14: Art as a Public Issue: How Art and Its Institutions Reinvent the Public Dimension, Liesbeth Melis and Jorinde Seijdel eds. Rotterdam: NAi Publishers, Amsterdam: SKOR, pp. 6-15.

Noble, Richard (2004). Imagining the Political: Some Provisional Thoughts on Art and Politics. In The Showroom Annual 2003/04. London: Showroom Gallery, pp. 50–56.

O’Hagan, Sean (2008). McQueen and Country. The Observer, 12 Oct 2008.

Owens, Craig (1992). Beyond Recognition: Representation, Power, and Culture. Berkeley; Oxford: University of California Press.

Prince, Mark (2009). Art and Politics. Art Monthly No. 330, Oct 2009, pp. 5-8.

Ranciere, Jacques (2004). The Politics of Aesthetics: The Distribution of the Sensible. London and New York: Continuum.

Ranciere, Jacques (2009). Aesthetics as Politics. In Aesthetics and Its Discontents. Cambridge: Polity, pp. 19-44.

Rosler, Martha (1996). Lookers, Buyers, Dealers and Makers: Thoughts on Audience. In Art After Modernism. New York: New Museum, pp. 331-339.

Sholette, Gregory (2011). Dark Matter: Art and Politics in the Age of Enterprise Culture. London: Pluto Press.

Stakemeier, Kerstin and Marina Vishmidt (2016). Reproducing Autonomy: Work, Money, Crisis and Contemporary Art. London: Mute Books.

Steyerl, Hito (2010). Politics of Art: Contemporary Art and the Transition to Post-Democracy. New York: e-flux.

2.2 [POLITICS & THE INSTITUTION OF ART]

Alberro, Alexander and Blake Stimson eds. (2009). Institutional Critique: An Anthology of Artists’ Writings. Cambridge, MA: MIT Press.

Althusser, Louis (1971). Ideology and Ideological State Apparatuses. In Lenin and Philosophy. New York: Monthly Review Press, pp. 85-126.

Beech, Dave (2006). Institutionalisation for all. Art Monthly No. 294, March 2006, pp. 7-10.

Bennett, Tony (1995). The Birth of the Museum: History, Theory, Politics. London; New York: Routledge.

Bourdieu, Pierre (1993). The Field of Cultural Production. New York: Columbia University Press.

Bourdieu, Pierre (1996). Rules of Art: Genesis and Structure of the Literary Field. Translated by Susan Emanuel. Cambridge: Polity Press, extract pp. 227-231.

Bourdieu, Pierre and Haacke, Hans (2005). Free Exchange. Cambridge Polity Press.

Buchloh, Benjamin (1988). Hans Haacke: Memory and Instrumental Reason. Art in America No. 2, pp. 203-242.

Buchloh, Benjamin (1987/1983). Michael Asher and the Conclusion of Modernist Sculpture. In Neo-Avantgarde and Culture Industry Essays on European and American Art from 1955 to 1975. Cambridge, Mass.: MIT Press, pp. 1-39.

Buren, Daniel (1973). Function of the Museum. Artforum, vol. XII, no. 1, September 1973, p. 68.

Buren, Daniel (1996/1969). Beware! In Theories and documents of contemporary art: a sourcebook of artists’ writings, Kristine Stiles and Peter Selz ed. Berkeley, Los Angeles, London: University of California Press, pp. 140-149.

Charlesworth, JJ (2008). Not about institutions, but why we are so unsure of them. Nought to Sixty, ICA London.

Crimp, Douglas (1993). On the Museums Ruins. October 13, June 1980. Cambridge, Mass.: MIT Press.

Danto, Arthur (1964). The Artworld. Journal of Philosophy, Vol. 61, No. 19, American Philosophical Association Eastern Division Sixty-First Annual Meeting, Oct.15, 1964, pp. 571-584.

Danto, Arthur (1998). Hans Haacke and the industry of art. In The wake of art: criticism, philosophy, and the ends of taste, Gregg Horowitz and Tom Huhn ed. London: Routledge, pp. 129-137.

Deutsche, Rosalyn (1986). Property Values: Hans Haacke, Real Estate, and the Museum. In Hans Haacke: Unfinished Business. Wallis, Brian ed. New York: New Museum of Contemporary Art; Cambridge, Mass: MIT Press. Exhibition catalogue, pp. 20-37.

Dickie, George (1974). What Is Art? In Art and the aesthetic: an institutional analysis. Ithaca, London: Cornell University Press.

Diederichsen, Diedrich (2008). On (surplus) Value in Art. Reflections 01. Berlin, Rotterdam: Sternberg Press and Witte de With.

Duncan, Carol (1995). Civilizing Rituals: Inside public art museums. London; New York: Routledge.

Eagleton, Terry (1990). The Ideology of the Aesthetic. Oxford: Blackwell.

English, Travis (2007). Hans Haacke, or the Museum as Degenerate Utopia. Kritikos, Volume 4, March 2007.

Germer, Stefan (1988). Haacke, Broodthaers, Beuys. October, Vol. 45, Summer 1988, MIT Press, pp. 63-75.

Graw, Isabelle (2006). Beyond Institutional Critique. In Institutional Critique and After (Soccas Symposia Vol. 2). Zurich: JRP/Ringier, pp. 137-149.

Groys, Boris (2002). On the New. Artnodes e-journal No. 2, 2002.

Haacke, Hans (1975). Framing and Being Framed. Halifax: The Press of the Nova Scotia College of Art and Design.

Haacke, Hans (2006). All the Art That’s Fit to Show. In Institutional Critique and After. Zurich: JRP/Ringier, pp. 52-55.

Haacke, Hans (2009). Lessons Learned. Tate Papers, Landmark Exhibitions Issue 12 (Autumn 2009).

Jameson, Fredric (1986). Hans Haacke and the Cultural Logic of Postmodernism. In Hans Haacke: Unfinished Business. Wallis, Brian ed. New York: New Museum of Contemporary Art; Cambridge, Mass: MIT Press, p. 40.

Kwon, Miwon (1997). One Place after Another: Notes on Site Specificity. October, Vol. 80, Spring 1997, pp. 85-110.

McShine, Kynaston (1999). Museum as Muse: artists reflect. New York: Museum of Modern Art; London: Thames & Hudson.

Nochlin, Linda (1971). Why Have There Been No Great Women Artists? ARTnews No. 69 (Jan 1971), pp. 22-39, 67-71. Republished in Woman in Sexist Society: Studies in Power and Powerlessness (1971), Vivian Gornic and Barbara Moran eds. New York: Basic Books, pp. 480-510.

O’Doherty, Brian (1999/1976). Context as Content. In Inside the White Cube: The Ideology of the Gallery Space. California: University of California Press, pp. 65-86. Originally published in Artforum, November 1976, pp. 38-44.

Piper, Adrian (1981). Ideology, confrontation and political self awareness. In Theories and documents of contemporary art: a sourcebook of artists’ writings, Kristine Stiles and Peter Selz ed. Berkeley, Los Angeles, London: University of California Press, pp. 787-791.

Praxis (2004). Andrea Fraser. Brooklyn Rail, Oct 2004.

Rockefeller, David (2002). Memoirs. New York: Random House.

Searle, John (2006/2005). What is an Institution? In Institutional Critique and After. Zurich: JRP/Ringier, pp. 21-51.

Steyerl, Hito (2009). The Institution of Critique. In Art and Contemporary Critical Practice: Reinventing Institutional Critique. London: MayFly Books, pp. 13-19.

Steyerl, Hito (2009). Is a Museum a Factory? E-flux Journal 7, Jun-Aug 2009, Economy Labour Value.

Welchman, John C. ed. (2006). Institutional Critique and After. Southern California Consortium of Art Schools Symposia Vol. 2. Zurich: JRP/Ringier.

3.0 [SPECTACLE AND THE EVERYDAY]

Auge, Marc (1995). Non-places: Introduction to an Anthropology of Supermodernity. London & New York: Verso.

Banes, Sally (1994). Greenwich Village 1963: Avant-garde Performance and the Effervescent Body Writing Dancing in the Age of Postmodernism. Durham: Duke University Press, pp. 113-125. Also in Journal of American Studies, No. 28, 1994, pp. 462-463.

Baudelaire, Charles (2001/1964). The Painter of Modern Life. In The Painter of Modern Life and Other Essays, trans. Jonathan Mayne ed. London: Phaidon Press, pp. 1-41.

Bhattacharya, Tithi ed. (2017). Social Reproduction Theory: Remapping Class, Recentering Oppression. London: Pluto Press.

Buchloh, Benjamin and Judith Rodenbeck (1999). Experiments in the Everyday: Allan Kaprow and Robert Watts, events, objects, documents. New York: Columbia University / Wallach Art Gallery.

Certeau, Michel de (1984). The Practice of Everyday Life. Berkeley: University of California Press.

Crawford, Margaret (1999). Blurring the Boundaries: Public Space and Private Life. In Everyday Urbanism, John Chase, Margaret Crawford and John Kaliski ed. New York: Monacelli Press, pp. 22-35.

Crow, Thomas (1983). Modernism and Mass Culture in the Visual Arts. In Modernism and Modernity, ed. Benjamin Buchloh et al. Cambridge, Mass.: MIT Press, pp. 215-264.

Debord, Guy (1967). The Society of the Spectacle. New York: Zone Books.

Debord, Guy (1956). Theory of the Dérive. Translated by Ken Knabb. Situationist International Online.

Foucault, Michel (1986). Of Other Spaces. Trans. Jay Miskowiec Diacritics 16, Spring, pp. 22-27.

Fried, Michael (1995). Art and Objecthood. In Minimal Art, Gregory Battock ed. Originally published 1966. London: University of California Press, pp. 116-147.

Goffman, Erving (1990/1959). The Presentation of Self in Everyday Life. London: Penguin.

Groys, Boris (2009). Comrades of Time. e-flux journal #11 (Dec 2009).

Highmore, Ben (2000). Critiques of Everyday Life. London: Routledge.

Highmore, Ben (2002). Everyday Life and Cultural Theory, an Introduction. London: Routledge.

Home, Stewart (1988). The Assault on Culture: Utopian Currents from Lettrisme to Class War. Edinburgh: AK Press.

Huelsenbeck, Richard (2002/1920). First German Dada Manifesto. In Art in theory 1900-2000: an anthology of changing ideas, Charles Harrison, Paul Wood and Jason Gaiger ed. Oxford: Blackwell, pp. 253-255.

Jameson, Fredric (1983). Postmodernism and Consumer Society. In The Anti-Aesthetic: Essays on Postmodern Culture. Seattle: Bay Press, pp. 111-125.

Johnstone, Stephen ed. (2008). The Everyday: Documents of Contemporary Art. London: Whitechapel & MIT Press.

Kaprow, Allan (1993/1966). Manifesto. In Essays on the Blurring of Art and Life. Berkeley: University of California Press.

Kosuth, Joseph (1991). Artist as Anthropologist. In Art After Philosophy and After: Selected Writings 1966-1990. Cambridge, Mass: MIT Press.

Kern, Stephen (1983). The Culture of Time and Space. Harvard University Press.

Lefebvre, Henri (1984). Everyday Life in the Modern World. Brunswick: Transaction.

Lefebvre, Henri (1991). Critique of Everyday Life. New York: Verso.

Lefebvre, Henri (1991). The Production of Space. Oxford: Blackwell.

Levi-Strauss, Claude (1962). The Savage Mind. Chicago: University of Chicago Press.

LeWitt, Sol (1999/1967). Paragraphs on Conceptual Art. In Conceptual Art: A Critical Anthology, Alexander Alberro and Blake Stimson ed. Cambridge: MIT Press, pp. 12-16. Originally published in Artforum, Vol. 5, No. 10, Summer 1967, pp. 79–84.

Lichtenstein, Claude and Thomas Schregenberger (2001). As Found: The Discovery of the Ordinary British Architecture and Art of the 1950s. Baden: Lars Muller Publishers.

Lowry, Joanna (1997). Photography, Video and the Everyday. Creative Camera, Issue 347, Aug-Sep 1997.

Marcus, Greil (2001/1989). Lipstick Traces: A Secret History of the Twentieth Century. London: Faber and Faber.

Marx, Karl (1976). Fetishism of the Commodity and its Secret. In Capital: A critique of Political Economy, Vol. 1. Harmondsworth: Penguin Books and New Left Review, pp. 163-177.

McLeod, Mary (1997). Henri Lefebvre’s Critique of Everyday Life: An Introduction. In Architecture of the Everyday, Steven Harris and Deborah Burke eds. New York: Princeton Architectural Press, pp. 9-19.

Merleau-Ponty, Maurice (1968). The Visible and the Invisible. Evanston: Northwestern University Press.

Morris, Robert (1995/1966). Notes on Sculpture. In Minimal Art, Gregory Battock ed. London: University of California Press, pp. 222-235.

Oldenburg, Claes (1961). I am for an Art. In Art in theory 1900-2000: an anthology of changing ideas, Charles Harrison, Paul Wood and Jason Gaiger Eds. Oxford: Blackwell, pp. 727-730.

Papastergiadis, Nikos (1998). Everything that Surrounds: Art, Politics and Theories of the Everyday. In 11th Biennale of Sydney, Jo Sparkes and Jonathan Watkins ed. Sydney: Biennale of Sydney.

Papastergiadis, Nikos (2010). Spatial Aesthetics: Art, Place and the Everyday. Amsterdam: Institute of Network Cultures.

Perec, Georges (1997). Approaches to What? In Species of Spaces and Other Pieces, edited and translated by John Sturrock. London: Penguin Books, pp. 207-249. Also In Cause and Commune and L’Infra-ordinaire.

Plant, Sadie (1992). The most radical gesture: the Situationist International in a postmodern age. London: Routledge.

Roberts, John (1998). The Art of Interruption: Realism, Photography and the Everyday. Manchester, New York: Manchester University Press.

Roberts, John (1999). Philosophizing the everyday: The philosophy of praxis and the fate of cultural studies. Radical Philosophy 98 (Nov/Dec 1999), pp. 16-29.

Roberts, John (2006). Philosophizing the Everyday: Revolutionary praxis and the fate of cultural theory. London: Pluto Press.

Thompson, Nato and Gregory Sholette (2004). The Interventionists: Users Manual for the Creative Disruption of Everyday Life. Mass MoCA & MIT Press.

Watkins, Jonathan (1998). Introduction: Everyday. In 11th Biennale of Sydney, Jo Sparkes and Jonathan Watkins ed. Sydney: Biennale of Sydney.

Watkins, Jonathan (2000). The Continuity of Realism and the Everyday. In Quotidiana: The Continuity of the Everyday in 20th Century Art. Exhibition catalogue Castello di Rivoli. Milan: Charta.

Yoshihara, Jiro (2002/1958). Gutai Manifesto. In Art in Theory 1900-2000: an anthology of changing ideas, Charles Harrison, Paul Wood and Jason Gaiger ed. Oxford: Blackwell, pp. 698-701.

4.0 [THE ABJECT, IDENTITY & PROCESS]

Apter, Emily S. (1991). Unmasking the Masquerade: Fetishism and Femininity from the Goncourt Brothers to Joan Riviere. In Feminizing the Fetish. Ithaca: Cornell University Press.

 Arya, Rina (2014). Abjection and Representation: An Exploration of Abjection in the Visual Arts, Film and Literature. London: Palgrave Macmillan.

Austin, John (1976). How to do things with words. Oxford: Oxford University Press, pp. 6-7.

Avgikos, Jan (1997). Carolee Schneemann/ New Museum. Artforum, March 1997, p. 94.

Bataille, Georges (1983/1955). Manet. London: Albert Skira (Rizzoli), p.78.

Bataille, Georges (1991). The Accursed share: an essay on general economy Vol.1. & Vol.2. New York: Zone.

Bataille, Georges (1993/1934). Abjection and Miserable Forms. In More & Less #2. Cambridge: Semiotext(e), p. 9.

Bataille, Georges (1994/1985). Visions of Excess: Selected Writings 1927-39. Minneapolis: University of Minnesota.

Bataille, Georges, Robert Lebel and Isabelle Waldberg ed. (1995). Encyclopaedia Acephalica: Comprising the Critical Dictionary and Related Texts. London: Atlas Press.

Baudrillard, Jean (1983). The Ecstasy of Communication. In Foster, Hal, The Anti-Aesthetic: Essays on Postmodern Culture. Seattle: Bay Press, pp. 126-133.

Ben-Levi, Jack et al. (1993). Abject Art: Repulsion and desire in American art. New York: Whitney Museum of American Art.

Benthien, Claudia (2002). Skin: on the cultural border between self and the world. New York, Chichester: Columbia University Press.

Bersani, Leo (1990). The culture of redemption. Cambridge: Harvard University Press

Betterton, Rosemary (1996). An Intimate Distance: Women, Artists, and the body. London: Routlege, pp. 138-145.

Bois, Yves-Alain (1997). Use Value of “Formless.” In Bois, Yves-Alain and Rosalind Krauss eds. Formless: A User’s Guide. New York: Zone Books, pp. 13-40.

Bois, Yves-Alain and Rosalind Krauss eds. (1997). Formless: A User’s Guide. New York: Zone Books.

Burgin, Victor, James Donald and Cora Kaplan ed. (1986). Formations of Fantasy. London and New York: Methuen.

Butler, Judith (1993). Bodies that Matter: On the Discursive Limits of “Sex”. New York: Routledge.

Butler, Judith (1999). Performativity’s Social Magic. In Bourdieu: A critical reader. Oxford: Blackwell, p. 115.

Caillois, Roger (1984). Mimicry and Legendary Psychaesthenia. October 31, 1984. pp. 17-32.

Clark, T. J. (1985). The painting of modern life. London: Thames and Hudson.

Coates, Paul (1988). The double and the other: identity as ideology in post-romantic fiction. London: Macmillan.

Derrida, Jacques (1981). Economimesis. Diacritics 11 No. 2, pp. 20-21.

Doane, Mary Ann (1988). Masquerade Reconsidered: Further Thoughts on the Female Spectator. Discourse 2, Fall/Winter 1988-89, p. 48.

Doane, Mary Ann (2000/1982). Film and Masquerade: Theorizing the Female Spectator. In Film and theory: an anthology, R. Stam and T. Miller ed. Oxford: Blackwell, pp. 495-509. First appeared in Screen, v.23, 3-4, Sept/Oct 1982.

Douglas, Mary (1966). Purity and Danger: An Analysis of the Concepts of Pollution and Taboo. London: Routledge.

Durkheim, Emile (2001/1912). The Elementary Forms of Religious Life. New York: Oxford University Press.

Foster, Hal (1993). Compulsive Beauty. Cambridge, Mass.: MIT Press.

Foster, Hal (1996). The Return of the Real: The Avant-Garde at the End of the Century. Cambridge: MIT Press.

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Freud, Sigmund (1955/1919). The Uncanny. In The Standard Edition XVII (1917-1919), James Strachey ed. London: Hogarth Press, pp. 217-252.

Freud, Sigmund (1957/1914). On Narcissism. An Introduction. In The Standard Edition XIV, James Strachey ed. London: Hogarth Press, pp. 67-104.

Freud, Sigmund (1957/1923). The Ego and the Id. In The Standard Edition XIX. London: Hogarth Press, pp. 1-66.

Heath, Stephen (1986). Joan Riviere and the Masquerade. Formations of Fantasy, Victor Burgin, James Donald and Cora Kaplan ed. New York: Methuen, pp. 45—61.

Hollier, Denis (1998). Against Architecture: The Writings of Georges Bataille. Cambridge, Mass.: MIT Press.

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Kant, Immanuel (2007/1790). The Critique of Judgement. Trans. James Creed Meredith. New York: Oxford University Press.

Kelley, Mike (1999/1997). Shall we Kill Daddy? In Origin and Destination: Alighiero E. Boetti and Douglas Huebler, Anne Egnie ed. Bruxelles: Soci et e des Expositions du Palais des Beaux-Arts de Bruxelles, pp. 158-173.

Kelley, Mike (2003). From the Sublime to the Uncanny: Mike Kelley in Interview with Thomas Mcevilley. In Foul Perfection: Essays and Criticism, John C. Welchman ed. Cambridge, MA and London: MIT Press, pp. 58-68.

Kelley, Mike (2004). Playing with Dead Things: On the Uncanny. In The Uncanny, Mike Kelley ed. Cologne: Walther Konig.

Kelley, Mike (2004). The Uncanny. Cologne: Walther Konig. With essays by Mike Kelley, John C. Welchman, Christoph Grunenberg.

Krauss, Rosalind (1996). “Informe” without Conclusion. October, Vol. 78, Autumn 1996, pp. 89-105.

Krauss, Rosalind (1997). The Destiny of the Informe. In Formless: A user’s guide, Yve-Alain Bois and Rosalind Krauss, ed. New York: Zone.

Krauss, Rosalind (1999). Bachelors. Cambridge, MA: MIT Press, p. 5.

Kristeva, Julia (1982). Powers of Horror: An Essay on Abjection. Trans. Leon S. Roudiez. New York: Columbia University Press.

Lacan, Jacques (1977). Écrits: A Selection. Trans Alan Sheridan. London: Tavistock Publications.

Lacan, Jacques (1988). The Seminars of Jacques Lacan, Book 1, 1953-54. New York: Norton, p. 79.

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Morris, Robert (1968). Anti Form. Artforum 6, April 1968, pp. 33-37.

Morris, Robert (1995/1966). Notes on Sculpture. In Minimal Art: A Critical Anthology, Gregory Battcock. London: University of California Press, pp. 232-233.

Mulvey, Laura (1975). Visual Pleasure and Narrative Cinema. Screen 16.3, Autumn, pp. 6-18.

Nochlin, Linda (1994). The Body in Pieces. London: Thames and Hudson.

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Rodowick, D.N. (2001). Reading the Figural. Durham & London: Duke University Press.

Royle, Nicholas (2003). The Uncanny. Manchester: Manchester University Press.

Sartre, Jean-Paul (1956). Being and Nothingness. New York: Washington Square Press.

Sartre, Jean-Paul (1964). Nausea. New York: New Directions.

Sartre, Jean-Paul (2004). Critique of Dialectical Reason: Theory of practical ensembles. London: Verso.

Scarry, Elaine (1985). The Body in Pain: the Making and Unmaking of the World. Oxford: Oxford University Press.

Sherman, Cindy and Peter Galassi (2003). Cindy Sherman: The Complete Untitled Film Stills. New York: MoMA.

Sussman, Elizabeth ed. (1993). Mike Kelley: Catholic Tastes. New York: Whitney Museum of American Art.

Swenson, Gene (1966). Beneath the Skin: Interview with Paul Thek. Artnews, vol. 65, no. 2, 04/1966.

5.0 [PARTICIPATION & THE GIFT ECONOMY]

Atkins, Robert (2008). Politics, Participation, and Meaning in the Age of Mass Media. In The Art of Participation 1950 to Now, Rudolf Frieling ed. San Francisco: San Francisco Museum of Modern Art and Thames and Hudson, p. 64.

Bakhtin, Mikhail M. (1981). The Dialogic Imagination: four essays, Trans. Caryl Emerson and Michael Holquist, Michael Holquist ed. Austin: University of Texas Press.

Barndt, Deborah ed. (2006). Wild Fire: Art as Activism. Toronto: Sumach Press.

Bataille, Georges (1991). The Accursed share: an essay on general economy, Vol.3. Sovereignty. New York: Zone. Bataille.

Bhabha, Homi (1998). Conversational Art. In Conversations at the Castle: Changing Audiences and Contemporary Art, Mary Jane Jacob, Michael Brenson ed. Cambridge & London: MIT Press, pp. 38-47.

Bhabha, Homi K. (1994). The Location of Culture. London: Routledge.

Billing, Johanna, Maria Lind and Lars Nilsson ed. (2007). Taking the Matter into Common Hands: Contemporary Art and Collaborative Practices. London: Black Dog.

Bishop, Claire (2004). Antagonism and Relational Aesthetics. October 110, Fall 2004, pp. 51-79.

Bishop, Claire (2006). The Social Turn: Collaboration and Its Discontents. Artforum 44, Feb 2006, pp. 178-183.

Bishop, Claire (2006). Viewers as Producers. In Participation. London: Whitechapel, pp. 10-17.

Bishop, Claire ed. (2006). Participation. London: Whitechapel.

Bishop, Claire (2011). Participation and Spectacle: Where Are We Now? Lecture for Creative Time’s Living as Form. Cooper Union, New York (May 2011). VIDEO

Bishop, Claire (2012). Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.

Blundell Jones, Peter (2005). Architecture and Participation. Doina Petrescu, Jeremy Till ed. Abingdon: Spon Press.

Bolt Rasmussen, Mikkel (2009). The Politics of Interventionist Art: The Situationist International, Artist Placement Group and Art Workers’ Coalition. Rethinking Marxism, Vol. 21:1, Jan 2009, pp. 34-49.

Bourriaud, Nicolas (2002/1998). Relational aesthetics. Trans. Simon Pleasance, Fronza Woods, Mathieu Copeland. Dijon: Les presses du reel.

Bourriaud, Nicolas (2005). Postproduction: culture as screenplay, how art reprograms the world. New York: Lukas & Sternberg.

Bourriaud, Nicolas (2009). Altermodern. New York: Tate Publishing.

Bruguera, Tania (2012). Reflexions on Arte Util. In Arte actual. Lecturas para un espectador inquieto. Madrid: CA2M, pp. 194-197.

Burnham, Linda Frye and Steven Durland ed. (1998). The Citizen Artist: 20 Years of Art in the Public Arena. An Anthology from High Performance Magazine 1978-1998. Gardiner, NY: Critical Press.

Cleveland, William (2008). Art and Upheaval: Artists on the World’s Frontlines. Oakland, CA: New Village Press.

Deutsche, Rosalyn (1996). Tilted Arc and the Uses of Democracy. In Evictions: Art and Spatial Politics. Cambridge, MA: The MIT Press, pp. 257-268.

Dezeuze, Anna (2010). The ‘Do-it-yourself’ Artwork: Participation from Fluxus to New Media. Manchester: Manchester University Press.

Doherty, Claire (2004). Contemporary Art: From Studio to Situation. London: Black Dog.

Dunn, Peter and Loraine Leeson (1997). The Aesthetics of Collaboration. Art Journal, Vol. 56, No. 1, Aesthetics and the Body Politic, Spring 1997, pp. 26-37.

Eco, Umberto (1989/1962). The Open Work. Harvard University Press, p. 95.

Enwezor, Okwui (2003). Production of Social Space as Artwork. A Fiction of Authenticity: Contemporary Africa Abroad, Shannon Fitzgerald ed. St. Louis: Museum of Contemporary Art.

Esche, Charles and Will Bradley ed. (2008). Art and Social Change: A Critical Reader. London: Tate Publishing.

Felshin, Nina ed. (1995). But Is It Art? The Spirit of Art as Activism. Seattle, WA: Bay Press.

Finkelpearl, Tom (2000). Dialogues in Public Art. Cambridge, MA: MIT Press.

Fitzgerald, Sandy ed. (2004). An Outburst of Frankness: Community Arts in Ireland: A Reader. Dublin: tasc at New Island.

Foster, Hal (2006/2004). Chat Rooms. In Participation, Claire Bishop ed. London: Whitechapel, pp. 190-195.

Fraser, Andrea (1997). What’s Intangible, Transitory, Mediating, Participatory and Rendered in the Public Sphere? October Vol. 80/Spring 1997. Cambridge: MIT Press, pp. 111-116.

Freire, Paulo (2000). Pedagogy of the Oppressed. New York: Continuum.

Frieling, Rudolf ed. (2008). The Art of Participation: 1950 to Now. San Francisco: San Francisco Museum of Modern Art and Thames & Hudson.

Gell, Alfred (1998). Art and Agency: An Anthropological Theory. Oxford: Clarendon Press.

Gere, Charlie and Michael Corris (2008). Non-relational Aesthetics. Transmission: the Rule of Engagement. London: Artwords Press.

Gillick, Liam (2006). Contingent Factors: A Response to Claire Bishop’s “Antagonism and Relational Aesthetics”. October No. 115, Oct 2006, pp. 95-107.

Gillick, Liam (2009). A Guide to Video Conferencing. In Five or Six. New York: Lukas and Sternberg.

Grindon, Gavin and John Jordan, labofii (2010). A User’s Guide to Demading the Impossible. London: Minor Compositions.

Habermas, Jurgen (1987/1981). The Theory of Communicative Action Vol 2: Liveworld and System: A Critique of Functionalist Reason. Trans. Thomas A. McCarthy. Boston, Mass.: Beacon Press.

Halbwachs, Maurice (1992). On Collective Memory. Trans. Lewis A. Coser. Chicago: University of Chicago Press.

Jackson, Shannon (2011). Social Works: Performing Art, Supporting Publics. New York: Routledge.

Johnson, Ken (2009). Artur Zmijewski. An Artist Turns People Into His Marionettes. New York Times, Nov 29 2009.

Kenning, Dean (2006). The Special Complicity of Relational Aesthetics. In A Future for Modernism? The possibilities of re-inhabiting an abandoned critical position. Conference organised by Manchester Metropolitan University, APT Gallery, Deptford, March 2006, pp. 50-63.

Kenning, Dean (2009). Art Relations and the Presence of Absence. Third Text, Vol. 23, Issue 4, July 2009, pp. 435-446.

Kenning, Dean (2010). The Artist as Artist. Art Monthly 337, June 2010, p. 7.

Kester, Grant (1999). Dialogical Aesthetics: A Critical Framework for Littoral Art. Variant Issue 9, Winter 1999-2000.

Kester, Grant (2004). Conversation pieces: community and communication in modern art. Berkeley: University of California Press.

Kester, Grant (2005). Conversation Pieces: The Role of Dialogue in Socially-Engaged Art. In Theory in Contemporary Art Since 1985, Zoya Kucor and Simon Leung ed. Malden, MA: Blackwell, pp. 76-88.

Kreuger, Anders (2012). Stone as Stone: An Essay about Jimmie Durham. Afterall: A Journal of Art, Context and Enquiry, Issue 30, Summer 2012, pp. 14-27.

Kuzma, Marta and Peter Osborne ed. (2006). ISMS: Recuperating Political Radicality in Contemporary Art. In Constructing the Political in Contemporary Art. Oslo: Office for Contemporary Art Norway.

Kwon, Miwon (2002). One Place After Another: Site-specific Art and Locational Identity. Cambridge, MA and London: MIT Press.

Lacy, Suzanne (1995). Mapping the Terrain: New Genre Public Art. Seattle, WA: Bay Press.

Lacy, Suzanne (2010). Leaving Art: Writings on Performance, Politics and Publics, 1974–2007. Durham, NC: Duke University Press.

Lacy, Suzanne (2010). Spaces Between. Minneapolis: University of Minnesota Press.

Lind, Maria (2007). The Collaborative Turn. In Taking the Matter into Common Hands: On Contemporary Art and Collaborative Practices, Johanna Billing, Maria Lind and Lars Nilsson ed. London: Black Dog, pp. 15-31.

Martin, Stewart (2007). Critique of Relational Aesthetics. Third Text 87, Vol. 21, Issue 4, July 2007, pp. 369–386.

Marx, Karl (1976). Capital: A critique of political economy, Vol 1. Trans. Ben Fowkes. London: Penguin.

Matarasso, Francois (1997). Use or Ornament? The Social Impact of Participation in the Arts. Stroud: Comedia.

Mauss, Marcel (2002/1925). The Gift: The Form and Reason for Exchange in Archaic Societies. London: Routlege.

Miessen, Markus (2010). Symptomatic Values beyond the Romantic. Sarai Reader 08: Fear, pp. 27-30.

Miessen, Markus (2010). The Nightmare of Participation (Crossbench Praxis as a Mode of Criticality). Berlin: Sternberg Press.

Miessen, Markus and Shumon Basar (2006). Did Someone Say Participate? An Atlas of Spatial Practice. Frankfurt: Revolver.

Mouffe, Chantal ed. (1992). Dimensions of Radical Democracy: Pluralism, Citizenship, Community. London: Verso.

Pederson, Amy (2006). Relational aesthetics and Institutional Critique. In Institutional Critique and After. John C Welchman ed. Zurich: JRP/Ringier, pp. 267-278.

Pennings, Mark (2005). Relational Aesthetics and Critical Culture. In Transforming Aesthetics: Proceedings of the Art Association of Australia and New Zealand Conference. Art Gallery of New South Wales, pp. 1-9.

Popper, Frank (1975). Art, Action and Participation. London: Studio Vista.

Ranciere, Jacques (2007). The Emancipated Spectator. Artforum, XLV, No. 7, March 2007, pp. 270-281.

Ranciere, Jacques (2009). The Emancipated Spectator, trans. Gregory Elliott. London: Verso.

Serra, Richard (1998). Richard Serra: Whose property is it anyway? In Art in the Courtroom, Vilis R. Inde ed. Westport: Praeger.

Slater, Howard (2000). The Art of Governance: on The APG 1966-1989.  Variant Vol. 2, No.11 (Summer 2000), pp. 23-26.

Stimson, Blake and Gregory Sholette ed. (2007). Collectivism after Modernism: The Art of Social Imagination after 1945. Minneapolis: University of Minnesota Press.

Steirischer Herbst and Florian Malzacher (2014). Truth is Concrete: A Handbook for Artistic Strategies in Real Politics. Berlin: Sternberg Press.

Tedlock, Dennis (1995). Interpretation, Participation and the Role of Narrative in Dialogical Anthropology. In The Dialogic Emergence of Culture, Tedlock and Mannheim ed. Chicago: Univ. of Illinois Press.

Thompson, Nato ed. (2012). Living as Form: Socially Engaged Art from 1991-2011. Cambridge, Mass.: MIT Press.

Tsoutas, Nicholas (1999). Superflex: Biogas in Africa. Woolloomooloo, NSW : Artspace Visual Arts Centre.

Warnock, Mary and Mark Wallinger ed. (2000). Art for All? Their Policies and our Culture. London: Peer.

Watts, Harriet (1988). Dada Event. In ‘Event’ arts and art events, Stephen C. Foster ed. Ann Arbor, Mich.: UMI Research Press.