Bibliography October 2019 

Acconci, V.1969. Following Piece.Available at: http://www.vitoacconci.org/portfolio_page/following-piece-1969/[accessed 13thSeptember 2019]

Alcoff, L,M. 1991. The Problem of Speaking for Others.Cultural Critique No 20. USA. University of Minnesota 

Angier, R. 2015. Train your Gaze: A practical and Theoretical Introduction to Portrait Photography. London. Bloomsbury Publishing.

Barker,S. 2010.Up Periscope! Photography and the Surrepcious Image.In: Phipps,S. Exposed. Voyeurism, surveillance, and the camera since 1870.USA. San Francisco Museum of Modern art in association with Yale University Press.

Barthes, R. 1981. Camera Lucida: Reflections on photography. New York. Macmillan.

Barnes, J.1982.Aristotle.Oxford University Press 

Bacon,F.Use of Photography. Available at:  http://francis-bacon.com/life/family-friends-sitters[Last visited August 2019]

BBC editorial guidelines. Available at: https://www.bbc.co.uk/editorialguidelines/guidance/consent/how) [accessed 5thSeptember 2019]

Benjamin, W. 2008. The Work of Art in the Age of Mechanical Reproduction. UK. Penguin.

Benson, R. 2008. The Printed Picture. USA. The Museum of Modern Art New York.

Berger, J. Savage, J. 2005. Berger on drawing. Cork. Occasional press.

Berger, J. 2013. Understanding a photograph. UK. Penguin. 

Booth-Clibborn, 2001.I am a Camera. London. Saatchi Gallery 

Brassaï. 1976. The Secret Paris of the 30’s. New York. Pantheon Books. 

Brilliant, R.1991. Portraiture.London. Reaktion. 

Büttner,A. 2016. Beggars and iPhones. CatalogueKunsthalle Vienna Austria

Cain, P.2010. Drawing: The Enactive Evolution of the Practitioner. Bristol. Intellect Books.

Chilisa, B. (2012) Indigenous research methodologies. USA. Thousand Oaks, CA. Sage.

Close,C. interviews Vija Celmins Artspace. Available at: https://www.artspace.com/magazine/interviews_features/book_report/chuck-close-in-conversation-with-vija-celmins-about-her-dense-yet-infinite-drawings-54732

[Accessed September 2019]

Cole, T. 2017. Blind Spot.London. Faber& Faber.

Cubitt, S. 2014. The Practice of Light: A Genealogy of Visual Technologies from Prints to Pixels. Cambridge, MA, USA. MIT Press.

Cumming, L. 2009. A Face to the World: On Self-portraits. UK. HarperCollins.

Craig-Martin, Michael. 1995. Drawing the Line: Reappraising Drawing, Past and Present.Southampton Art Gallery;London.The South Bank Centre. 

Coppel, S. Daunt, C.Tallman, S. Fischer, H., Seligman, I. and Ramkalawon, J. 2017. The American Dream: Pop to the Present. London. British Museum. 

Cue, E2016 Interview With Jenny Saville.Huffington Post, 6thAugust.Available at:  https://www.huffpost.com/entry/interview-with-jenny-savi_b_10324460?guce_referrer=aHR0cHM6Ly9kdWNrZHVja2dvLmNvbS8&guce_referrer_sig=AQAAACqP4PI4Nj3grnlJ89mSvcuAwU3cveoP2imireEpomsUdC529TURQVpMzmeCFfTuFSRmy9c3DG2KdBuJHoslB13cxf_O6SXRlnoY5QRpiI5tH8EwO-KUU6fhGSeQFS3FESy_mabJw4zElV-Yu1WWwLIOWamUGPDDudpfCt975cxg&guccounter=2

[accessed 5th September 2019].

Dautruche, B.K. Why Positionality & Intersectionality are Important Concepts forRhetoric.My Most Humble opinion. Available at: https://bkdautru.expressions.syr.edu[accessed 19 September 2019]

Davidson, B. Braithwaite, F. and Geldzahler, H. 2011. Subway. New York. Steidl. 

Di-Corcia, PL. Heads.Available at: https://www.moma.org/learn/moma_learning/philip-lorca-dicorcia-head-10-2002/[accessed 19 September 2019]

Di Pippo, A.F. 2000.The Concept of Poiesis in Heidegger’s An Introduction to MetaphysicsThinking fundamentals. Vienna. IVM.

Downs, S. Tormey, J. Selby, A. Sawdon, P. 2007. Drawing Now: Between the Lines of Contemporary art. London. IB Tauris.

Dyson, A. 2009. Printmakers’ Secrets. A&C Black. London

The Economist. 2015. Phono SapiensLondon. Available at:https://www.economist.com/leaders/2015/02/26/planet-of-the-phones[accessed September 20th2019]

Eggum, A.1989. Munch and Photography. London.Yale University Press.

Eichenberg, Fritz. 1976. The Art of the Print: Masterpieces, History, Techniques. London. Thames and Hudson. 

Feaver, W. 2002. Lucian Freud. London. Tate Publishing. 

Feldman, Frayda; Schellmann, Jörg. 1988. Andy Warhol Prints: a catalogue raisonné. New York.

Fleming,S. 2013. Social research in sport (and beyond): Notes on exceptions to informed consent.  UK. Research Ethics Sage.

Ford, C. A Pre-Raphaelite Partnership: Dante Gabriel Rossetti and John Robert Parsons. London. Burlington Magazine.  May 2004. No. 1214 – Vol 146.

Fried, M. 2008. Why Photography Matters as Art as Never Before. USA. Yale University Press. 

Garland-Thomson, R. 2009. Staring: How We Look.New York: Oxford University Press.Cited: McKay,C. 2013. ‘Covert: the artist as Voyeur’. Sydney. Surveillance and Society. 

Garner, S. ed. 2012. Writing on Drawing: Essays on Drawing Practice and Research. Bristol. Intellect Books.

Gefter, P. 2006. Street photography a right or invasion.NY Times. Available at: https://www.nytimes.com/2006/03/17/arts/street-photography-a-right-or-invasion.[accessed 19 September

Gilden, B. 2015. Face.Stockport. Dewi Lewis Publishing.

Graham-Dixon, A. Howgate, S. Nairne, S. and Higgins, J. 2013. 21st-century Portraits. London. National Portrait Gallery.

Greenwood, W. 2019. Central Islamic Lands at the Museum of Art in Doha.The New Arab.  Available at: https://www.alaraby.co.uk/english/society/2016/7/26/images-and-idols-the-figurative-in-islamic-art

[accessed 9th September 2019].

Griffiths, P.J.1971. Vietnam Inc. NYC. Collier books. 

Goffman, E. (1971). The Presenation of Self in Everyday Life.London. Penquin. 

Gorton,T; Allwood, E.H; Taylor, T. 2015.Is it really OK to sell other people’s Instagrams as Art? Dazed.https://www.dazeddigital.com/artsandculture/article/24887/1/is-it-really-ok-to-sell-other-peoples-instagrams-as-art[accessed 13thSeptember 2019]

Hammer, M. 2007. The Naked Portrait.Edinburgh. National Gallery of Scotland.

Harris, J. 2008. Identity Theft: Cultural Colonization and Contemporary art.Liverpool University Press

Harty.D. 2018. Drawing is Phenomenology.Leicester. De Montfort University.

Heiferman,M; Holborn, M; Fletcher, S. 1986. The Ballad of Sexual Dependency.New York. Aperture. 

Hill, J.E. 2011. Engaged Observers: Documentary Photography Since the Sixties: Brett Abbott.USA. J. Paul Getty Museum.

Hockney, D. 2001. Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters. London. Thames and Hudson.

Hoskins, S. 2001. Water-based Screenprinting.London. A. & C. Black.

 

Hustvedt, S. 2016. A Woman Looking at Men Looking at Women: Essays on Art, Sex, and the Mind. New York. Simon and Schuster .

Hyde, L. 2006. The gift: Creativity and the artist in the modern world. Edinburgh. Cannogate.

Inwood, M.1993.Hegel, Georg Wilhelm Friedrich, 1770-18311944-Bosanquet, BernardHegel, Georg Wilhelm Friedrich, 1770-1831. London. Penguin.

Jeffries,S. 2009. Sophie Calle. Stalker, Stripper, Sleeper, Spy.London Guardian [accessed13thSeptember 2019]

Jolly, M. 2006. Faces of the Living Dead: the Belief in Spirit Photography. London.

British Library.

 

Kara, H. 2018. Research Ethics, in the Real World. Bristol.PolicyPress.

Katz, J.S. Gross, L.P. and Ruby, J. eds. 1988. Image Ethics: The Moral Rights of Subjects in Photographs, Film, and Television. Oxford University Press

Keller, J. 1993. Walker Evans and Many Are Called:Shooting blind. History of Photography, 17:2, 152-165, DOI: 10.1080/03087298.1993.10442613

King, E.A. and Levin, G. 2010. Ethics and the Visual Arts. New York. Simon and Schuster.

Kholeif, Omar. 2015.You are Here: Art After the Internet.Manchester. Cornerhouse/SPACE. 

Kovats, T. Darwent, C. MacFarlane, K. and Stout, K. 2005. The Drawing Book. A Survey of Drawing: The Primary Means of Expression. London. Black Dog Publishing.

Kruszynski, A, Bezzola, T, Lingwood, J. Thomas Struth Photographs 1978 -2010. New York. Monacelli Press.

Levi-Strauss, C. Conflict exists: p58-60. Cited: Hyde, L. 2006. The gift: Creativity and the artist in the modern world. Edinburgh. Cannogate.

Liamputtong, P.  2010. Performing qualitative cross-cultural research. UK. Cambridge University Press.

Luft, S. and Overgaard, S. 2013. The Routledge Companion to Phenomenology. London. Routledge.

Malbert, R. 2015. Drawing People: the Human Figure in Contemporary Art. London. Thames & Hudson.

Maslen, M. and Southern, J. 2014. Drawing Projects: An Exploration of the Language of Drawing. London. Black Dog Publishing.

Matthews, P.M. 2013. The Significance of Beauty: Kant on Feeling and the System of the Mind (Vol. 44). Germany. Springer Science & Business Media.

McCausland, E. 1937. Kathe kollwitz – Portrait of the Artist printmaker.Birmingham. IKON and British Museum Catalogue. 

McFee,G, 2010.Ethics, knowledge and truth in sports research: an epistemology of sport.London New York.Routledge.

McKay,C. 2013. ‘Covert: the artist as Voyeur’. Sydney. Surveillance and Society.

Modern, T. W.A. Baker, S. and Phillips, S.S. 2010. Exposed: voyeurism, surveillance, and the camera. USA. San Francisco Museum of Modern Art. Tate Publ.

MoMALearning. Available at: https://www.moma.org/learn/moma_learning/philip-lorca-dicorcia-head-10-2002/[Accessed September 20th2019)

Morton, M. 2017. Max Klinger and Wilhelmine Culture: On the Threshold of German Modernism. London. Routledge.

Moustakas, C.1994.Phenomenological Research Methods.New York.

Van Nostrand Reinhold.

Moustakas, C.1977. Creative Life.USA.Sage.

Mullins, C. 2015. Picturing People: the New State of the Art. London. Thames & Hudson.

Newhall, B. 1964. The History of Photography; from 1839 to the Present Day. New York. Penumbra Foundation.

Pallasmaa, J. 2009. The thinking hand: Existential and Embodied Wisdom in Architecture.UK Chichester. John Willey. 

Parry, J.D. ed. 2010. Art and phenomenology. London. Routledge.

Plato Stanford Encyclopedia. Available at: (https://plato.stanford.edu/entries/ethics-internet-research/#InfCon[accessed September 12th 2019]

Pelzer-Montada, R. 2018. Perspectives on Contemporary Printmaking. UKManchester University Press

Pergam, E.A. 2015. Drawing in the Twenty-first Century: The Politics and Poetics of Contemporary Practice. UK. Ashgate.

Petherbridge, D. 2010. The Primacy of Drawing: Histories and Theories of Practice. USA. Yale University Press.

Phipps,S. Exposed. Voyeurism, surveillance, and the camera since 1870.USA. San Francisco Museum of Modern art in association with Yale University Press.

Potts, K and Brown, L. 2015. Research as Resistance: revisiting critical, Indigenous, and anti oppressive approaches.Toronto: Canada. 

Prelinger, E. Kollwitz, K. Comini, A. and Bachert, H. 1992. Käthe Kollwitz: National Gallery of Art, Washington;[catalog of an exhibition held May 3-August 16]. USA. Yale University Press.

Price, M. ed. 2013. Vitamin D2: New Perspectives in Drawing. London. Phaidon Press Limited.

Printmaking techniques : The Vasari Corridor & its Self-Portrait Collectionhttps://www.handprinted.co.uk/[Last visited August 2019]

Ruskin, J. 2012. The Elements of Drawing. Courier Corporation.

Schama, S. and van Rijn, R.H. 1999. Rembrandt’s Eyes. New York: Alfred A. Knopf.

 

Serge, G. 1985  How New York stole the idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War. USA. University of Chicago Press

Simmons, L. 2010. “Drawing has Always been more than Drawing”:Derrida and disegno. Interstices: Journal of Architecture and Related Arts. Aukland New Zealand.

Smith, C.  2012.  Decolonising methodologies. London. Zed Books.

Sontag, S. 1977.On Photography.McMillan. New York.

Wortman,R. 2010. Available at:  http://www.gnovisjournal.org/2010/04/25/street-level-intersections-art-and-law-philip-lorca-dicorcias-heads-project-and-nussenzweig/[accessed September 2019]

 

Sontag, S.1987.Against Interpretation and Other Essays.London. Deutsch.

Soussloff, C.M. 2006. The Subject in Art: Portraiture and the Birth of the Modern. USA. Duke University Press.

Spivak, G.C. and Harasym, S., 2014. The post-colonial critic: Interviews, strategies, dialogues. London. Routledge.

Stewart, J. Watkins, J. 2017. Thomas Bock.Birmingham.IKON and Cornerhouse 

Thompson, D.V. 1933.The Craftsman’s Handbook: Il Libro dell’ArteCennino d’Andrea Cennini.  USA. New Flaven.

Trodd,T. 2011. Screen/space: The Projected Image in Contemporary Art. Manchester University Press.

 

Van Kruiselbergen, A. 2013. Breakfast with LucianGeordie Greig. Farrar, Straus and Giroux New York. Random House.

Varnedoe,K. 2002. Chuck Close. Blood Sweat and Tears.New York. Pace Wildenstein

Vija Celmins video interview : Painting Takes Just a Second to Go In. London.Tate Shorts. Available at: https://www.youtube.com/watch?v=SsbkzSrCdIg

[Accessed September 2019]

West, S. 2000. The Visual Arts in Germany 1890-1937: Utopia and Despair. UK. Manchester University Press.

Wilde, O. 2003. The Picture of Dorian Gray. London. Penguin. 

Wilson, S. (2008) Research is ceremony: Indigenous research methods.Halifax and Winnepeg: Fernwood Publishing.

Woodall, J. ed. 1997. Portraiture: Facing the Subject. UK. Manchester University Press.

Worley, L. 2011. The Poiesis of Human Nature’: an Exploration of the Concept of an Ethical Self. Australia. Doctoral dissertation, Victoria University.

Zöllner, F. 2000. Leonardo da Vinci, 1452-1519. GmbH. Taschen.

Social media & sharing icons powered by UltimatelySocial
Instagram