CENTRE DE RECHERCHE
RECOMMENDED READINGS
Anderson, Jane. (2013). Anxieties of Authorship in the Colonial Archive. In C. Chris and D, Gerstner (Eds), Media Authorship, pp. 229-246. New York: Routledge.
[http://www.andersonip.info/PDF/Anxieties.pdf]
Auslander, Philip. (2006). "The Performativity of Performance Documentation." In Barbara Clausen and Nina Krick (Eds), After the Act: The (Re)Presentation of Performance Art. Nürnberg: Verlag Moderner Kunst; Vienna: MUMOK.
[http://lmc.gatech.edu/~auslander/publications/28.3auslander.pdf]
Baggett, Holly A. (Ed). (2000). Dear Tiny Heart: The Letters of Jane Heap and Florence Reynolds. New York: NYU Press.
[http://muse.jhu.edu/books/9780814723005]
Bergholtz, Frédérique (Ed). (2011). Conversation Pieces. If I Can’t Dance / Revolver: Berlin.
[http://www.ificantdance.org/Publications/ConversationPieces]
Blazwick, Iwona, Andrea Fraser et Susan Cahan, & al. (1997). “Serving Audiences”. October, n° 80, Spring, p. 128 – 139.
Deepwell, Katy (Ed). (1998). Women Artists and Modernism. Manchester: Manchester University Press.
Deutsche, Rosalyn. (1988). “Uneven Development, Public Art in New York City”. October, n° 47, Winter, p. 3 – 52.
Diederichsen, Diedrich. (2010). “Audio Poverty”. e-flux journal, No. 16, pp. 1-10.
Dreier, Katherine. (1923). Western Art and the New Era: An Introduction to Modern Art. New York: Brentano's.
[https://archive.org/stream/westernartnewera00drei#page/4/mode/2up]
Elliott, B.J. and Wallace, Jo-Ann. (1994). Women Writers and Artists: Modernist (Im)Positionings. New York: Routledge.
Fer, Briony. (1999). “Objects beyond Objecthood”. Oxford Art Journal, Vol. 22, No. 2, pp. 27-36.
Fraser, Andrea. (2005). “From the Critique of Institutions to an Institution of Critique”. ARTFORUM International, Sept, p. 100 - 105.
[http://www.marginalutility.org/wp-content/uploads/2010/07/Andrea-Fraser_From-the-Critique-of-Institutions-to-an-Institution-of- Critique.pdf]
Gere, Charlotte, and Vaizey, Marina. (1999). Great Women Collectors. New York: Henry N. Abrams.
Goodman, Dena. (1989). "Enlightenment Salons: The Convergence of Female and Philosophic Ambitions." Eighteenth-Century Studies, Spring, Vol 22, No. 3, p. 329 - 250.
Griffin, Gabriel (Ed). (1994). Difference in View: Women and Modernism. Bristol, PA: Taylor and Francis.
[http://books.google.ca/books?id=B2tqdmUTPToC&printsec=frontcover#v=onepage&q&f=false]
Jones, Amelia. (1997). “Presence in Absentia: Experiencing Performance as Documentation”. Art Journal, Vol. 56, No. 4, pp. 11-18.
[http://art.usf.edu/File_Uploads/Presence.pdf]
Jones, Caroline. (2010). “Staged Presence: On Performances and Publics“. ARTFORUM International, Summer, 12 p.
Letters between Pawel Freisler, Antje Majewski, Simon Starling, Rasmus Nielsen & others. (2010-2011). The Black Ball, The Egg. Malmö, Berlin, Copenhagen, and Graz.
[http://www.antjemajewski.de/WORK/all_things/freisler02.html]
Levine, Amy K. (2010). Gender, Sexuality, and Museums. New York: Routledge.
[http://books.google.ca/books?id=4As60fgj8EwC&printsec=frontcover#v=onepage&q&f=false]
Mamoli Zorzi, Rosella. (2001). Before Peggy Guggenheim: American Women Art Collectors. Venezia: Marsilio.
Molesworth, Helen. (2010). "How to Install Art as a Feminist." In Cornelia Butler and Alexandra Schwartz (Eds), Modern Women: Women Artists at the Museum of Modern Art. New York: MoMA.
Nelson, Lise. (1999). “Bodies (and Spaces) do Matter: the limits of Performativity”. Gender, Place and Culture : A Journal of Feminist Geography, Vol. 6. No. 4, pp. 331 – 353.
Pollock, Griselda. "The Missing Future: MoMA and Modern Women." In Cornelia Butler and Alexandra Schwartz (Eds), Modern Women: Women Artists at the Museum of Modern Art. New York: MoMA.
[http://books.google.ca/books?id=WTvfzdpTyuUC&pg=PT15&lpg=PT15&dq=the+missing+future+moma+and+modern
+women&source=bl&ots=Ro6Omp8Vci&sig=-LSFbkp-AKK64yn8_7_jXCnESz4&hl=en&sa=X&ei=-A6qUoXRDayayQHf4I HIBg&ved=0CDwQ6AEwAw#v=onepage&q&f=false]
Pollock, Griselda. (2007). Encounters in the Virtual Feminist Museum: Time, Space, and the Archive. New York: Routledge.
[http://elsanknu.pbworks.com/f/(12-12)+Questions+of+feminist+method+(with+image).pdf]
Rebentisch, Juliane. (2012). “Installation and intervention“. In Aesthetics of Installation Art. New York: Sternberg Press, p. 251-275.
Reist, Inge, and Mamoli Zorsi, Rosella. (2011). Power Underestimated: American Women Art Collectors. Venezia: Marsilio.
Régimbald-Zeiber, Monique. (2008). Elsa, Ida, Vilma et les autres. In Éclats de Rome (3 p). Montréal: Galerie de l'UQAM.
Régimbald-Zeiber, Monique. (2005). Itinéraire de Délestage (37 p). Booklet of L'Image Manquante. Montréal: Les petits carnets et Galerie de l'Uqam.
Régimbald-Zeiber, Monique. (2003). Lettre. In Françoise Sullivan, la peinture à venir (7 p). Montréal: Les petits carnets.
Régimbald-Zeiber, Monique. (2000). La Belle Lurette. In Textura (14 p). Montréal: La Centrale.
Rhodes, Lis. LIGHT READING. Dialogue List from the film.
Scott, Bonnie Kime (Ed). (2007). Gender in Modernism: New Geographies, Complex Intersections. Urbana: Univeristy of Illinois Press.
Scott, Bonnie Kime. (1996). Refiguring Modernism, Volume 1: Women of 1928. Bloomington, IN: Univeristy of Indiana Press.
[http://books.google.ca/books?id=6KsI_bx-obMC&printsec=frontcover#v=onepage&q&f=false]
Scott, Joan W. (1991). The Evidence of Experience. Critical Inquiry, Vol. 17, No. 4, pp. 773-797.
[http://conceptsinsts.wikispaces.com/file/view/Joan+Scott+Experience.pdf]
Smith, Andrea. (2005). Sexual Violence as a Tool of Genocide. In Conquest: Sexual Violence and the American Indian Genocide (pp. 31-51). Cambridge, MA: South End Press.
Stein, Gertrude. (1926). "Composition as Explanation." London: Hogarth Press.
[http://www.poetryfoundation.org/learning/essay/238702]
Stein, Gertrude. (1935). "Pictures." In Lectures in America. New York: Random House.
[http://quod.lib.umich.edu/g/genpub/afb0876.0001.001/59?page=root;size=100;view=image]
Tiqqun. (2012). Preliminary Materials for a Theory of a Young Girl. Translated by Ariana Reines. New York: Triple Canopy; Los Angeles: Semiotext(e). (see also the translator’s introduction on the publisher’s website)
[http://canopycanopycanopy.com/16/preliminary_materials_for_a_theory_of_the_young_girl]
T.B.C.
Rebecca Belmore
Artifact #671B (a protest in support of the Lubicon Cree), 1988,
Definitely Superior Art Gallery / Thunder Bay Indian Friendship
Centre, Thunder Bay, Ontario
Artist talks and videos
Andrea Fraser
The Power Plant (Toronto) presented Andrea Fraser as part of
the gallery’s International Lecture Series on 22 November 2006
Walid Raad
Artist Talk: Walid Raad, Walker Art Center, October 25, 2007
Terre Thaemlitz
\Viva McGlam? Is Transgenderism a Critique of or Capitulation to
Opulence-Driven Glamour Models? Originally published in The
Future has a Silver Lining: Geneologies of Glamour, ed. by Tom
Holert and Heike Munder, (Zürich: Migros Museum für Gegenwartskunst/
JRP Ringier, 2004)
HOW ARE WE PERFORMING TODAY, Symposium, MoMA
KEYNOTE ADDRESS (joint presentation)
Judith Butler, Professor of Rhetoric and Comparative Literature and
Co-Director of the Program of Critical Theory, University of California, Berkeley
Shannon Jackson, Professor of Rhetoric, Arts, and Humanities, University of California, Berkeley
Butler/Jackson begin to speak at 26:00 minutes into the video and their lecture lasts about 60 minutes
[http://www.livestream.com/museummodernart/video?clipId=pla_dabaf0ce-4d86-4576-b6f0-1737a7695963]
The History of Exhibitions: Beyond the Ideology of the White Cube
Part one
[http://www.macba.cat/en/the-history-of-exhibitions-beyond-the-ideology-of-the-white-cube-part-one]
Part two
[http://www.macba.cat/en/the-history-of-exhibitions-beyond-the-ideology-of-the-white-cube-part-two]
VOX Centre de l'image contemporaine, Montréal
Discussions, Performances, Films : Something to Do Something to Say,
December 12 - 15, 2012.
[http://www.voxphoto.com/english/vox/evenements/decembre_2012.html]
IF I CANT DANCE I DONT WANT TO BE PART OF YOUR REVOLUTION
Curatorial Collective based in Amsterdam, Netherlands
"If I Can’t Dance defines its way of working as ‘contemplation, interrupted by action’,
a quote borrowed from artist Hanne Darboven, who typified her practice as such.
Each edition is an ongoing process of research – of ‘contemplation’ – segmented
by moments of presentations at the subsequent venues enabling public exchange –
opportunities for ‘action’."