8 X 8: A Chess Sonata in 8 Movements (1957). Dir. Jean Cocteau, Marcel Duchamp, and Hans Richter. N.d. U B U W E B - Film & Video: Jean Cocteau, Marcel Duchamp, Hans Richter - 8 X 8: A Chess Sonata in 8 Movements (1957). UBUWEB. Web. 07 Feb. 2015. <http://www.ubu.com/film/cocteau_8x8.html>. 1957 experimental film directed by Hans Richter, Jean Cocteau and Marcel Duchamp. All three are in the film as are a number of other artists associated with the Surrealists group. The idea of the analogy between the chess game- life- and art which was used by Lewis Carroll in his book Through the Looking-Glass is explored here along with the ideas of the subconscious, ego and id, in the theories of Freud. The connections tie into my own explorations of similar material in my work as well as my research into Duchamp.
Ackerman, Diane. A Natural History of the Senses. New York: Random House, 1990. Print. Writer and poet Diane Ackerman exploration of the senses and our expression of what and how we experience the world. The sections on Touch, Vision and Synesthesia have been most relevant to the ideas I have been exploring in my recent work, most notably in Wanderland.
Agnes Martin: With My Back To The World. Dir. Mary Lance. Perf. Agnes Martin. New Deal Films, 2003. DVD. Documentary of Agnes Martin filmed 1998-2002 in Taos, New Mexico. Contains archival footage, photographs. Martin speaks about her work, her life, and the creative process.
Anemic Cinema. Dir. Marcel Duchamp. U B U W E B - Film & Video: Marcel Duchamp - Anemic Cinema (1926). UBUWEB, n.d. Web. 07 Feb. 2015. <http://www.ubu.com/film/duchamp_anemic.html>. 1926 Marcel Duchamp explored visual and verbal puns attributed to his alter ego, RRose Selavy, incorporating Dadaist concept via abstract animations in the medium of a silent black and white film.
Bachelard, Gaston, and John R. Stilgoe. "The House, From Cellar to Garret. The Significance of the Hut." The Poetics of Space. Trans. M. Jolas. Boston: Beacon, 1994. N. pag. Print. French philosopher Gaston Bachelard's exploration of the house as it signifies an intimate personal space in relation to the individual body as well as the individual outside the home. Source thinking behind the staging of Wanderland/Look In Glass in my home. Time, space, intimacy and memory which are contained within the images of the house.
Barthes, Roland, and Richard Howard. The Pleasure of the Text. Trans. Richard Miller. New York: Hill and Wang, 1975. Print. French philosopher Roland Barthes examination of what we do when we enjoy text. As I have begun to explore the use of text in my own work I approached Barthes ideas as a means to understanding my own responses to text, and the separation and connection between the mind and the body. "The pleasure of the text is that moment when my body pursues its own ideas- for my body does not have the same ideas I do." [p.17]
Bazil, Carl W. Living Well with Epilepsy and Other Seizure Disorders: An Expert Explains What You Really Need to Know. New York, NY: HarperCollins, 2004. Print. Basic text aimed at persons living with seizure disorders/Epilepsy to answer questions about the origins, causes, treatment options and issues surrounding living with Epilepsy and seizure disorders. Good primary source with solid appendix of sources for further information.
Boxer, Sarah. "How Louise Bourgeois Draws Herself to Sleep." The New York Times. The New York Times, 27 July 2003. Web. <http://www.nytimes.com/2003/07/27/arts/art-architecture-how-louise-bourgeois-draws-herself-to-sleep.html>. This article appeared in conjunction with the exhibit of Louise Bourgeois' "Insomnia Drawings" at the Whitney Museum of American Art. The 220 drawings on exhibit were created between November 1994-June 1995 by the artist during a period of sleeplessness. The drawings are the artist's attempt to find peace. "''Obviously, the night indicates a certain fear of chaos,'' Ms. Bourgeois says," Article cites Lewis Carroll's use of mathematical problem solving as a solution to dealing with insomnia. Insomnia need not be a problem, but can be dealt with in a positive manner.
Cabanne, Pierre, Marcel Duchamp, Robert Motherwell, Salvador Dali, and Jasper Johns. Dialogues with Marcel Duchamp. Trans. Ron Padgett. Comp. Bernard Karpel. New York: Da Capo, 1971. Print. This is an unabridged republication of the edition published in London 1979. It is translated from the original French version published in 1967 and includes an introduction by Robert Motherwell, a Preface by Salvador Dali, An Appreciation by Jasper Johns first published in the November 1968 Artforum upon Duchamp's death, and a selected bibliography complied by Bernard Karpel of The Museum of Modern Art. Although the interviews themselves offer little insight beyond the interviews that Calvin Tomkins conducted two years prior with Duchamp, they are valuable for the alternate perspective offered by the interviews being conducted in French by a fellow French man as opposed to in American English by an American. The auxiliary texts are valuable for the insight they offer into Duchamp and his work via a contemporaneous European colleague, friend and neighbor (Dali), by a younger, American artist who accessed the ideas of Duchamp through the Surrealists exiled in New York during the 1940s, and finally by the tribute paid to Duchamp upon his death by a member of the final generation of artists to have encountered Duchamp and his work during his life time and thus experienced his influence directly and carried it beyond to subsequent generations of artists, myself included, via his own work (Johns).
Cahalan, Susannah. Brain on Fire: My Month of Madness. New York: Free, 2012. Print. Journalist Susannah Cahalan's writes of her experience with a brain disease which took away her personal identity; and, for my research most relevant, how those around her- doctors, family, friends and colleagues responded to the unknown illness affecting her- often placing the blame for it onto her. An interesting reference point for how contemporary American society still views brain disorders and women.
Campbell, Virginia, MD. "What Do Mirror Neurons Really Do? (BSP 112)." Brainsciencepodcast.com. Brain Science Podcast, 16 Oct. 2014. Web. 09 Feb. 2015. <http://brainsciencepodcast.com/bsp/2014/what-do-mirror-neurons-really-do-bsp-112>. Podcast interview with Dr. Gregory Hickcock on the publication of his book The Myth of Mirror Neurons: The Real Neuroscience of Communication and Cognition  which addresses the misconstrued concepts surrounding the role mirror neurons play in the brain.
Carroll, Lewis, and Tan Lin. Alice's Adventures In Wonderland and Through The Looking-Glass and What Alice Found There. Ed. George Stade. New York: Barnes & Noble Classics, 2004. Print. This volume combines both books by Lewis Carroll about the character Alice and her adventures in wonderland and in the world through the looking glass. It contains the original illustrations by John Tenniel; an introduction and notes by the writer, artist, critic Tan Lin; a time line and brief bio of Lewis Carroll (Charles Lutwidge Dodgson), information on works inspired by the tales of Alice; a section of comments and quotes and suggested further readings. These two stories served as a primary source of inspiration for the visual language I used in the self portraits I created during Module 501 as much of the depiction of Alice's curious feelings and experiences has been cited as sourced from Carroll's own experiences with TLE partial seizure disorder. Having re-read these stories for the first time since childhood and my own recent diagnosis with TLE I found the depictions of feelings to be quite similar to my own experience with partial seizures originating in the temporal lobe. The imagery provided an accessible and alternative source to this experience for me without resorting to the common held ideas of the grand mal seizure which most people use as their visual definition of the disorder although it is a very rare, not fully (less) memorable occurrence among persons with Epilepsy, yet more impressive to those who do not have seizure disorders, than the experience of partial seizures which occur much more frequently, are more recollect able by those who experience them, and are more hidden from those who do not.
Centers for Disease Control and Prevention. Centers for Disease Control and Prevention, 30 July 2014. Web. 06 Feb. 2015. <http://www.cdc.gov/epilepsy/index.html>. Website of the United States of America Center for Diesease Control and Prevention which provides information to the US population on Epilespy and seizure disorders, basic facts, current research, treatment and prevention. A good general source with link to further information.
Crimp, Douglas, Zoe Leonard, Christina Bryan Rosenberger, Suzanne Hudson, Jaleh Mansoor, Jonathan D. Katz, Michael Newman, Anne M. Wagner, Philippe Vergne, Lynne Cooke, and Rhea Anastas. Agnes Martin. Ed. Lynne Cooke, Karen J. Kelly, and Barbara Schröder. New York: Dia Art Foundation, 2011. Print. A book of essays by various critics, curators, artists and art historians on the paintings of Agnes Martin published by the Dia Art Foundation. Many of the writings are the result of presentations at the Agnes Martin Colloquium held at Dia:Beacon in October 2005 in conjunction with a special exhibit of her work as well as the continued exhibition of her work in the Dia Collection. The various perspectives offered by the authors of the essays in relation to Martin's own writings on her work offer a wider view of the painting and the person who painted them, showing the extent to which Martin through her writings directed and controlled how the works and her own role as their creator would be understood. This adds a dimension to understanding the role of the artist that goes beyond a formal interpretation of the works both during and beyond the artist's lifetime.
Cros, Caroline. Marcel Duchamp. Trans. Vivian Rehberg. London: Reaktion, 2006. Print. This profile of the artist Marcel Duchamp written by French curator and Professor of Contemporary Art at the Ecole du Louvre, Paris, Caroline Cros is geared toward a critical study of the artist, his development, his work and the impact it has had and still has in today's art world. Although it among the references it cites include the interviews between Duchamp and Tomkins, and Duchamp and Cabanne, as well as the writings in the catalogue to the Philadelphia Museum of Art exhibit in 1973 it serves as a concise examination of the subject from a more academic rigorous language and approach. In relation to my own explorations Chapter 7 which pertains to the Large Glass provides most insight.
D'Harnoncourt, Anne, Kynaston McShine, Arturo Schwarz, Octavio Paz, Michel Sanouillet, Richard Hamilton, Lawrence D. Steefel, Jr., David Antin, Robert Lebel, and John Tancock. Marcel Duchamp. Comp. Lucy Lippard and Bernard Karpel. New York: Museum of Modern Art, 1973. Print. Reprinted edition 1989, Prestel-Verlag, Munich in cooperation with The Museum of Modern Art and the Philadelphia Museum of Art. This is a catalogue produced in conjunction with the exhibition of Marcel Duchamp's work jointly organized by the Philadelphia Museum of Art and The Museum of Modern Art. In addition to the numerous essays on Duchamp it also includes a chronology, a portrait of Duchamp created collectively by those who knew him and/or were influenced by him, as well as a catalogue of his works. The book offers a varied reading of Duchamp from many different perspectives as opposed to the works by Tomkins and Cros, and the interviews with Duchamp conducted by Cabanne and Tomkins. Most insightful and relevant for my research is the essay by Richard Hamilton on The Large Glass. I also found davidantin's piece on Duchamp and Language insightful for the effects Duchamp's use of language has had on art, and how this applies to my own use of language and text in my project. Kynaston McShine's essay La Vie En RRose lends insight to how Duchamp addressed identity of self and other via rRose Selavy, and how the self is portraited by the artist.
Didi-Huberman, Georges, and J. M. Charcot. Invention of Hysteria: Charcot and the Photographic Iconography of the Salpêtrière. Trans. Alisa Hartz. Cambridge, MA: MIT, 2003. Print. As a philosophical exploration of the studies conducted by Charcot at the Salpetriere, the photo documentation , and the discussions of the relationship between doctors and patients this is an interesting book. It is however the example of what I am trying to take people beyond in their idea of what Epilepsy is. The images of Hystero-Epilepsie by Regnard are what people think of when they think of Epilepsy, even when they are not. I am not interested in further exploration of this historical moment as I feel it is what prevents us from developing a more accurate and complete understanding of seizure disorders.
Duchamp, Marcel. "The Richard Mutt Case." 1917. Art In Theory 1900-1990: An Anthology of Changing Ideas. Ed. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 248. Print. Originally published in The Blind Man, New York, 1917 and re-published in this anthology from Lucy Lippard (ed.), Dadas on Art, New Jersey, 1971. This is Marcel Duchamp's account of the submittal and rejection of his readymade 'Fountain' which he submitted under the pseudonym Richard Mutt to the unburied exhibition of the Society of independent Artists, of which he was head of the Hanging Committee. The text states in Duchamp's own words his concept of the readymade.
Dunbar, Pum. "Pum Dunbar | Wasps Artists' Studios." Pum Dunbar | Wasps Artists' Studios. N.p., n.d. Web. 08 Feb. 2015. <http://www.waspsstudios.org.uk/artists/434>. Glasgow based artist Pum Dunbar's website. Dunbar explores understanding the sense of self and relationships via collage. Her practice has developed as a creative response to an awareness of her Autism.
Epileptic Seizure Comparison (1976). Dir. Paul Sharits. U B U W E B - Film & Video: Paul Sharits - Epileptic Seizure Comparison (1976). N.p., n.d. Web. 08 Feb. 2015. <http://www.ubu.com/film/sharits_epileptic.html>. The film portion of Paul Sharits' installation piece 'Epileptic Seizure Comparison' with which he attempted to induce the experience of a grand mal seizure in non-epileptics under controlled conditions. Personally I found the piece a romanticized notion considering there is no record of Sharits being epileptic or personally experiencing such seizure. And even if he did the odds of him remembering the experience in the way he has depicted it are unlikely. A good example of what I am not trying to express.
Freyer, Achim. "Werte Wider Geschmack Und Geschwätzigkeit." Zeit-Museum Der 100 Bilder: Bedeutende Autoren Und Künstler Stellen Ihr Liebstes Kunstwerk Vor. Ed. Fritz J. Raddatz. Frankfurt Am Main: Insel, 1989. 124-28. Print. Originally published in the German weekly newspaper Die Zeit, publication date unknown. This is from a series of pieces in which artists and writers write about an art work to which they find some connection. Achim Freyer, painter, stage director, costume and set designer and "master student" of Bertholt Brecht wrote about Duchamp's 'Study for the "broyeuse de chocolate" Nr. 2, 1914 at time of publication in the Staatsgalerie Stuttgart. This study is of the chocolate grinder which would find its place in The Large Glass. Freyer recounts his first encounter with this work in 1973 at the age of almost 40, his first encounter with an 'original' Duchamp. A key point for Freyer is Duchamp's relationship to the 'values' we generally place on art and objects; the relationship to values we as societies in general hold.
Hall, Harriet. "Mirror Neurons and the Pitfalls of Brain Research « Science-Based Medicine." Mirror Neurons and the Pitfalls of Brain Research « Science-Based Medicine. Science Based Medicine, 27 Oct. 2014. Web. 09 Feb. 2015. <http://www.sciencebasedmedicine.org/mirror-neurons-and-the-pitfalls-of-brain-research/>. Review of The Myth of Mirror Neurons: The Real Neuroscience of Communication and Cognition by Gregory Hickcock  highlighting the debates arising from recent discoveries in the field of neuroscience. In the book reviewed here the concepts being challenges surround the role played by mirror neurons. A good reminder that all science deemed as fact might stand on shaky ground.
Hamilton, Ann, and Joan Simon. "Ann Hamilton Studio." Ann Hamilton Studio. Ann Hamilton, n.d. Web. 07 Feb. 2015. <http://www.annhamiltonstudio.com/projects/ghostaborderact.html>. Text excerpted from Ann Hamilton: An Inventory of Objects. New York: Gregory R. Miller & Co., 2006. Joan Simon. Related Readings: · Scott, Michael. "Ghost Images: Ann Hamilton's VAG Exhibit Undermines the Power of the Written Word." Vancouver Sun Queu Magazine (December 23-30, 1999): C7. · Saccoccia, Susan. "Maker of Huge Art Builds a 'Mystery'." Christian Science Monitor (August 6, 1999): 20. · Ramp, Stefanie. "Haunted House." Arts & Entertainment. · McQuaid, Cate. "Communing with the Ghosts of Technology Past and Present." Boston Sunday Globe (Arts & Entertainment, November 2, 2003). · Murphy, Deborah. "A Ghostly Exhibition Illuminates." The Times Record (October 30, 2003). · Keyes, Bob. "Haunting images lead to spirited exhibition." Press Herald (Weekly Entertainment Planner, Go-Portland, September 25, 2003): 8D.
Institute of Contemporary Art/ Boston. Fiber Sculpture 1960-Present. Boston: Institute of Contemporary Art/ Boston, 2014. Print. Booklet with text and plan for the exhibit 'Fiber Sculpture 1960-Present' at the Institute of Contemporary Art/Boston. Now labels or wall text were included in the exhibition; all text was published in this booklet. The exhibition represented the shift of textile/fiber art from handicraft to sculptural forms and installation which has occurred since 1960. Key work in this exhibition relevant to what I have been exploring was Ernesto Neto's 'SoundWay' , a multi-media piece which the artist encourages the viewer to experience the work not just through the sense of sight, but also touch. This pieces is a hung, tunnel like, structure constructed of rope, metal balls and seed pods through which the viewer walks, causing movement and touch. I wished the space had been narrower as one was able to walk through without touching the piece. It could have been more assertive.
Jarrett, Christian. "Art Affects You More Powerfully When You View It in a Museum." BPS Research Digest:. The British Psychological Society, 5 Feb. 2015. Web. 09 Feb. 2015. <http://digest.bps.org.uk/2015/02/art-affects-you-more-powerfully-when.html>. Blog post in the BPS Research Digest highlighting the recent publication of Brieber, D., Nadal, M., & Leder, H. (2015). In the white cube: Museum context enhances the valuation and memory of art Acta Psychologica, 154, 36-42. The research reaffirms the importance of actual live experience of an art work as opposed to a reproduction. Key paragraph in blog post: "Taken together, the findings are consistent with theories of situated cognition: "inherently, a mind exists in context," as Lisa Barrett and her colleagues once wrote. It seems there's something about the physical space of a museum exhibition that changes how our minds respond to what we're seeing. This contradicts formalist art theory, the idea that the effects of art upon us are independent of time and place."
Johns, Jasper, Louis A. Zona, Rebecca Mary Gerson, James Lucas, and Donald Miller. Jasper Johns Drawings & Prints from the Collection of Leo Castelli. Youngstown, OH: Butler Institute of American Art, 1989. Print. In the opening sentences of his introduction Butler Museum Director Louis A. Zona draws a comparison to Picasso's quote regarding Juan Gris to the possibility that were Marcel Duchamp alive in 1989 he would "pay similar tribute to Jasper Johns." As Johns, Zona concludes, has "moved beyond the triumphs of Duchamp, mentor of this century's intellectual generated art....it is Jasper Johns who unquestionably represents its mind." Pretty strong words, of which I am not necessarily in agreement, but credit must be given to the relationship between Duchamp and Johns art as expressed by Zona's statement. Additional interest relevant to my research is the information provided in Gerson's essay on the "Seasons" series of Johns that the shadow in the 'self portraits' was not drawn by him. In Miller's essay the writings of critic Lawrence Alloway about the nature of Johns' work, and the ambiguity he brings to everyday objects finds relevance in the writings of Alloway on the work of Agnes Martin which I have encountered in my research, and which in turn strengthen connections I am finding between the nature of Duchamp's and Martin's approach to art/life.
Kean, Sam. The Tale of the Dueling Neurosurgeons: The History of the Human Brain as Revealed by True Stories of Trauma, Madness, and Recovery. New York: Little, Brown, 2014. Print. A popular science look at the human brain from a historical as well as contemporary perspective by science journalist, writer Sam Kean. Through stories of actual events and discoveries the workings and our knowledge of the human brain are explained. Of particular interest and relevance for my research is Chapter Eight: The Sacred Disease which looks at Epilepsy. Specifically this chapter shows how the divide between the physical and the mental is blurred in the case of seizure disorders. Kean takes a lot of what Temkins and LaPlante have written about Epilepsy and retells the stories in a more colloquial vernacular. I also found Chapter Ten: Honest Lying to be enlightening on how memory functions and is formed between the various parts of the brain.
Lacan, Jacques. "The Mirror-Phase as Formative of the Function of the I." 1966. Art In Theory 1900-1990: An Anthology of Changing Ideas. Ed. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 609-13. Print. Originally read at the International Psychoanalytic Congress, Zurich, July 1949; published in French in Ecrits, Paris, 1966; this English translation taken from New Left Review, 51, September-October 1969. Key concept expressed by Lacan relevant to what I am exploring is the function of the mirror-phase to establish a relationship of the organism between its internal and external worlds [Innenwelt and Umwelt]. "...,the mirror-phase is a drama whose internal impulse rushes from insufficiency to anticipation and which manufactures for the subject, captive to the lure of spatial identification, the succession of phantasies from a fragmented body-image to a form of its totality...and to the assumption, finally, of the armor of an alienating identity, which will stamp with the rigidity of its structure the whole of the subject's mental development." [p. 611]
LaPlante, Eve. Seized. New York: HarperCollins, 1993. Print. A history of Temporal Lobe Epilepsy as a medical and artistic phenomenon. When first published the ideas surrounding TLE and how it is identifiable through certain personality traits as defined by the Harvard neurologist Norman Geschwind was cutting edge. In the twenty years since the existence of what has become known as 'Geschwind Syndrome' is somewhat disputed, but La Plante's profiles of the people, artists and writers known to have experienced TLE either via direct or post-humous diagnosis is a valuable source of information relevant to my own diagnosis. Specifically her discussion of Lewis Carroll/Charles Dodgson led me to re-read the Alice books.
Marcel Duchamp - Jeu D'échecs Avec Marcel Duchamp (1963). Dir. Jean Marie Drot. Perf. Marcel Duchamp. N.d. U B U W E B - Film & Video: Marcel Duchamp - Jeu D'échecs Avec Marcel Duchamp (1963). UBUWEB. Web. 07 Feb. 2015. <http://www.ubu.com/film/duchamp_drot.html>. A silent film with under titles, created by French television sometime in the early 1970s, out of interviews conducted with Duchamp in 1963 at the time of the "one man exhibition" of his works at the Pasadena Art Museum curated by Walter Hopps. A fascinating visual experience and the comments Duchamp makes lend tremendous insight into his personality. At the end of the film it appears that this version was somehow shown on Australian television in 1979.
Martin, Agnes. Agnes Martin: Writings = Schriften. Ed. Dieter Schwarz. Ostfildern-Ruit: Hatje Cantz, 2005. Print. This book was originally published in conjunction with the exhibition "Agnes Martin: Paintings And Works On Paper, 1960-1989" from January 19 to March 15, 1992 at the Kunstmuseum Winterthur. It is a collection of the artist's own writings about her work, notes, lectures and talks, poems, philosophy and a number of illustrations paintings and works on paper. This book is vital to understanding the development of Martin's work as she very much controlled how and what she wanted the viewer to take from the work, especially after her 'return' to painting in 1973 until her death in 2004. Most, if not all, other writings on Martin's work after 1973 cite her own words which are gathered in this volume, in the interpretation and understanding of her mature paintings (1960-2002).
PASSAGE À L'ACTE . Dir. Martin Arnold. Vimeo. N.p., n.d. Web. 08 Feb. 2015. <https://vimeo.com/73302639>. Filmmaker Martin Arnold's Passage a L'Acte from 1993 in which he has taken a scene from "To Kill A Mockingbird" and slowed down the shot through repetition.
Piece Touchee . Dir. Martin Arnold. YouTube. YouTube, n.d. Web. 08 Feb. 2015. <https://www.youtube.com/watch?v=AnDagpv4kUk>. Filmmaker Martin Arnold's extension of 18 seconds of film footage into a 16 minute film via repetition and extension of the frames.
Ramachandran, V. S. The Tell-tale Brain: A Neuroscientist's Quest for What Makes Us Human. New York: W.W. Norton, 2011. Print. V.S. Ramachandran is director of the Center for Brain and Cognition and professor in the Psychology Department and Neurosciences Program at University of California, San Diego. As a researcher and writer he bridges the fields of academic research and explanation and application of the discoveries in these fields to the masses. This book is relevant to my explorations as a basic explanation of what we know about how the brain functions, and the recent discoveries made concerning these functions and the practical applications which have resulted from these discoveries. Relevant chapter "Seeing and Knowing" as well as Ramachandran's account in chapter one on his labs work with phantom limbs and development of the mirror box [p. 30-37].
Romanow, Joanna Kleinberg. Thread Lines. Vol. 118. New York: Drawing Center, 2014. Print. Drawing Papers. Catalogue to the exhibition "Thread Lines" at The Drawing Center, September 19- December 14, 2014 curated by and essay from Assistant Curator at The Drawing Center, Joanna Kleinberg Romanow. The works included in the exhibition spanned the period from the mid-1960s to the present. Key works in the exhibition relevant to my own use of thread and sewing in the journal pages I produced this Fall for me were Louise Bourgeois 'Spider' , Maria Lai 'Le parole prigionere' , Elaine Reichek 'Desire, Dread, Despair'  and 'Perhaps My Love' .
Rosen, Randy, Catherine Coleman. Brawer, Ellen G. Landau, Calvin Tomkins, Judith E. Stein, Ann-Sargent Wooster, Thomas McEvilley, Marcia Tucker, Ferris Olin, and Catherine C. Brawer. Making Their Mark: Women Artists Move into the Mainstream, 1970-85. New York: Abbeville, 1989. Print. Published in conjunction with the exhibition Making Their Mark: Women Artists Move into the Mainstream, 1970-85 which toured four American art museums between February and December 1989. I viewed the exhibition at the Cincinnati Art Museum in March 1989. Relevant to my research is the decryption of the general atmosphere of the art world in America during the development of Agnes Martin's work, as well as the 15 years after she had established herself as an important figure. Specific reference to Martin made by Landau [p.39]. Also relevant is the note 18. stating Louise Bourgeois relationship to Breton, Duchamp and the surrealists in Rosen's essay [p.23].
Russell, Ian Alden, and Jo-Ann Conklin. She: Picturing Women at the Turn of the 21st Century. Providence: Brown U, 2014. Print. Catalogue for the exhibition at David Winton Bell Gallery, Brown University October 20- December 21, 2014 with Foreward by gallery director and curator Jo-Ann Conklin and essay "Looking at Pictures of Women" by Ian Alden Russell. The art included in this exhibition spanned the period 1989-2013. Specific to my project the section of Russell's essay about 'Alternative Images of Beauty' is relevant to the discussion of self-image as represented in the exhibition by Yayoi Kusama's 'Self Portrait' from 2008 and Jenny Saville's 'Hybrid' from 1997.
Sacks, Oliver. "Speak, Memory." Speak, Memory by Oliver Sacks. The New York Review of Books, 21 Feb. 2013. Web. 09 Feb. 2015. <http://www.nybooks.com/articles/archives/2013/feb/21/speak-memory/>. Writer and neuroscientist Oliver Sacks discusses how our memory is malleable; often causing us to remember experiences we did not experience or have original ideas which are far from being original. Relevant discussion of truth as it relates to memory and experience.
Schachter, Steven C., and Lisa Francesca. Andermann. Epilepsy in Our World: Stories of Living with Seizures from around the World. Cambridge: Oxford UP, 2008. Print. Part of the Brainstorms series of books edited by Steven C. Schachter, MD, Director of Research Department of Neurology Beth Israel Deaconess Medical Center and Professor of Neurology Harvard Medical School, Boston, MA and various other Epilepsy specialists; this book focuses on the stories of people of various ages, genders, and socio-economic groups through out the world living with Epilepsy and how seizure disorder has impacted their lives in various ways. It is a helpful resource to understanding a wide range of perspectives and experiences beyond my own without directly interviewing others with Epilepsy, which I do not see as being a part of my project or research.
Schachter, Steven C. Epilepsy in Our View: Stories from Friends and Families of People Living with Epilepsy. Oxford: Oxford UP, 2008. Print. Part of the Brainstorms series of books edited by Steven C. Schachter, MD, Director of Research Department of Neurology Beth Israel Deaconess Medical Center and Professor of Neurology Harvard Medical School, Boston, MA; this book focuses on the stories of friends and families of people of various ages, genders, and socio-economic groups through out the world living with Epilepsy and how seizure disorder indirectly through the experience of friends and family members has impacted their lives in various ways. It is a helpful resource to understanding a wide range of perspectives and experiences beyond my own without directly interviewing others whose lives have been effected by the Epilepsy diagnosis of a friend or family member, which I do not see as being a part of my project or research.
Schachter, Steven C., Kaarkuzhali Babu. Krishnamurthy, and Deborah T. Combs-Cantrell, eds. Epilepsy in Our Lives: Women Living with Epilepsy. Oxford: Oxford UP, 2008. Print. Part of the Brainstorms series of books edited by Steven C. Schachter, MD, Director of Research Department of Neurology Beth Israel Deaconess Medical Center and Professor of Neurology Harvard Medical School, Boston, MA and various other Epilepsy specialists; this book focuses on the stories of women with Epilepsy and how seizure disorder has impacted their lives in various ways. It is a helpful resource to understanding perspectives and experiences beyond my own without directly interviewing other females with Epilepsy, which I do not see as being a part of my project or research.
Shklovskiĭ, Viktor. "Knight's Move: First Preface." Preface. Knight's Move. Trans. Richard Sheldon. Normal: Dalkey Archive, 2005. 3-4. Print. English translation of First Preface of 1923 Russian/Soviet literary theorist, writer and critic Viktor Shklovsky's collection of articles and essays on art of the late 1910s- early 1920s specifically during the Russian/Soviet Revolution. The preface explains the author's title of the book in reference to the terminology of the game of chess, specifically the rules governing the movement of the Knight, and the three levels of this reference: first, by the conventions governing art; second, by the constraints placed on artistic freedom; and third, in relation to the author's own biography within Russia at that time which led to his exile the previous year. This self-identification of the author with the Chess figure "Knight" is interesting in regards to my own exploration of the "Knight" in relation to Lewis Carroll's use of it as an avatar for himself in Through the Looking-Glass, the role the Knight plays in our lives, the various Knights we have encountered along our life paths, and the question of how we become Knight to our self.
Showalter, Elaine. Hystories: Hysterical Epidemics and Modern Media. New York: Columbia UP, 1997. Print. Elaine Showalter, American feminist literary critic exploration of hysteria, hysterical epidemics, also known as mass psychogenic illnesses or emotional contagions, and the response of American and Western European society and particularly academia to these experiences and notions of origins. Reading this after Rebecca Solnit's collection of essays "Men Explain Things to Me and Didi-Huberman's "Invention of Hysteria" solidified my stance to not make art using the grand mal seizure as the defining visual signifier of Epilepsy. If anything this book just left me feeling frustrated and trapped in the political atmosphere of the late 1980s and 1990s.
Shutter Interface. Dir. Paul Sharits. YouTube. YouTube, n.d. Web. 08 Feb. 2015. <https://www.youtube.com/watch?v=fcxGNAVasjU>. Film by Paul Sharits installed at Greene Naftali Gallery New York City. Example of his 'flicker films'.
Solnit, Rebecca. The Faraway Nearby. New York: Penguin, 2013. Print. Writer Rebecca Solnit on memory, the fragility of memory, transitions and passages, oppositions and the paradoxes formed by them. Her discussion of mirrors, the format of the books chapters as a mirror, and the threads connecting art and life make this book aesthetically relevant to the concepts I am exploring.
Solnit, Rebecca. A Field Guide to Getting Lost. New York: Penguin, 2005. Print. Writer Rebecca Solnit's wandering through life and the natural world. The Faraway Nearby is really the continuation of A Field Guide to Getting Lost, further developing concepts and the aesthetic she explores in this book. Most relevant chapter/section for me is Daisy Chains.
Solnit, Rebecca. Men Explain Things to Me. Chicago: Haymarket, 2014. Print. Writer, activist Rebecca Solnit's most recent collection of essays, most published previously either in print or online. While the ideas and thoughts behind much of what Solnit writes are similar to those of Elaine Showalter, the language and style she uses I found less frustrating because of the ways she confronts sexism and violence that is much more active than that of Showalter. Particular essays I found relevant to my project are "Grandmother Spider" and "Woolf's Darkness: Explaining the Inexplicable".
Spirituality| Art21 | PBS. Perf. Ann Hamilton. PBS/Art21, 2001. Spirituality| Art21 | PBS. PBS/Art21.org. Web. 07 Feb. 2015. <http://ec2-75-101-145-29.compute-1.amazonaws.com/art21/artists/ann-hamilton>. Segment featuring Ann Hamilton as she works on the piece 'ghost...border act' from Art21 "Spirituality" originally broadcast September 21, 2001.
Temkin, Owsei. The Falling Sickness; a History of Epilepsy from the Greeks to the Beginnings of Modern Neurology. Baltimore: Johns Hopkins, 1971. Print. This book is the definitive medical history text on the seizure disorder known as Epilepsy, it was originally written in 1945, and revised once by the author in 1971 and is to date the text cited by authors when discussing our medical as well as societal understanding of Epilepsy. Temkin was trained as a medical doctor at the University of Leipzig, and became director of the Johns Hopkins Institute of the History of Medicine. The idea that this text was originally written in the early 1940s, revised once thirty years later and still, another 40+ years remains the primary text about this disorder of the brain is for me an impetus to address the reasons behind this, if not necessarily directly but more abstractly, in my work.
Tomkins, Calvin. The Bride & the Bachelors; Five Masters of the Avant-garde. Expanded Edition ed. New York: Penguin, 1984. Print. This book originally published as a series of articles in The New Yorker by writer Calvin Tomkins was published in book form in 1965. This expanded edition includes a profile of the dancer-choreographer Merce Cunningham. The most pertinent portions of the book for me are the Introduction and the profile of Marcel Duchamp, yet the other four artists profiles are also relevant in so far as Tomkins examines the relationship to Duchamp and how the younger generation were able to approach their art based upon the path he had forged. The writings offer a level of insight into how Duchamp and his ideas became known to a broader audience, beyond the world of art and academia, in North America during the post-World War II era.
Tomkins, Calvin. "Jasper Johns." 2006. Lives of the Artists. New York: Henry Holt, 2008. 162-88. Print. Originally published as a Profile December 11, 2006 in The New Yorker. Although Tomkins has known and been friendly with Johns for over 40 years this is the first piece Johns has ever agreed to let Tomkins write about him. It profiles John career, looking back through the lens of the critical reception of his work in the early 2000s, which was not always as positive as it had been at previous points in his career. Useful for me from this is how Tomkins addresses the influence of and Johns artistic discourse with the ideas of Duchamp, ideas introduced to him via his friendships with John Cage, Merce Cunningham and Robert Rauschenberg, which continue in his work through the time of this articles publication. Tomkins cites the story of the dinner Johns, Rauschenberg, Duchamp and his wife Teeny shared and at which Duchamp's quote about why he "quit" painting was analogous to breaking a leg- not meaning to do it, it just happened, originated [p. 186].
Tomkins, Calvin. Marcel Duchamp: The Afternoon Interviews. Brooklyn: Badlands Unlimited, 2013. Print. This book serves as a companion to the books the writer Calvin Tomkins has written about the artist Marcel Duchamp  andThe Bride & the Bachelors . This book begins with an Introduction interview of the interviewer, Tomkins, with the publisher Paul Chan from 2012 recalling Tomkins' interviews with Duchamp in 1964. The remainder of the book is an edited version of the interviews Tomkins conducted. Many of the aphorisms for which Duchamp is known via Tomkins' biographies appear here in the context of the interviews. The insight offered by reading Duchamp's voice discuss his life and work as opposed to the voices of others speaking of Duchamp's life and work has proven valuable to the critical dissection of those other voices.
Tomkins, Calvin. Off the Wall: A Portrait of Robert Rauschenberg. New York: Picador, 2005. Print. Although a biography of the artist Robert Rauschenberg the influence of Duchamp is expressed throughout by the author, Calvin Tomkins, who also has written extensively about Duchamp; including Rauschenberg together with Duchamp in the 1965 "The Bride & the Bachelors". Specific references to Duchamp can be found in Chapters 12 [p.102], 13 [p115-116], 18 [p.175], 22 [p.218], 23 [p.238], 24 [entire chapter], and 26 [p.275]. A key sentence in the preface to the new edition is "Marcel Duchamp claimed that the creative act is bipolar, in that it requires not only the artist who sets it in motion but also the spectator who interprets it, and by doing so completes the process." Tomkins cites this as how he has approached writing about art, and thus lends insight to the other books I am referencing by him as well as the reach of Duchamp's influence beyond the visual arts.
Tzara, Tristan. "'Dada Manifesto 1918'" 1918. Art In Theory 1900-1990: An Anthology of Changing Ideas. Ed. Charles Harrison and Paul Wood. Oxford: Blackwell, 1992. 248-53. Print. Originally published in Dada, no. 3, 1918; reprinted in Sept Manifestes Dada, Paris, 1924; this extract taken from Motherwell, The Dada Painters and Poets. Key sentences: "I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air; I am against action; for continuous contradiction, for affirmation too, I am neither for nor against and I do not explain because I hate common sense." [p. 249]; "I am against systems, the most acceptable system is on principal to have none." [p. 251]; "The contradiction and unity of poles in a single toss can be the truth." [p. 252]. Consider how these apply in the work of Duchamp, Martin, Hamilton, and myself.
Varnedoe, Kirk. Pictures of Nothing: Abstract Art since Pollock. Princeton, NJ: Princeton UP, 2006. Print. This book complies in written form the A.W. Mellon Lectures in the Fine Arts delivered by Curator, Author, Critic, and Art Historian Kirk Varnedoe at the National Gallery of Art in Washington D.C. in the Spring of 2003. The information delivered here provides a historical and theoretical context for the development of abstract art primarily in the United States in the second half of the Twentieth Century which is pertinent to all three artists whose work I am looking at in relation to the work I am producing. Specific to my research the author discuss the influence of Duchamp in the fifth lecture 'Satire, Irony, and Abstract Art' and the sixth lecture 'Abstract Art Now' in which he briefly discusses the work of Agnes Martin, whom he "did no have time to talk about", yet does because her works "demonstrate again that the history of abstraction is not, as popularly conceived, a history of libertinism,...In fact, the opposite! Abstraction is to be seen more as a history of denials, of self-imposed rigors and purposely narrowed concentration....A better model for abstraction is perhaps the hypertext,..." [p.244]
Young, Neil. "Preface." Preface. Waging Heavy Peace: A Hippie Dream. New York: Blue Rider, 2012. N. pag. Print. The autobiography of Neil Young, who has Epilepsy since at least young adulthood. He describes in the book quite nonchalantly his experience with grand mal seizures in this book- he does not recall what happened, only waking up, being told he had a seizure, then sleeping for a long time afterward. However it is the sentence he uses for the Preface which I find most relatable: "When I was young, I never dreamed of this. I dreamed of colors and falling, among other things."