Bibliography: Abstraction

Keeping the wonder world filled is easier with lists. Better sill would be annotated list. Left to you to do.

I wonder about abstraction, mainly with regard to things like typing into a screen, or making camera pictures. Those things that wrap fully around themself.

  • Barr. Alfred H., Cubism and Abstract Art (New York: The Museum of Modern Art, 1936); reprinted edition (Cambridge, Massachusetts: The Belknap Press of Harvard University Press, 1986) Battcock, Gregory, ed., Minimal Art: A Critical Anthology (New York: E.P. Dutton, 1968)
  • Bois, Yve-Alain, Painting as Model (Cambridge, Massachusetts: The MIT Press, 1993)
  • Bois, Yve Alain, and Rosalind Krauss, Formless: A User’s Guide (New York: Zone Books, 1997) Blom, Ina, ‘The Logic of the Trailer’, Texte zur Kunst, no. 69 (March 2008)
  • Carlsund, Otto, and Theo van Doesburg, Jean Helion, Leon Tutundjian, Marcel Wantz, ‘The Basis of Concrete Painting’, Art Concret (April 1930)
  • Castro, Amilcar de, and Lygia Clark, Ferreira Cullar, Claudio Mello e Souza, Lygia Pape, Th eon Spanudis,
  • Franz Weissmann, Neo-Concrete Manifesto ( 1959)
  • Chave, Anna C., ‘Minimalism and the Rhetoric of Power’, Arts, vol. 64, no. 5 (january 1990) Clark, Lygia: Lygia Clark, ed. Guy Brett (Barcelona; Fundaci6 Antoni Ta pies, 1997)
  • Cooke, Lynne, ‘Palermo’s Porosity’, in Blinky Palermo: Retrospective 1964-1977 (New York: Dia Art Foundation/New Haven and London: Yale University Press, 2010)
  • Davies, Anthony, and Stephan Dillemuth, Jakob Jakobsen, ‘There is No Alternative: The Future is Self- Organized’, in Art and Its Institutions, ed. Nina Montrnann (London: Black Dog Publishing, 2006) Fer, Briony, On Abstract Art (New Haven and London: Yale University Press, 1997)
  • Fer, Briony, The Infinite Line: Re-Making Art after Modernism (New Haven: Yale University Press, 2004) Foster, Hal, The Return of the Real (Cambridge, Massachusetts: The MIT Press, 1996)
  • Gillick. Liam, Proxemics: Selected Writings (1988-2004), ed. Lionel Bovier (Zurich: JRP Ringier, 2006) Gillick. Liam: Aguirre, Peio, et al., Meaning Liam Gillick (Zurich: Kunsthalle Zurich/Cambridge, Massachusetts: The MIT Press. 2009)
  • Gillick, Liam, ‘Abstract’, in Microhistorias y macromundos, vol. 3 – Abstract Possible, ed. Maria Lind (Mexico City: lnstituto Nacional de Bellas Artes y Literatura, 2011)
  • Guilbaut, Serge, How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom and the Cold War (Chicago: University of Chicago Press, 1985)
  • Halley, Peter, ‘Abstraction and Culture’, tema celeste (Autumn 1991)
  • Holmes, Brian, ‘Artistic Autonomy and the Communication Society’ (2003), Unleashing the Collective Phantoms: Essays in Reverse lmagineering (Brooklyn: Autonomedia)
  • Houston.joe, Optic Nerve: Perceptual Art of the 1960s (London and New York: Merrell, 2007) Jameson, Fredric, ‘The End of Ternporality’, Critical Inquiry, vol. 29, no. 4 (Summer 2003)
  • Judd, Donald: Donald Judd, Complete Writings, 1959-1975 (Halifax, Nova Scotia: The Press of the Nova Scotia College of Art and Design/New York: New York University Press, 1975)
  • Kracauer, Siegfried, ‘The Mass Ornament’ (1927); trans. in New German Critique, no. 5 (Spring 1975) Lind, Maria, ed., Microhistorias y macromundos. vol. 3 – Abstract Possible, (Mexico City: Instituto Nacional de Bellas Artes y Literatura, 2011)
  • Lind, Maria: Selected Maria Lind Writing, ed. Brian Kuan Wood (Berlin and New York: Sternberg Press. 2010)
  • Lippard, Lucy R., ‘Eccentric Abstraction, Art International, vol. 10, no. 9 (November 1966) Liitticken, Sven, ‘Living With Abstraction’, Texte zur Kunst, no. 69 (March 2008)
  • Meyer, James R., Minima/ism. Art and Polemics in the Sixties (New Haven and London: Yale University Press, 2001)
  • Meyer, James R., ed., Minima/ism (London and New York: Phaidon Press, 2000)
  • Mondrian, Piet, ‘Abstract Art (Non-Subjective Art)’ (October 1941 ); reprinted in The New Art – The New Life: The Collected Writings of Piet Mondrian, ed. Harry Holtzman and Martin S James (New York: Da Capo Press, 1993)
  • Montmann, Nina, ‘Opacity: Current Considerations on Art Institutes and the Economy of Desire’ (including statements by the artists), in Art and Its Institutions, ed. Nina Montrnann (London: Black Dog Publishing, 2006)
  • Neue Abstraction, special issue of Kunstforum Uanuary/February 2011)
  • Newman, Barnett, ‘The Plasmic Image’ (1945); reprinted in Barnett Newman: Selected Writings and Interviews, ed. John P. O’Neill (Berkeley and Los Angeles: University of California Press, 1990) Nickas, Bob, Painting Abstraction: New Elements in Abstract Painting (London/New York: Phaidon, 2009) Oiticica, Helie, ‘Colour, Time and Structure’ (1960); reprinted in Painting at the Edge of the World, ed. Douglas Fogle (Minneapolis: Walker Art Center, 2001)
  • Oiticica, Helie: Helio Oiticica: The Body of Colour, ed. Ann Gallagher (London: Tate Publishing, 2007) Pape, Lygia: Lygia Pape: Magnetized Space (Madrid; Museo Nacional Centro de Arte Reina Sofia/Rio de Janeiro: Projeto Lygia Pape, 2011)
  • Paternosto, Cesar, ed., Abstraction: The Amerindian Paradigm (Brussels: Societe des Expositions du Palais des Beaux-Arts de Bruxelles, 2001)
  • Perez-Barreiro, Gabriel, ed., Geometry of Hope: Latin American Abstract Art from the Patricia Phelps de Cisneros Collection (Austin, Texas: Blanton Museum of Art/New York and Caracas: Fundaci6n Cisneros, 2007)
  • Perret, Mai-Thu, ‘The Crystal Frontier’, in Mai-Thu Perret: The Land of Crystal (Zurich: JRP Ringier. 2008) Oueloz, Catherine, ‘At the Crossroads of Disciplines: An Economy of Regard’, in Gunther Forg (Paris: Musee d’art moderne de la Ville de Paris, 1991)
  • Raunig, Gerald, ‘Instituent Practices: Fleeing, Instituting, Transforming in Art and Contemporary Critical Practice’, in Art and Contemporary Critical Practice: Reinventing Institutional C1itique, ed. Gerald Raunig and Gene Ray (London: May Fly Books, 2009)
  • Raymond, Yasmil, ed., Abstract Resistance (Minneapolis: Walker Art Center, 2010) Rider, Alistair, Carl Andre (London and New York: Phaidon Press, 2011)
  • Riley, Bridget: The Eye’s Mind: Bridget Riley, Collected Writings 1965-2009, ed. Robert Kudielka (London: Ridinghouse Editions/Thames & Hudson, 2009)
  • Rogoff, Irit, ‘Smuggling: An Embodied Criticality’ (2006), in Under Construction: Perspectives on Institutional Practice (Cologne: Verlag der Buchhandlung Walther Konig, 2006)
  • Roysdon, Emily, Ecstatic Resistance, poster work (2009); reprinted in Microhistorias y macromundos. vol. 3 – Abstract Possible, ed. Maria Lind (Mexico City: lnstituto Nacional de Bellas Artes y Literatura, 2011)
  • Schapiro, Meyer, ‘Nature of Abstract Art’, Marxist Quarterly Uanuary/February 1937)
  • Stepanova, Varvara, On Constructivism ( 1921), in Alexander Lavrentiev, Varvara Stepanova: The Complete Work, ed.John E. Bowlt (Cambridge, Massachusetts: The MIT Press, 1988)
  • Steyer!, Hito, ‘Documentary Uncertainty’, A Prior, no. 15 (2007); also Tuchman, Maurice, and Judi Freeman, eds, The Spiritual in Art: Abstract Painting 1890-1985 (Los Angeles: Los Angeles County Museum of Art/New York: Abbeville, 1986)
  • Varnedoe, Kirk, Pictures of Nothing: Abstract Art Since Pollock (Princeton: Princeton University Press, 2006)
  • Worringer, Wilhelm, Abstraction and Empathy: A Contribution to the Psychology of Style (1907) (Chicago: Ivan R. Dee, 1997)
  • Zelevansky, Lynn, ed., Beyond Geometry: Experiments in Form, 1940s-1970s (Los Angeles: LACMA/ Cambridge, Massachusetts: The MIT Press, 2004)
  • Zepke, Stephen, Art As Abstract Machine: Ontology and Aesthetics in Deleuze and Guattari (London and New York: Routledge, 2005)

I used to ask if it was possible to make abstract photographs … that was when I was still trying to follow the direction sheets packed into the film box. Now, I know that all pictures are abstractions — some just look less like the first grade imagery that came from the Kodakery.

We oscillate; abstraction, pictures, abstracted pictures… forms with shadows, without shadows. Our edges of the dictionary change, both from poor diction, or noisy duplication. Failures of detail aren’t always abstraction; neither is failure of abstraction a …[your answer goes here]