MFA in Visual Art Bibliography

 


Semester 04

Alonso, Rodrigo, and T J. Demos. Vitamin Ph: New Perspectives in Photography. London: Phaidon, 2006. Print.

Blanchot, Maurice. The Space of Literature. Lincoln: University of Nebraska Press, 1982. Print.

Butterfield, Jan. The Art of Light and Space. New York: Abbeville, 1996. Print.

Clark, Robin, and Michael Auping. Phenomenal: California Light, Space, Surface. Berkeley, Calif: University of California Press, 2011. Print.

Cotton, Charlotte, and A Klein. Words Without Pictures. New York: Aperture, 2010. Print.

Harrison, Charles, and Paul Wood. Art in Theory, 1900-2000: An Anthology of Changing Ideas. Malden, MA: Blackwell Pub, 2003. Print.

Neblette, C B, and Allen E. Murray. Photographic Lenses. Dobbs Ferry, N.Y: Morgan & Morgan, 1973. Print.

Renner, Eric. Pinhole Photography. Oxford: Focal, 1999. Print.

Silverman, Kaja. The Subject of Semiotics. New York: Oxford University Press, 1983. Print.

Spira, S F, Eaton S. Lothrop, and Jonathan B. Spira. The History of Photography As Seen Through the Spira Collection. New York, N.Y: Aperture, 2001. Print.

Steacy, Will, and Lyle Rexer. Photographs Not Taken. New York: Daylight, 2012. Print.

Weschler, Lawrence. Seeing Is Forgetting the Name of the Thing One Sees: Over Thirty Years of Conversations with Robert Irwin. Berkeley: University of California Press, 2008. Print.

Semester 03

Arnheim, Rudolf. Art and Visual Perception: A Psychology of the Creative Eye. Berkeley: University of California Press, 1974. Print.

Bacon, Francis, and David Sylvester. Interviews with Francis Bacon. London: Thames and Hudson, 1975. Print.

Frank, Manfred. The Philosophical Foundations of Early German Romanticism. Albany, NY: State University of New York Press, 2004. Internet resource.

Gablik, Suzi. Has Modernism Failed? New York, N.Y: Thames and Hudson, 1984. Print.

Krauss, Rosalind E. The Originality of the Avant-Garde and Other Modernist Myths. Cambridge, Mass: MIT Press, 1985. Print.

McIver, Lopes D. Sight and Sensibility. Oxford: Oxford University Press, 2005. Print.

Osborne, Richard, and Dan Sturgis. Art Theory for Beginners. Danbury, CT., 2009. Print.

Rexer, Lyle. The Edge of Vision: The Rise of Abstraction in Photography. New York: Aperture, 2009. Print.

Schama, Simon. Landscape and Memory. New York: A.A. Knopf, 1995. Print.

Stevenson, Jay. The Complete Idiot's Guide to Philosophy. Indianapolis, IN: Alpha Books, 2002. Print.

Timms, Peter. What's Wrong with Contemporary Art? Sydney: University of New South Wales Press, 2004. Print.

Welling, James, and Rosalyn Deutsche. James Welling: Abstract. Brussels: Palais des beaux-arts, 2002. Print.

Wells, Liz. The Photography Reader. London: Routledge, 2003. Print.

Semester 02

Anderson, Paul. The Fine Art of Photography. Philadelphia: Lippincott, 1919. Print.

Bourdieu, Pierre. Distinction: A Social Critique of the Judgment of Taste. Cambridge, Mass: Harvard University Press, 1984. Print.

Bourdieu, Pierre. Photography, a Middle-Brow Art. Stanford, Calif: Stanford University Press, 1990. Print.

Bunnell, Peter C. A Photographic Vision: Pictorial Photography, 1889-1923. Santa Barbara: P. Smith, 1980. Print.

Enwezor, Okwui. Archive Fever: Uses of the Document in Contemporary Art. New York, N.Y: International Center of Photography, 2008. Print.

Flusser, Vilém. Towards a Philosophy of Photography. London: Reaktion, 2000. Print.

Merewether, Charles. The Archive: Documents of Contemporary Art. London: Whitechapel [u.a., 2006. Print.

Rothschild, Edward F. The Meaning of Unintelligibility in Modern Art. Chicago: The University of Chicago Press, 1934. Print.

Sontag, Susan. On Photography. New York: Farrar, Straus and Giroux, 1977. Print.

Wall, Jeff. "Marks of Indifference: Aspects of Photography in, or as Conceptual Art" from Jeff Wall: Selected Essays and Interviews. New York: Museum of Modern Art, 2007. Print.

Semester 01

Alberro, Alexander, and Sabeth Buchmann. Art After Conceptual Art. Generali Foundation collection series. Cambridge, Mass: MIT Press, 2006. Print.

Alonso, Rodrigo, and T J. Demos. Vitamin Ph: New Perspectives in Photography. London: Phaidon, 2006. Print.

Barnet, Sylvan. A Short Guide to Writing About Art. New York: Longman, 2000. Print.

Barthes, Roland. Camera Lucida: Reflections on Photography. New York: Hill and Wang, 1981. Print.

Benjamin, Walter, and J A. Underwood. The Work of Art in the Age of Mechanical Reproduction. Penguin great ideas. London: Penguin, 2008. Print.

Costello, Diarmuid, and Margaret Iversen. Photography After Conceptual Art. Chichester: Wiley-Blackwell, 2010. Print.

Cotton, Charlotte. The Photograph As Contemporary Art. World of art. London ; New York, NY: Thames & Hudson, 2004. Print.

Crary, Jonathan. Suspensions of Perception: Attention, Spectacle, and Modern Culture. Cambridge, Mass: MIT Press, 1999. Print.

Frieling, Rudolf, and Dieter Daniels. Media Art Net 1. Wien: Springer, 2003. Print.

Gale, Colin. Etching and Photopolymer Intaglio Techniques. London: A. & C Black, 2006. Print.

Osborne, Peter. Conceptual Art. Themes and Movements. London: Phaidon, 2002. Print.

Pinney, Christopher, and Nicolas Peterson. Photography's Other Histories. Durham: Duke University Press, 2003. Print.

Stieglitz, Alfred, Simone Philippi, Ute Kieseyer, and Pam Roberts. Alfred Stieglitz, Camera Work: The Complete Photographs 1903-1917. Hong Kong: Taschen, 2008. Print.

Welden, Dan, and Pauline Muir. Printmaking in the Sun: An Artist's Guide to Making Professional-Quality Prints Using the Solarplate Method. New York: Watson-Guptill Publications, 2001. Print.

Welling, James, and Rosalyn Deutsche. James Welling: Abstract. Brussels: Palais des beaux-arts, 2002. Print.

 

Preparation

Barthes, Roland, From Text to Work, in Textual Strategies: Perspectives in Post-Structuralist Criticism, ed. Josue V. Harari. Ithaca: Cornell UP, 1979, 73-81.

Barthes, Roland, and Annette Lavers. Mythologies. New York: Hill and Wang, 1972. Print.

Berger, John. Ways of Seeing. London: British Broadcasting Corporation, 1972. Print.