Some key texts, essays, publications and online sources being used as PhD research material.


Curating / Gallery & Museum Practice

Altshuler, B. (1994) The Avant-Garde in Exhibition: New Art in the 20th Century, Berkeley and Los Angeles: University of California Press.

Barker, E. (Ed.). (1999). Contemporary Cultures of Display. New Haven: Yale University Press.

Bennett, T. (1995). The Birth of the Museum, London: Routledge.

Billing, J. & Lind, M. (Eds.). (2007). Taking the Matter into Common Hands: On Contemporary Art and Collaboration, London: Black Dog.

Birnbaum, D. (2007). Chronology. Sternberg Press.

Bishop, C. (2005). Installation Art: A Critical History. London: Tate.

Brennan, M. (2010). Curating Consciousness. Cambridge, Massachusetts: MIT Press.

Burgess, J. (et al). (2001). City Racing: the life and times of an artist-run gallery 1988-1998, London: Black Dog Publishing.

Cooke, B., Martin, S. (2001). Curating New Media, Baltic.

Crimp, D. (1997). On the Museum’s Ruins, Cambridge, Massachusetts: MIT Press.

Derieux, F. (Ed.). (2007). Harald Szeemann: Individual Methodology. JRP Ringier.

Doherty, C. (Ed). (2004). Contemporary Art: from studio to situation, London: Black Dog.

Doherty, C. (2009). (Ed.). Situation: Documents of Contemporary Art, London: Whitechapel and MIT Press.

Duncan, C. (1995). Civilizing Rituals: Inside Public Art Museums, London: Routledge.

Elderfield, J. (1994). Museum of Modern Art at Mid-Century: At Home and Abroad, ‘Studies in Modern Art’ Series no.4, New York: MOMA.

Elderfield, J. (1995). Museum of Modern Art at Mid-Century: Continuity and Change, ‘Studies in Modern Art’ Series no.5, New York: MOMA.

Foster, H. (et al.). (2004). Art Since 1900: Modernism, Antimodernism, Postmodernism, London: Thames & Hudson.

Foster, H. (1985). Recodings, San Francisco: Bay Press.

Foucault, M. (1980). Power/Knowledge: Selected Interviews and Other Writings, 1972-77, New York: Harvester.

Fraser, A. (2005).  Museum Highlights: the writings of Andrea Fraser, Cambridge, Massachusetts: MIT Press.

Graham & Cook (Eds.). (2010). Rethinking Curating: Art After New Media. Cambridge, Massachusetts: MIT Press.

Greenberg, R., Ferguson, B.W. and Nairne, S. (Eds.). (1999). Thinking About Exhibitions. London: Routledge.

Gupta, A. (Ed.). (2008). Death of the Curator, Art Lies, A Contemporary Art Quarterly; No.59.

Hiller. S. & Martin, S. (Ed.). (2000). The Producers: Contemporary Curators in Conversation, Gateshead: Baltic.

Hooper-Greenhill, E. (1997). Museums and the Shaping of Knowledge, London: Routledge.

Klonk, C. (2009). Spaces of Experience: Art Gallery Interiors from 1800 to 2000, New Haven: Yale University Press.

Kwon, M. (2004). One Place After Another: Site-Specific Art and Locational Identity. Cambridge, Massachusetts: MIT Press.

McShine, K. (1999). The Museum as Muse: Artists Reflect. New York: MOMA.

Malraux, A. (1967). Museum Without Walls, New York: Doubleday.

Marincola, P. (Ed.). (2006). What Makes A Great Exhibition? (Questions of Practice). Philadelphia Exhibitions Initiative.

Montmann, N. (Ed.). (2006). Art and Its Institutions: Current Conflicts, Critique and Collaborations, London: Black Dog.

Muller, J-H. (2005). Harald Szeemann: Exhibition Maker, Ostfildern-Ruit: Hatje Cantz.

Obrist, H-U. (2005). Do It, Frankfurt am Main: Revolver and eflux.

Obrist, H-U. (Ed.) (2006). Interviews vol.1, Charta.

Obrist, H-U. (Ed.) (2009). A Brief History of Curating. JRP Ringier.

O’Doherty, B. (1976). Inside the White Cube (The Ideology of the Gallery Space). University of California Press

O’Neill, P. (Ed.). (2007). Curating Subjects. London: Open Editions.

O’Neill, P. & Wilson (Eds). (2009). Curating and the Educational Turn. London: Open Editions.

Pearce, S. (1992). Museums, Objects and Collections: A Cultural Study, Leicester: Leicester University Press.

Putnam, J. (2009). Art and Artifact: The Museum as Medium. London: Thames & Hudson.

Reiss, J. H. (1999).  From Margin to Center: the spaces of installation art, Cambridge, Massachusetts: MIT Press.

Rosenthal, M. (2003). Understanding Installation Art, Munich: Prestel.

Rugg, J. & Sedgwick, M. (Eds.). (2007). Issues in Curating Contemporary Art & Performance. Intellect.

Schubert, K. (2009). The Curator’s Egg: The Evolution of the Museum Concept from the French Revolution to the Present Day, London: Ridinghouse.

Serota, N. (1996). Experience or Interpretation: The Dilemma of Museums of Modern Art, London: Thames & Hudson.

Sherman, D. & Rogoff, I. (1994). Museum Culture: Histories, Discourses, Spectacles, London: Routledge.

Siegelaub, S. (1969). On Exhibitions and the World at Large, Studio International. 917.

Staniszewski, M-A. (1998). The Power of Display: A History of Exhibition Installation, at MoMA Cambridge, Massachusetts: MIT Press.

Thea, C. (Ed.). (2001). Interviews with 10 International Curators, New York: Apexart.

Vergo, P. (Ed.). (1989). The New Museology, London: Reaktion.

Wade, G. (Ed.). (2000). Curating in the 21st Century. The New Art Gallery Walsall & University of Wolverhampton.

Context / Method / Practice / Theory

Adorno, T. (1991). The Culture Industry, Routledge, London.

Augé, M. (1995 / 2006). Non-Places (Introduction to an Anthropology of Supermodernity). London: Verso. (Translated by John Howe, 1995. Reprinted 2006)

Bangma, A. (Ed.). (2005). Looking, Encountering, Staging. Piet Zwart Institute & Revolver

Barratt, E. & Bolt, B. (Eds.). (2010). Practice As Research: Approaches to Creative Arts Enquiry. London: I.B. Taurus.

Baudrillard, J. (1996 / 2005). The System of Objects. London: Verso. (First published by Editions Gallimard, 1968. Translated James Benedict, 1996, 2005)

Benjamin, W. (1999). Illuminations. Pimlico. (Originally published in German 1955, English translation 1968)

Benjamin, W. (1999) The Work of Art in the Age of Mechanical Reproduction, in Illuminations, London: Pimilico, pp. 211-244.

Bergson, H. (1988). Matter & Memory. MIT Press. (Translation from fifth edition of Matière et Mémoire, 1908. Translation by N.M. Paul & W.S. Palmer).

Bourdieu, P. (1984 / 2010). Distinction (A Social Critique of the Judgement of Taste). Routledge, (French edition 1979. English translation 1984, Revised edition 2010).

Bourriaud, N. (2005). Postproduction. Culture as Screenplay: How Art Reprograms the World. New York: Lukas & Sternberg Press.

Bourriaud, N. (2002). Relational Aesthetics, (Translation Simon Pleasance & Fronza Woods with the participation of Mathieu Copeland), Dijon: Les Presses du reel.

Bovier, L.  & Stroun, F. (Ed.). (2004). Thomas Lawson: Mining for Gold. Selected Writings (1979-1996). JRP Ringier.

Buskirk, M. (2005). The Contingent Object of Contemporary Art. MIT Press.

Debord, G. (1994). The Society of the Spectacle, Cambridge, MIT.

Evans, D. (Ed.). (2009). Appropriation (Documents of Contemporary Art). London: Whitechapel / The MIT Press.

Foucault, M. (2007). The Order of Things. London: Routledge. (First published in France in 1966, Paris: Editions Gallimard. English translation and edition published in UK in 1970 by London: Tavistock and in 1989 by London: Routledge).

Gray, C. and Malins, J. (2004). Visualising Research: A Guide to the Research Process in Art and Design, Ashgate.

Lawler, L. Arrangements of Pictures. October: the First Decade 1976-86. 1988

McClean, D. & Schubert, K. (Eds.). (2002). Dear Images: Art, Copyright & Culture. ICA & Ridinghouse.

Miller, P. D.  (Ed.). (2008). Sound Unbound (Sampling Digital Music & Culture). MIT Press.

Nickas, B. (2008). Theft is Vision (Collected Writings & Interviews).Documents Series, JRP Ringier.

Price, S. (2002). Dispersion, Seth Price

Schwartz, H. (1996). The Culture of the Copy (Striking Likenesses, Unreasonable Facsimilies). New York: Zone Books.

Sennett, R. (2008). The Craftsman, Allen Lane, London.

Sontag, S. (Ed.). (1993). A Roland Barthes Reader. London: Vintage. (First published in 1982 by Farrar, Straus & Giroux).

Staple, P. (2008). Dispersion. London: ICA Publications.

Sullivan, G. (2004). Art Practice As Research: Inquiry in the Visual Arts.


Afterall Journal:

An Endless Supply:

Art in America:


Art & Education:


Art Monthly:

The Art Newspaper:

Art Review:


Farquharson, A. (2005). Is The Pen Still Mightier, Frieze Magazine, June issue:


The Exhibitionist:

Flash Art: &:

Frieze: &:

JRP Ringier:


New York Magazine:

New York Times:

Obrist, H-U. (2008). Edge: A Rule Of The Game: A Talk With Hans Ulrich Obrist, Edge Foundation Inc:

Occasional Papers:

Scribd: &:

Shieke, S. (2009). Objects of Study or Commodification of Knowledge? Remarks on Artistic Research, Arts and Research:

Strauss, D-L. (2006). The Bias of the World: Curating After Szeemann & Hopps, The Brooklyn Rail: