Vous êtes sur la page 1sur 13

BIBLIOGRAFA (ARTE Y TEORIA DE LA POSMODERNIDAD) Juan Martn Prada

Adorno, T. W., "Valery Proust museum" en Prisms, London, Neville Spearman, 1967. ____________, Teora Esttica, Taurus, Madrid 1977 ____________, Benjamins Einbahnstrasse, en ber Walter Benjamin, Suhrkamp, Frankfurt, 1988. Albrecht, C. M., et al., eds. The Sociology of Art and literature, Duckworth, Londres, 1970. Althusser L , "Ideology and Ideological State Apparatuses" en Lenin and Philosophy and Other essays, Monthly Review, New York, 1971. ____________, La revolucin terica de Marx, , Siglo XXI de Argentina Editores, S.A., Buenos Aires 1969. Arendt, H., Prface Walter Benjamin, Illuminations, New York 1969, p.45 Asher, M., Writings 1973-1983 on Works 1969-1979, ed. Benjamin Buchloch, Benjamin H.D; Guibaut, Serge y Sol, David (ed.) Modernism and modernity, Nova Scotia College of Art and Design, Halifax 1983 Baldwin, C. R., : Haacke: Refus in Cologne, Art in america, Noviembre-Diciembre de 1974. Ballesteros, J., Postmodernidad: Decadencia o resistencia, Tecnos, Madrid 1989 Barrett, M., et. al. eds. Ideology and Cultural Production, Croom Helm, Londres, 1979. Barthes, R., Mythologies, Jonathan Cape, Londres 1972 _________, De la obra al texto, en El susurro del Lenguaje, Paids Comunicacin, Barcelona 1994. _________,"La mitologa hoy", en El susurro del Lenguaje, Paids Comunicacin, Barcelona 1994. _________,"La muerte del autor" en El susurro del lenguaje, Paids Comunicacin, Barcelona 1994 _________,"Change the Object itself" y "Writers, intellectuals, Teachers, en la edicin de Stephen Heath Image-Music-Text, Hill and Wang, New York 1979. Baudrillard, J., Fetishism and Ideology, en For a Critique of the Political Economy of the Sign, trans. Charles Levin, Telos Press, St. Louis, 1981. _________, La transparencia del mal, Ed. Anagrama, Barcelona 1991 _________, La muerte del sujeto, en El Europeo, Abril 1992 _________, Amrica, Anagrama, Barcelona 1987 _________, Cultura y Simulacro, Kairs, Madrid 1987 _________, Las estrategias fatales, Anagrama, Barcelona 1992 _________, "The art Auction" in For a Critique of the Political Economy of the Sign, St. Louis, 1981. _________,"The Precession of Simulacra", en Simulations, NY. 1983, p. 11. Reimpreso en Art after Modernism. Rethinking Representation Brian Willis y Marcia Tucker (eds.), The New Museum of Contemporary Art, NY. 1984. Bauman, Z., Intimations of Posmodernity, , Routledge, Londres y Nueva York 1992 Bell, D., Las contradicciones culturales del capitalismo, Alianza Editorial, Madrid 1977. _______, The End of Ideology, Free Press III, Glencoe, 1960. Benjamin W., "ber einige Motive bei Baudelaire" en sus Iluminationem, Ausgewhlte Schriften (I) ed. S. Unseld, Francfort, 1961. _______, El autor como Productor en Tentativas sobre Brecht, en Discursos interrumpidos, Taurus, Madrid 1982. _______, La obra de arte en la poca de su reproductibilidad tcnica, (Versin inglesa: The Work of Art in the Age of Mechanical Reproduction, en Illuminations, trans. Harry Zohn, Schocken Books, N.Y., 1968) _______,Angelus Novus, Editorial distribuidora Hispano Americana, S.A. EDHASA, Barcelona, 1971. _______, Tesis de la filosofa de la historia en Angelus Novus, Editorial distribuidora Hispano Americana, , S.A. EDHASA, Barcelona, 1971. Benveniste, E., Principles of General Linguistics, en Problmes de linguistique gnrale, Gallimard, Paris, 1966. Berger, J., The historical function of the Museum, en The Moment of Cubism and Other Essays, New York, Pantheon, 1969. Berger, R., Arte y comunicacin, Gustavo Gili, Barcelona, 1976 Beriain, J., Representaciones colectivas y proyecto de Modernidad, Antropos, Madrid 1991 Bernard M. J., Cornell: The Enchanted Wanderer, Art in America, Septiembre-Octubre de 1973. Bernheimer, C., Fetishism and allegory in Bouvard et Pchuchet en Flaubert and Postmodernism, Naomi Schor y Henry F.

Majewsji, eds., University of Nebraska Press, 1984. Bialostocki J. "Iconologia" en Enciclopedia Universale dell' Arte, Sadea, Florencia, 1971. Blaug, M., ed. The Economics of the Arts, Westview Press, Boulder, Colo., 1976. Bloch, E., et al., Aesthetics and Politics, New Left Books, Londres, 1977. Bloom, B. , "Het Genot Van Het Detail, Jan Simons. Barbara Bloom Ovef Haar Werk" en Talking back to the media, Stedelijk Museum, Amsterdam ,1985. Bodei, R., "Pensar el futuro", en Pensar el presente, F. Jarauta (Ed). Cuadernos del Crculo de Bellas Artes de Madrid, 1989 Bois, Y. A., Crow, Thomas; Foster, Hal; Joselit, David; Suiseman, Elizabeth y Riley, Bob; Endgame, Reference and Simulation in Recent Painting and Sculpture, MIT Press, ICA Boston 1986. Bolton, R., The modern spectator and the postmodern participant, Photo Communiqu, 8: 2, 1986. _________, Culture Wars: Documents from the Recent Controversies in the Arts, New Press, 1994. Boottmore, T.B., La sociologa como crtica social, Pennsula, Barcelona 1976 Bourdieu, P., The aristocracy of culture, Media, Culture and Society, 2:3, 1980 _________, The Production of Belief: Contribution to an Economy of Simbolic Goods, en Media, Culture, and Society 2, n0. 3. Julio 1980, p. 261-94. _________, Distinction: A Social Critique of the Judgement of Taste, (trans. Richard Nice), Harvard University Press, Cambridge, Mass. 1984. _________, Outline of a theory of Practice, trans. Richard Nice, Cambridge University Press, Cambridge, Mass. 1977. _________, y Darbel, Alain, Lamour de lart: Les muses dart europens et leur public, Minuit, Paris, 1969. (Traduccin inglesa The Love of Art: European Art and Their Public, trans. Caroline Beatie and Nick Merriman, Stanford University Press, Stanford, 1990.) _________,"Disposition esthtique et comptence artistique" en Les Temps Modernes, n 295, 1971. Rainer Bourgemeister The Eagle from Oligocene to the Present, October 42, Otoo, 1987 Brea, J.L., "Fake as more", Sur Express, Julio 1987. _________,Las auras fras, Anagrama, Barcelona, Madrid 1991 _________,Nuevas estrategias alegricas, Tecnos, Madrid 1992 Brecht, B., "Der Dreigroschenproze" (1931) en sus Schriften zur Literatur und Kunst editados por W. Hecht, tomo I, Berlin/Weimar, 1966. Bredekamp, H., Autonomie und Askese, Autonomie der Kunst. Zur Genese und Kritik einer bgerlichen Kategorie , Ed. Suhrkamp, 592, Francfort, 1972. Briggs A., W. Morris, New York from nowhere, 1890, en William Morris, selected writngs, and Designs, ed. Baltimore 1962 Brix, M., y Mayer, B., (eds.) Walker Evans America, Schimer/Mosel, 1991. Bronson A.A., y Dale, P.,(eds.) Museums by artists, Art Metropole, Toronto, 1983. Broodthaers, M. , Traduccin del texto "Section des figures (Der Adler vom Oligozn bis heute), Dusseldorf, stdtische, Kunsthalle, 16 de mayo-9 de julio, vol.II. 1972 Brooks, R., "From the night of consumerism to the dawn of simulation", Artforum, Febrero 1985. Brown, D., Braco Dimitrijevic, Waddington Galleries, London 1981. Bryson, N., Vision and Painting: The logic of the gaze , Yale University Press, New Haven, 1983. Buchloh, B. H. D., The Museum Fictions of Marcel Broodthaers Museums by Artists, editado por AA Bronson y Peggy Gale, Art Metropole, Toronto,1983 _________, Marcel Broodthaers: Allegories of the Avant-Garde, Art Forum, 18, no. 9, Mayo 1980, pp. 52-59. _________, Hans Haacke: Memory and Instrumental Reason, Art in America, Febrero 1988, p. 97 _________, Allegorical Prodedures: Appropriation and Montage in Contemporary Art, Artforum 21, no. 1. Septiembre de 1982, pp43-56. _________, Figures of Authority, Ciphers of Regression: Notes on the Return of Representation in European Painting, October 16, Spring 1981. _________, Parody and Appropriation in Frances Picabia, Pop, and Polke, Arforum, 20, no. 7, Marzo 1982, pp. 28-34. Buci-Glucksman, C., Hacia una esttica de las complejidades, en Otra mirada sobre la poca, Francisco Jarauta (ed.) Coleccin de arquitectura, Murcia 1994 Buck, R. T., Kosuth, The Play of the Unmentionable, Thames and Hudson, London 1992. Buren, D., The function of an exhibition, Studio International, 186: 961, 1973, p. 216. Buren, D., "Function of the Museum" and "Function of the studio", en Museums by Artits, ed. AA. Bronson and Pegy Gale, Art Metropole, Toronto 1983. _________,Five Texts, Museum of Modern Art, Oxford, 1973.

_________,"Critical Limits" en Five Texts, New York, 1973. Brger, P.,(ed.) Seminar: Literatur und Kunstsoziologie, Suhrkamp Taschenbuch Wissenschaft, 245, Frankfurt, 1978. _________, Teora de la Vanguardia, Pennsula, Barcelona, 1987. Burgin, V., The End of Art Theory: Criticism and Post-Modernity, Humanities Press, Atlantic Highlands, N.J., 1986. Burham, J. , Framing and being framed, Halifax, The Press of the Nova Scotia College of Art and Design, 1977. Burt, R., The Administration of Aesthetics: Censorship, Political Criticism, and the Public Sphere (Cultural Politics, V. 7), University of Minnesota Press, 1994. Buskirk, M., Appropiation Under the Gun, Art in America, verano de 1991. _________, "Commodification as Censor: Copyright and Fair Use", October, Spring 1992, pp. 83-109. Calabrese, O., Como se lee una obra de arte, Ctedra, Madrid, 1993 Calinescu, M., Cinco Caras de la Modernidad, Tecnos, Madrid 1989 Callinicos A., "Postmodernism, Post-Structuralism, Post-Marxism? en Theory, Culture & Society, vol. 2, nm 2, 1985. Traduccin castellana en la edicin de J. Pic Modernidad y Posmodernidad" Alianza, Madrid, 1994. Cameron, D., Entrevista con Sherrie Levine, Sur Express, Julio 1987, pp. 46-48. _________, Ghosts of Future, en Braco Dimitrijevic, Slow as light, Fast as Thought, Museum moderner Kunst Stiftung Ludwig Wien, Mayo-Junio 1994, p. 49. _________, Cocido Crudo, cat. exp. Museo Nacional Centro de Arte Reina Sofa, Madrid 1995. Carlin, J., "Culture Vultures: Artistic Appropriation and Intelectual Property Law" Columbia-VLA Journal of Law and the Arts, 1988. Carr, C., "What is Political Art...Now?, Village Voice 30, 42, Oct. 15, 1985. Carrier, D., Art and Its Market, en Theories of Contemporary Art, ed. Richard Hertz, Englewood Cliffs, Prentice Hall, N.J. 1985, 193-206. Castoradis, C., La institucin mgica de la sociedad (1975), Barcelona (2 vols), 1983 y 1989 Celant, G., Giulio Paolini, New York, 1972 Certeau, M., Heterologies: Discourse on the Other, Minneapolis, Univ. of Minmesota Press, 1986. Chipp, H. B., Theories of Modern art: a source Book by artists and critcis, Berkeley y los Angeles. 1969. p. 288 Christopher P., "Homage to a Phantom Avant-Garde: The Situationist International, en Art in America, Octubre de 1989 Clayton, S., y Curling, J., On Authorship, Screen 20, no. 1, Spring 1979, 35-61. Clifford, J., On collecting Art and Culture, en Out There: Marginalization and Contemporary Cultures, New York, The New Museum of Contemporary Art y Cambridge, Mass. MIT Press, 1990. _________, On Ethnographic Surrealism, Comparative Studies in Society and History 23, 1981, 539-69. _________,The Predicament of Culture, Harvard University Press, Cambridge, Mass. 1988. Clot, M., Dos palabras sobre el amor (una idea del desatre), en Pepe Espali, Cat. exposicin , Museo Nacional Centro de Arte Reina Sofa, Madrid 1994. Cone, M., " Sherrie levine, Barkersville and Watson", en Flash Art Febrero-Marzo 1986, n126, p. 50. Conforti, M., "Hoving's Legacy Reconsidered" (Special Section: Museum Blockbusters), Art in America, Junio de 1986, p. 19. Cork, R., Report from London, Art in America Febrero 1981, p. 43. Corrin, L., G., Mining the Museum: Artists look at museums, Museums look at Themselves, Catlogo de la Instalacin de Fred Wilson en la Maryland Historical Society, Ed Lisa G. Corrin, The Contemporary, Baltimore en cooperacin con The New Press, New York, 1994. Cotter, H., "Dislocating the Modern", Art in America, Enero 1992, p. 100. Cramer, S., (ed.), Postmodernism: A consideration of the Appropiation of Aboriginal Imagery, Institute of Modern Art, Brisbane, 1989. Craven, D., Hans Haacke and the Aesthetics of Legitimation, Parachute, no. 23, Spring 1981, 32-37. Crimp, D., The Boys in My Bedroom, Art in America, febrero de 1990, p. 47-53. _________,On the Museum's ruins, MIT Press, Cambridge, Massachusetts, 1993 _________,"Pictures, October 8, primavera 1979. _________,"The Boys in my Bedroom" Art in America 78, n2, Feb 1990, pp. 47-49 _________,"Appropriating Appropriation" en On the Museum's Ruins, The MIT Press, Cambridge, Massachsetts 1993 p. 127. (Este artculo fue originalmente escrito para el catlogo Image Scavengers: painting, en el Institute of Contemporary Art, University of Pensilvania, 8 de Diciembre de 1982 al 30 de enero de 1983. _________, The Photographic Activity of Post-Modernism, October, nm. 15, Diciembre 1980, pp. 91-101. _________, y Krauss, R., "A conversation with Hans Haacke" October 30, Fall 1984. Crow, G., The use of the concept of strategy in recent sociological literature. Sociology, 23, 1989.

Crow, T., Modernism and Mass Culture in the Visual Arts, en Modernism and Modernity, ed. Benjamin Buchloh, Serge Guibaut y David Solkin, The Press of Nova Scotia College of Art and Design, 1983, pp. 215-64. Curtius, E. R., Europsche Literatur und Lateinisches Mittelater, Bern 1948. Danto, A.C., Past Masters and Postmoderns: Cindy Sherman's History Portraits en Cyndy Sherman, History portraits, Schimer Art Books. Mosel Verlag, Munich 1991. Darbel Alain y Bourdieu Pierre , The Love of art, Stanford University Press, Stanford 1992. Darcel, G. , Les Muses , Les Arts et les artistes pendant la Commine, Gazette des Beaux Arts, vol 5, 1872. Daspre, A., A propos de lideologie de la littrature en La Pens, nm. 154, 1970, pp. 81 a 83. 1970 De Angelis, E., en Arte e ideologa de la alta burguesa: Mann, Musil, Kafka, Brecht (1 ed. italiana de 1971), Akal Madrid 1977 De Leeuw, R., y Beer, E., eds. Lexposition imaginarie: The Art of exhibiting in the eigthies, Gravenhage, SDU Rijksdienst Beeldende Kunst, 1989. De Paz, A., La crtica social del arte, Editorial Gustavo Gili, Barcelona 1979. De Salvo, D., Past Imperfect: A Museum Looks at Itself, Southampton, New York, The Parrish Art Museum, 1993. Debord, G. , Society of the Spectacle, Black and Rede, Detroit 1970 Deitcher, D., "The Best of Both Worlds", in The Best of Both Worlds: Sherrie Levine's "After Walker Evans" Evanston, II.: Mary and Leigh Block Gallery, Northwestern University, 1985. Deleuze, G., Repeticin y Diferencia, Anagrama, Barcelona, 1991. _____________, y Guattari, F., El Antiedipo, Barral Editores, Barcelona 1974 Della Volpe G., Crtica del Gusto, Editorial Seix barral, S.A. Barcelona 1966 Derrida, J., La verit en peinture, Flammarion Paris, 1978. _________, Of Grammatology, Hopkins University Press, Baltimore 1976. _________,"Signature, Event, Context en Marges de la philosophie, Pars, 1972. _________, Restitutions de la vrit en peinture, en La vrit en peinture, Flammarion, Paris, 1978. _________, The violence of the letter, en Of Grammatology, Trans Gayatri Chakravorty Spivak, Johns Hopkins University Press, Baltimore, 1976. _________, Tympan y Signature Event Context, en Margins of Philosophy, trans. Alan Bass, University of Chicago Press, Chicago, 1982. _________, Speech and phenomena, Evanston, Northwestern University Press, 1973. _________, The Truth in Painting, trad. Geoll Bennington y Ian McLead, Chicago, The University of Chicago Press, 1987. Desne, R., Sur la fonction idologique de la literature, en La Pense, nm. 154, 1970, pp. 75-80. Detail, H., Jan Simons. Barbara Bloom Ovef Haar Werk" en Talking back to the media, Amsterdam: Stedelijk Museum, 1985. Devenish, D. C., Labelling in museum display, International Journal of Museum Management and curatorship, 9: 1, 1990, pp. 63-72. Dewey, J., El arte como experiencia, Fondo de Cultura Econmica, Mxico D.F. 1953. Dews, P., The nouvelle Philosophie and Foucault, Economy and Society, 8, 2, 1979. Dietcher, D., Sherrie Levine, Rooseum, NY 1992. DiMaggio P., y Useem, M., Social Class and Arts Consumtion, Theory and Society 5, no. 2, Marzo 1978, 141-61. Dimitrijevic, B., Art Tractatus Posthistoricus, Edition Cacic, Tbingen 1976. Donath,A., Psychologie des Kunstsammelns, Berlin 1920. Dowd, M., "Jesse Helms Takes No-Lose Position on art, New york Times, Julio 28, 1989. Dreufous, M., Les Arts et les artistes pendant la Periode Revolutionnaire, Paris 1916. Duncan, C., The Aesthetics of Power: Essays in Critical Art History, Cambridge, Cambridge University Press, 1993 Duncan C. y Wallach A., "The Universal Survey Museum" Art History 3, n4 (Diciembre 1980), pp448-69. ___________________________, "Museum of Modern Art as Late Capitalist Ritual: An Ichonographic Analysis", Marxist Perspectives 1, n 4, Winter 1978, 28-51 __________________________,"The Universal Survey Museum" Art History 3, n4, Diciembre de 1980, pp. 448-69. ___________________________,"Ritual and Ideology at the Museum" en Proceedings of the Caucus for Marxism and Art, Los Angeles, enero 1978. Duvignaud, J., Sociologa del arte(1967), Ediciones Pennsula, Barcelona 1988. _____________, Sociologia del Teatro. Ensayo sobre las sombras colectivas, Fondo de Cultura Econmica, Mxico D. F. 1966. Eagleton, T., The ideology of the Aesthetic, Basil & Blackwell, Cambridge, 1990

___________, Criticism and Ideology: A Study in Marxist Literary Theory, New Left Books, Londres, 1976. ___________, Literary Theory: An introduction, Basil Blackkwell, Oxford, 1983. 1983 ___________, The Function of Criticism: From the Spectator to PostStructuralism, Verso, Londres, 1984. ___________, Walter Benjamin, Or Towards a Revolutionary criticism, Verso/ Nld, Londres, 1981 __________, La estructura ausente, Lumen, Barcelona 1989. ___________, Ideology, an introduction, Verso, Londres, 1991 Edelman, B., Ownership of the Image: Elements for a Marxist Theory of Law, trans. Elizabeth Kingdom, Routedge& Kegan Paul, Londres, 1979. Egan , R. F., The Genesis of the Theory of 'Art for Art's sake' in Germany and England", Smith College Studies in Modern Languages II, vols. 3 y 4, Northhampton y Paris, 1921 y 1924. Eisenbeis, M., "Elments pour une sociologie des muses, en Museum, n 2, 1972, pp. 110 a 117 ___________, "xchange des vues d'un groupe d'experts", en Museum, n1, 1972, pp. 5 a 32. Elger, D., Allan McCollum from artificial Surrogates to natural Copies, cat. exp. Allan McCollum. Natural Copies Sprangel Museum Hannover, Diciembre de 1995- Febrero 1996. Fanizza, F., Libert e servit dell'arte, Bari 1972. Ferguson B., Sherrie Levine-Fountain, Mary Boone Gallery, NY 1991. ___________, Greenberg Reesa y Nairn Sandy, Thinking About Exhibitions, Routledge, NY. 1996. Ferguson, R. y Olander, W., (eds.) Discourses: conversations in Postmodern Art and Culture, New Museum of Contemporary Art, NY. 1991. Ferguson, Russell, y Gever, Martha (eds.), Out There: Marginalization and Contemporary Cultures, MIT Press, 1992 Fernndez Polanco, A., La imagen del arte en la publicidad: la apropiacin del aura, en Cuadernos de Arte e iconografa, 1991, 4 (8). pp. 199-203. Ferrarotti, F., Per una sociologia dell'arte, en De Homine n 5 y 6, 1963, p.233. Fisher, J., Sherrie Levine, Artforum, Abril 1984, p. 84. Flaubert, G., Correspondence, Jean Bruneau (ed.), Gallimard, Paris, 1973. (Versin inglesa en The Letters of Gustave Flaubert 18301857) ed. and trans. Francis Steegmuller, Belknap, Cambridge, Mass., 1980. Foster H., Recordings: art, spectacle, cultural politics, Bay Press, Port Townsend, Washington 1985. ________,Discussion in Contemporary Culture, , Dia Art Foundation, Bay Press, Washington 1987 ________, La postmodernidad, Kairs, Barcelona 1985. ________, Polmicas (Post)modernas, en Modernidad y Postmodernidad, Jos Pico (ed.) Alianza, Madrid 1994 ________, Postmodern Culture, Pluto Press, London and Sidney 1985 ________, For a Concept of the political in Art", Art in America, Abril 1984. ________, Signs taken for Wonders, Art in America,74, no. 6, Junio de 1986, 80-91, 139. ________, Subversive Signs, Art in America 70, no. 10, Noviembre de 1982. ________, The expressive fallacy" Art in America, Enero 1983, p. 83. ________, (ed.), The Anthiesthetic: Essays on Postmodern Culture, Bay Press, Seattle, 1983. Foucault, M., Las Meninas, en The Order of Things, Vintage Books, New York, 1970. __________, The Archaeology of Knowledge, Pantheon Books, NY, 1972 __________,"Fantasia of the library" en Language, Counter-Memory, Practice, Cornell University Press Ithaca, 1977. __________,"Space, Knowledge and Power" en The Foucault Reader, ed. Paul Rabinow, Pantheon, NY 1984 __________, Nietzsche, genealogy, history, en Language, Counter-Memory, Practice, ed. Donald F. Bouchard, Cornell University Press, Ithaca 1977 ___________,The Eye of Power en Power/Kowledge: Selected Interviews and Other Writings, 1972- 1977, ed. Colin Gordon, Pantheon, New York, 1980. ___________, Truth and Power, en Power/Knoledge, Pantheon, N.Y. 1980 ___________,This is not a pipe, (trans, James Harkness), University of California Press, Berkley, 1983. ___________, History of sexuality (vol. 1), Pantheon, N.Y. 1980, pp. 92-93, y su "Space, Knowledge and Power" en The Foucault Reader, ed. Paul Rabinow, Pantheon, N.Y., 1984. ___________, Discipline and Punish: The Birth of the Prison, trans. Alan Sheridan, Pantheon, New York, 1977. ___________, The Birth of the Clinic, trans. Alan Sheridan, Pantheon, NY. 1973. ____________, y Deleuze, G., Intellectuals and Power, en Language, Counter-Memory, Practice, (ed.) Donald F. Bouchard, Cornell University Press, Ithaca, N.Y. 1977. Francastel, P., Sociologa del arte, Alianza Editorial S.A. Madrid, 1975.

Franklin, C., Bertrand Lavier at the Noveau Musee en Art in America, Febrero 1984, p. 159. Frank, P., Pictures and Meaning, Artweek, 29 Abril 1978, p. 5. Fraser, A., "In Out of Place", Art in America 60, 1 ,Junio 1985. Fraser, N., The french derrideans: Politicizing Deconstruction or Deconstructing Politics, NGC, 33, Otoo 1984, pp. 125-154 _________, Unruly practices: Power, Discourse, and Gender in Contemporary Social Theory, University of Minnesota Press, Minneapolis, 1989. Freedberg, D., Joseph Kosuth and The Play of the Unmentionable", en The Play of the Unmentionable, Thames and Hudson, London 1992. ____________, The Power of Images. Studies in the History and Theory of Response. Larry Silver, Northwestern University, 1989. Frisby, D., Fragmentos de la Modernidad, Visor, Madrid 1992 Fry, Edward F. ,The dilemmas of the curator Art in America, julio-agosto 1971 Gadamer , H. G., The Origin of the work of Art" en Poetry, Language, Thought, NY, 1971 Gambrell, J., Fragments from Gorbachev's Revolution, Art in America, Octubre 1989. Garfield, D., "Making the Museum Mine: An Interview with Fred Wilson" Museum News, Mayo / Junio de 1993. Garham, N., Subjectivity, Ideology, Class and Historical Materialism, Screen 20, no. 1. Spring 1979 Gash, J., "Rembrandt or not?, Art in America, enero 1993 Geras, Post-marxism?, New left review, 163, pp. 40-82, 1987. Geneyro, J. C., La Democracia inquieta: E. Durkheim y J. Dewey, Antropos, Barcelona 1991. Giddems, A., Modernity and self identity, Polity Press, Cambridge, 1991 Glucksmann, Sur la relation littrature et idologie, en Nouvelle Critique, nm. 39, 1970. 1970 Graham, R., Works from 1976 to 1994. Art Gallery of York University, The Renaisssance Society at the University of Chicago, 1994. Grampp, W. D., Pricing the Priceless: Art, Artists and economics, Basic Books, N.Y. 1989. Grasskamp, W., "Artists and other collectors", Museums by Artists, editado por AA Bronson y Peggy Gale, Art Metropole, Toronto, Canad, 1983 Greimas, A. J., y Courts J. , Smiotique. Dictionnaries raisonn de la theorie du langage,, Hachette, Pars 1979. Grenberg, R., Ferguson B. W., y Nairne, S., Thinking about exhibitions, Routledge, Londres 1996. Grennan S., and Sperandio C., Catlogo At Home with the collection,: Peoria, Ill. Lakeview Museum of the arts and Sciences, 1991 Griff, M., The Recruitment and Socialization of Artists, en The Sociology of Art and Literature, ed. Milton C. Albrecht et. al. Duckworth, Londres, 1970. Grimes, N., Sherrie Levine, Mary Boone, Art News, Noviembre de 1987. Grundberg, A., Edward Weston Rethougth Art in America, Julio - Agosto de 1975. ___________, Post-Modernism in the Main Stream, The New York Times, 20 de Noviembre 1983, pp. H.27, H. 43. Guercio, G., Introduction, Joseph Kosuth, Art after Philosophy and after: collected writings, 1966-1990, MIT Press, Cambridge, Mass 1991. Guibaut, S., " The Frightening freedom of the brush, en Dissent: The Issue of Modern Art in Boston, ICA, Boston 1986. ___________, How New York Stole the idea of Modern Art, Chicago University Press, Chicago 1983. Gumpert, L., Accidental History, Braco Dimitrijevic: Arbeiten/works 1968-1978, catlogo de la exposicin en el Badischer Kunstverein, Karlsruhe, 1979. Haacke, H., Museums, Managers of Conciousness, en Hans Haacke: Unfinished Business, ed. Brian Willis, The New Museum of Contemporary Art, New York, 1986. ___________, Framing and Being framed, The Press of the Nova Scotia College of Art and Design, Halifax, 1977. Habermas, J., Modernity versus Posmodernity, New German Critique, 22, Invierno 1981. ___________,Knowledge and Human Interests, Beacon Press, Boston 1971 ___________,Teora de la accin comunicativa, Taurus, Madrid 1988. ___________,Zur Logik der Sozialwissenschaften, ed. Suhrkamp, 481, Francfort, 1970, p. 283 ___________,Dialektik der Rationalsierung, (Versin inglesa en Telos 49, otoo de 1981) Hadjnicolaou. N., Historia del arte y lucha de Clases, Siglo XXI de Espaa Editores, Madrid 1975. Hall, S., Some Problems with the ideology/Subject Couplet, Ideology & Consciousness 3, Spring 1978, 113-21. ______, The rediscovery of ideology: return of the repressed in media studies, en Michael Gurevitch, Tony Bennett, James Curran and Janet Woollacott, (eds.), Culture, Society and the media, Methuen, Londres, 1982 ______,y Jefferson, T., eds. Resistance Through Rituals: Youth Subcultures in Post-War Britain, Hutchinson, London, 1976.

Hauser, A., Teoras del arte. Tendencias y mtodos de la crtica moderna (1969), Ediciones Guadarrama, S.A., Madrid, 1970. ___________, The Social History of Art, 4. vols. Vintage, New York, 1958. Heartney, E., Nowhere to fly, en Art in America, 1990, __________,"Sherrie Levine, Baskerville+Watson", en Art News, Febrero de 1986. p. 120. Hebdige D., "A Report on the Western Front", in Art in Modern Culture: An Anthology of Critical Texts, Ed. Francis Frascina y Jonathan Harris, Harper Collins, New York 1992. __________, "A Report on the Western Front", in Art in Modern Culture: An Anthology of Critical Texts, Ed. Francis Frascina y Jonathan Harris, Harper Collins, New York 1992, p. 340. Heller, A., Polticas de la Postmodernidad, Pennsula, Barcelona, 1989 ________,y Fehr, F., El pndulo de la Modernidad. Una lectura de la Era Moderna despus de la caida del Comunismo, Pennsula, Barcelona 1994 Heller, B., The Irises Affair, Art in America, Julio 1990. Herbert, T. , "Notas para una teora general de las ideologas" en El proceso ideolgico de Claude lvi-Strauss y otros, , Tiempo Contemporneo, Buenos Aires 1976. Hermand J., Modernism Restored: West German Painting in the 50s NGC, 32, Primavera-verano 1984. Hertbert, E. W., Artists and anarchum: Unpublished letters of Pisarro, Signac and Others en Burlington Magazine, vol. 102, 1960, I parte pp. 473-82, y parte II, pp 517-522 ___________,The artists and Social reform: France and Belgium, 1855-1898, New Haven, 1961. Hertz, R., ed., Theories of Contemporary Art, Prentice- Hall, Englewood Cliff, N.J. 1985. Herzognerath W., "Daniel spoerri and the artist's museums", en Museums by Artists, editado por AA Bronson y Peggy Gale, Art Metropole, Toronto, Canada, 1983 Hinz, B., Zur Dialektik des brgerlichen Autonomie-Begriffs, Autonomie der Kunst. Zur Genese und Kritik einer bgerlichen Kategorie , Ed. Suhrkamp, 592, Francfort, 1972. Hinz, B., Arte e ideologa del nazismo, Fernando Torres, Valencia, 1978. Hirst, P., On Law and Ideology, Macmillan, Londres, 1979. Hjelmslev, L. ,Ver, Semitica. Diccionario razonado de la teora del lenguaje, Madrid, Gredos, 1982. Hohendahl, P. U., Introduction to Reception Aesthetics, New German Critique no. 10. Winter 1977 Holt, N., ed. Selections from the writings of Robert Smithson, New York University Press, N.Y., 1979. Hooper-Greenihill, E., ed., Museum and the Shaping of Knowledge, Routledge, London, and New York 1992. Horkheimer, M., Traditional and Critical Theory, en Critical Theory: Selected essays, (Trad. Castellana: Teora crtica, Amorrortu, Buenos Aires, 1974 Horkheimer, M., Teora crtica, Amorrortu, Buenos Aires, 1974. ___________, y Adorno, T. W., Dialectic of Enlightenment, trans. John Cumming, Continuum, N.Y., 1972. Hughes, R., La cultura de la queja, Anagrama, Barcelona 1994. Huntington, S., The Clash of Civilizations and the Remaking of World Order, Simon & Schuster, N.Y. 1996. Huyssen, A., The search for Tradition: Avant-garde and Postmodernism in the 1970s, New German Critique, nm. 22, Winter 1981, p. 23-40. Indiana G., "Orshi Drozdik's 'Adventure in Technos Dystopium' en Orshi Drozdik, Adventure in Technos Dystopium, Ernst Museum, Budapest 1990 Iser, W., The Act of Reading: A theory of Aesthetic Response, Johns Hopkings University Press, Baltimore 1978. Jameson , F., Postmodernism and Consumer Society, en The Anti-Aesthtic: Essays on Postmodern Culture, ed. Hal Foster, Bay Press, 1983, pp. 11-25. ___________, The Political Unconscious: Narrative as a Socially Symbolic Act, Cornell University Press, Ithaca 1981 ___________,"Postmodernism, or the Cultural Logic of Late Capitalism", New Left Review nm. 146, Londres, Julio-Agosto 1984. ___________, Documentos de Cultura, documentos de barbarie, Visor, Madrid 1989 ___________,Fables of Agression: Wyndham Lewis, The Modernist as Fascist, Univerisity of california Press, Berkley, 1979. ___________,Postmodernism and Utopia, en Utopia post utopia:Configurations of nature and Culture in Recent Sculpture and Photography, Enero 29-Marzo 27 1988, The Institute of Contemporary Art, Boston, The MIT Press, Cambridge, Massachusetts; London, England 1988. ___________,"In the Destructive Element Immerse", October, 17, verano de 1981 ___________, Periodizing the 60s, en The 60s Without Apology, ed. Sohnya Sayres et al. University of Minnesota Press, 1984, Minneapolis, 1984. Jarauta, F. Memoria cifrada de los ochenta en cat. Exp. Arte Ochenta, Ayuntamiento de Gijn, 1991

___________, (Ed.), Razn, tica y Poltica, Antropos, Barcelona 1989 ___________, Pensar el presente, Crculo de Bellas Artes de Madrid, 1989. ___________, (Ed), Otra mirada sobre la poca, Coleccin de arquitectura, Colegio de aparejadores y arquitectos tcnicos, Murcia 1994. Jarque, V., Imagen y Metfora, La esttica de Walter Benjamin, Servivio de Publicaciones de la Universidad de Castilla La Mancha, Cuenca 1992. Jauss, H. R., Toward an Aesthetic of Reception, trans. Timothy Bahti, University of Minnesota Press, Minneapolis, 1982. Jimnez, J., Imgenes del Hombre, Tecnos, Madrid 1992, _________,La esttica como utopa antropolgica, Bloch y Marcuse, Tecnos, Madrid 1983 Johnson, Ken, Chuck Close at MOMA, Art in America, Mayo, 1991 __________, Louise Lawler at Metro Pictures, Art in America, Nov. 1989, p. 191 Johnson, L., Installation: the invention of context en Aurora Borealis, , CIAC, Montreal 1985. Johnston, B., en The world Outside his window, Art in America, Abril, 1992. Jones, R., "Even Picasso", Artscribe International, Noviembre-Diciembre 1988, ________,"Hover Culture, The view from Alexandria" Artscribe International, Summer 1988, p. 50 ________, "Slow time", Ronald Jones discussee Sherrie levine's new work, en Artscribe International, Enero-Febrero 1988 Karp, I., y Lavine, S. D., eds. Exhibiting Cultures: The Poetics of Museum Display, Washington DC., Smithsonian Institution Press, 1988. ____________________________,y Kreamer, C. M., eds. Museums and Communities: The Politics of Public Culture, Washington, D.C. Smithsonian Institution Press, 1988. Kasofsky S. E., Epistemology of the Closet, , University of California Press, Berkeley and Los Angeles 1990, pp 48-59. Kavanagh, G., (ed.), Museum languages: Objects and Texts, Leicester University Press, 1991. Klingender, F. D., "Osservazioni sul metodo della storia dell'arte" en Socciet, Vol. X, 1954. Kofman, S., Camera obscura. De l'ideologie, Pars 1973. Kosuth J. , Notes on Cathexis (texto de 1981) en Museums by Artists, editado por AA Bronson y Peggy Gale, Art Metropole, Toronto, 1983 _________, Art After Philosophy III. Studio international, Diciembre de 1969. p. 213. _________, Picasso: A symposium, en Art in America, Diciembre 1980, p. 10 _________,Art After Philosophy III. Studio internbational. Diciembre 1969. p. 213 _________,Joseph Kosuth, Art after Philosophy and after: collected writings, 1966-1990, MIT Press, Cambridge, Mass. 1991. _________, The Play of the Unmentionable", en The Play of the Unmentionable, Thames and Hudson, London 1992 _________, Within the Context: Modernism and Critical Practice" en Joseph Kosuth: writings 1967-88. Coupure, , Ghent, 1977. Kotik, C. Introduction, Kosuth, The Play of the Unmentionable, Thames and Hudson, London 1992 Krauss, R., The cultural logic of the late capitalist museum, October, 54, 1990, pp. 3-17. _________, The Originality of the Avant-Garde and Other Modernist Myths, MIT Press, Cambridge, Mass. 1984 _________, Photographys Discursive Spaces, en The Originality of the Avant-Garde and Other Modernist myths, MIT Press, Cambridge, Mass. 1984 _________, Cindy Sherman 1975-1993, Rizzoli 1994. Kroker, A., y Cook, D., The Posmodern Scene, St. Martin Press, N. J., 1986 Krupnick, M., "Introduction" Displacement: Derrida and after, , Indiana University Press, Bloomington 1983 Kubler, G. "Die Form der Zeit", Frankfurt, 1982 Kurtz, B., (ed.) "Conversations with Robert Smithson on April 22, 1972, "en The Writings of Robert Smithson, ed. Nacy Holt, University Press, New York 1979. Kuspit , D., "Julian Schnabel's Expressivity en Julian Schnabel Works on paper 1975-1988 edited by Jrg Zutter,Prestel, Munich-New York 1990. Kuspit, D. ,The Cult of the Avant-garde artist, Cambridge University Press, 1993 ___________, Lichtenstein and the Collective Unconscious of Style, Art in America, Mayo-Junio de 1979, p. 100. ___________, Avantgarde and audience, en D. Kuspit, The New Subjectivism, Ann Arbor, UMI Research Press, Michigan 1988 ___________,"Regressive reproduction and Throwaway Conscience, Arstcribe, Enero - Feb. 1987, pp. 26 - 31. ___________, The Decance or cloning and coding of the Avant-Garde. Appropriation Art, en The Cult of the Avant-garde artist, Cambridge University Press, Melbourne, 1993. ___________, The magic kingdom of the Museum, Artforum, 30: 8, pp. 58-63.

Laclau, E., "Socialism the People, Democracy: The transformation of Hegemonic Logic" Social text 7, primavera y verano de 1983, y en Art in America, Abril 1984. Lacy, S., Affinities: Thoughts on an incomplete History, en The Power of feminist Art: The American movement of the 1970s, History and impact, Norma Broude y Mary Garrad (ed.), Harry Abrams, 1994. Lajer-Burcharth, E., Urban Disturbances, Art in America, Noviembre 1987 Lamoureaux, J., The open window case: new displays for an old Western paradigm, en Sylvia Kolbowski: XI Projects, , Border editions, New York 1992. Lawler, L., Arrangements of Pictures, en October: The First Decade 1976-86, ed. Annette Michelson, MIT Press, Cambridge, Mass, 1988. _________, Last Exit: Painting, Artforum 20, no. 2. October 1981. _________, Sherrie Levine, Flash Art, October, 1979. _________, The uses of representations: Making some distinctions, en Flash Art, nm. 88-89, marzo-abril de 1979. Lawson, T., Too good to be true, Real life magazine, nm. 7, otoo 1981, pp. 3-7. Le Bot, M., "Art et science sociale" en Revue d'Esthtique, n3-4, 1970, pp. 225 a 239. Lebeer, I., "Marcel Broodthaers, "Catalogue-Catalogus", Bruselas, Palais de Beaux Arts, 27 de septiembre-3 de noviembre de 1974. Lebensztejn, J. C., Eight Statements, Art in America Julio Agosto de 1975 Leiss, W., The domination of nature, University of california, San Diego, 1969. Lentrichia, F., After The New Criticism, Metuen, Londres, 1981 Lvi Strauss, C., Tristes Tropiques, trans. John Russel, Atheneum , New York, 1971 Levine, S., "David Salle", Flash art, n 103, verano de 1981, p. 34. _________, Art at Edge, High Museum of Art, Georgia 1987. Lidner, B., Natur-Geschichte-Geschichtsphilosophie und Welterfahrung in Benjamins Scriften en Text+Kritik nm. 31/32, 0ctubre de 1971 Linker, K., "Rites of Exchange", Artforum 25, 3 , Nov. 1986 Lipman, J., y Marschall, R., Art About Art, EP Dullon, 1978. Lipovetsky, G., La era del vaco,Anagrama, Barcelona 1986 Lippard L. R., Ideology in the Art of Suzanne Lacy and Jerry Kearns, en Art and Ideology, The New Museum of Contemporary Art, NuevaYork, 1984. Lukcs, G., Wider den Misverstandenen Realismus, Hamburgo, 1958. ___________, Historia y conciencia de clase y esttica, Ed. Magisterio espaol, Madrid 1975 ___________, History and Class Consciousness: Studies in Marxist Dialectics, trans. Rodney Livingstone, MIT Press, Cambridge, Mass. 1971. Luke, T. W., Shows of Force: Power, Politics and Ideology in Art Exhibitions, Duke University Press, Durham and London 1993. Lumley, R., ed., The Museum Time-Machine: Putting Cultures on Display, Routledge, London, 1988. Lunacharski, A., Las artes plsticas y la poltica de la Rusia revolucionaria, Seix Barral, Barcelona, 1969 Lyotard, J. F., The Sublime and the Avant-Garde, Artforum 22, no. 8, Abril 1984. ___________, La condicin Postmoderna, Ctedra, Madrid, 1993. ___________, La Diferencia, Gedisa, Barcelona 1991 ___________, La Postmodernidad comtada a los nios, Alianza, Madrid 1993 ___________, Beantwortung der Frage: Was ist posmodern?, Tulmut, 4. Macherey, P., A Theory of Literary Production, trans. Geoffrey Wall, Routledge & Kegan Paul, London 1978 Madsen, P., "Semiotics and Dialectics"(1971) en Poetics, n6, 1972, pp29 a 49 Mainardi, P., Postmodern History at the Musee dOrsay October, n 41, verano de 1987. Malreaux, A., Museum Without Walls, trans. Stuart Gilbert y Francis Price, London, Secker & Warburg, 1967. Mannheim, K., "La interpretacin del concepto de Weltanschaung, en Sociologa de la consciencia (versin italiana con introduccin de Paul Kecskemeti, Bari, 1974.) ___________, Ensayos de la sociologa de la cultura, Aguilar, Madrid 1957 ___________, Ideologa y utopa, Aguilar, Madrid 1973 Marchn Fiz, S., Figuras de la apropiacin en el nuevo Museo Imaginario, Revista de Occidente, (117), 1990. pp. 77-91. Marcuse, H., The Aesthetics Dimension: Toward a Critique Aesthetics, Beacon Press, Boston, 1978. Marin, L., "Towards a Theory of Reading in the visual arts": Pussin's The Arcadian Shepherds", en The Reader in the Text, ed. Suleiman and Crosman,: Princenton University Press, Princenton 1980. _________, LArt dexposer: notes de travail en vue dun scenario, trans. Jeffrey Moore as The art of exhibiting...notes for a

film script, Parachute, 43, 1992, pp. 16-20, 57-9. Markus, G., La teoria della conoscenza del giovane Marx. Saggio sui Manoscritti del 1844, con un apndice de G. Lukcs, "Lavoro e teleologia" versin italiana, Milan 1971. Martin, J. H., Interview with Braco Dimitrijevic, Braco Dimitrijevi`c "Culturescapes" 1976-1984 Gemlde, Skulpturen, Fotografien, Museum Ludwig, Kln 30.Mar. Mrz 1984- 6 mai 1984 Martn Prada, Juan, La apropiacin Posmoderna. Arte, prctica apropiacionista y Teora de la Posmodernidad. Fundamentos, Madrid, 2001. Martin, T., "In the years Preceding Olympia: Notes on The Systems Activity of Steve Prina", Visons 3, 1 Invierno 1988 Marx, K., "Contribution to the Critique of Hegel`s philosophy of Right, Introduction", The Marx- Engels Reader, Robert C. Tucker (ed.), W. W. Norton & Co., N.Y., 1972. ________,y Engels, F. "Die Deutsche Ideologie" en Marx, Engels, Lenin ueber Kultur, Aesthetik, Literatur, Leipzig, 1968 Marzorati, G., "Art in the (Re)Making, Art News, Mayo 1986 McManus, P. M., Oh yes, they do: how museum visitors read labels and interact with exhibit texts, Curator, 32, 1989, pp. 174-89. Mead, G. H., Mind, Self and Society. Chicago University Press, 1934. Mead, M., Cultura y Compromiso, Gedisa, Barcelona 1980 Merkel, J., "Art on Trial" Art in america 178 n 12, dec 1990, p47 Michaud, Y., LArtiste et les commissaries: quatre essais non pas sur lart contemporain mais sur ceux qui sen occupent, editions Jacqueline Chamb, Nimes 1989. Moll, ngel, (Ed), Esttica y tica en la Modernidad, Pensamiento y Praxis, Ed. Laertes, Barcelona 1992. Morris, A., Biography, en Braco Dimitrijevic, Slow as light, Fast as Thought, Museum moderner Kunst Stiftung Ludwig Wien, Mayo-Junio 1994. Morris, G., "When Artists Use Photographs: Is it Fair Use, Legitimate Transformation or Ripp-Off", Art News, Enero de 1981. Morris, M., Postmodernity and Lyotards Sublime, Art and Text, 16, verano de 1984. Moufarrege, N.A., "Sherrie Levine, Nature Morte", Flash Art, January 1985. Mulders W. V. , "People's adaptability before the environment changed by themselves. About Guillaume Bijl, en 43 Biennale di Venezia, Comunita fianminga del Belgio. 1989. Mller, M., Knstlerische un materielle Produktion. Zur Autonomie der Kunst in der italienischen Renaissance , Autonomie der Kunst. Zur Genese und Kritik einer bgerlichen Kategorie, Ed. Suhrkamp, 592, Francfort, 1972 Mumford, L., The Culture of cities, New York, 1938. Newman, M., Postmodernism, ICA Documents, Londres 1986 Nochlin, L., Museums and radicals, A history of emergencies, Art in America, Julio-Agosto. 1971. O'Doherty B., Inside the White Cube: The Ideology of the Gallery Space, Lapis Press, Santa Mnica, Calif., 1976 Ottenberg S., "Into the Heart of Africa" African Arts, July 1991, pp.79-Sobre Racismo en el Museo: "Are Art museums Racist?" en How Art Becomes History, Harper Collins, New York, 1992. ___________, "Into the Heart of Africa" African Arts, July 1991. Owens C., "From Work to Frame" en Beyond Recognition,: Representation, Power, and Culture, University of California Press, Berkeley y Los ngeles 1992. ___________,"Sherrie Levine at A&M Artworks". en Beyond recognition, Representation, Power and Culture, University of California Press, Berkeley y Loas Angeles, 1992. ___________, Analysis logical and ideological(1985), en Beyond Recognition, Representation, Power and Culture, California University Press, 1992 ___________, Sherrie Levine, Art in America, June 1982, p. 148. Parker, R., y Pollock, G., ed., Framing Femininism, Pandora, London, 1987. Peeler, D., Power, Autonomy and Westons Imagery, a Balancing Act, History of Photography, vol. 15 # 3, Taylor and Francis, Ltd. Otoo de 1991. Pelzer, B., "Los indicios del intercambio", en el cat. de Marcel Boodthaers, M.N.C.A.R.S, Madrid 1991. ________,"Recourse to the letter", en "Broodthaers, Writings, Interviews, Photographs", October, n42, MIT Press, Cambridge, Mass., 1987. Petersen, A., An audience research project in connection with 60 80, en 60/80: attitudes, concepts, omages. Catalogue supplement, Stedelijk Museum, Amsterdam, 1987. Peterson, R. A. , ed. The production of culture, Sage Publications, Beverly Hills, 1976. Phillips, D., Recipe for an interactive art gallery, International Journal of Museum Management and Curatorship, 7: 3, 1988. Philpson, M., Sociological aspects of crime and delinquency, Routledge and Kegan Paul, Londres 1961 Pic, J., (ed.) Modernidad y Postmodernidad, Alianza Editorial, Madrid 1994.

10

Pincus, R. L. , Sophie Calle: The Prying Eye, Art in America, Octubre 1989 Plejanov, G. V., El arte y la vida social, Akal, Madrid, 1975 Pohlen, A., Harald Szeemann auf dem Weg Museum der Obsessionen, Kunstforum, 63-4, 1983, pp. 266-9. Pointon, Marcia, ed., Art Apart: Art Institutions and Ideology across England and North America, Manchester University Press, Manchester, 1994. Pollock, G., Artists, Mythologies and Media - Genius, Madness, and Art History, Screen 21, no. 3, Otoo 1980. Popper, F., Art-Action and Participation, , Studio Vista, London 1975. Popper, K. R, The logic of scientific discovery (1959), Basic Books, N.Y. 1961 Poster, M. y Foucault, M., Marxism, and History: Mode of Production Versus Mode of Information, Polity Press, Cambridge, 1984. Preziosi, D., Modernity again: The museum as trompe loeil, en Desconstruction and the Visual Arts, ed. Peter Brunette y David Willis, Cambridge University Press, Cambridge, 1987. ___________, Rethinking Art History: Meditation on a Coy Science, New haven, Yale University Press, 1990. Rachjamn, J., The postmodern Museum, Art in America, 73: 10, 1985, pp. 110-17. Ramrez, J. A., El Amor y la Muerte, incluso, Siruela, Madrid, 1994. Rao, P. y Ziff, B., (eds.), Borrowed power: Essays on Cultural Appropriation, Rutgers University Press, 1997. Ratcliff, C., "Art and Resentment" en Art in America, verano de 1982. Raulet, G. , From Modernity as One-way street to Postmodernity as Dead End en New German Critique, n. 33, otoo de 1984. Raven, A.," Fo(u)r Freedoms", en Village Voice nm. 10, Octubre 1986 _________, Woman House, en The Power of Feminist Art : The American Movement of the 1970s , History and impact, Norma Broude y Mary Garrad (eds.), Harry Abrams 1994 Read, H., Arte y Alienacin, el papel del artista en la sociedad, Ed. Proyeccin, Buenos Aires 1976 Reff, T., Duchamp&Leonardo LHOOQ-Alikes en Art in America, Enero-Febrero de 1977. Rejai, M., (ed.) Decline of Ideology?, Aldine-Atherton, Chicago 1971. Ribalta, J., Apropiacin, realidad y representacin, Lpiz nm. 49. 1988. pp. 52-57, Rimanelli, D., "Sherrie Levine" MaryBoone Gallery, en Artforum, November 1989. Roberts, M. N., et al., Exhibition-ism: Museums and African Art, New York, Museum for African Art, 1994. Rorimer A., Prelude en Museums by Artists, editado por AA Bronson y Peggy Gale, Art Metropole, Canada, Toronto 1983 Rorty, R., Habermas and Lyotard on Post- Modernity, Praxis International, 1984 y en Habermas on Modernity, Ed. Bernstein, MIT Press, Cambridge 1985 Rorty, R., The Consequences of Pragmatism, Harvester, Brighton, 1982 Rosenblum, R., Mike Bidlo Masterpieces, Edition Bischofberger, 1991. Rosler, M., Lookers, Buyers, Dealers, and Makers: Thoughts on Audience, en Art After Modernism: Rethinking Representation, ed. Brian Wallis, The New Museum of Contemporary Art, NY. 1984 Rubinstein, M. R., Sight unseen en Art in America, Abril de 1991 Rugoff, R. , "Inside The White Clinic", Parkett 32, 1992. pp. 150-53; _________,"Planned Obliscence" L.A. Weekly, June 21, 1991, pp. 39-40. Sabo, D., "Braco Dimitrijevic", Flash Art, verano de 1985. p. 68. Said E., W., 'The Problem of textuality: Two exemplary positions" en Critical Inquiry 4 (verano de 1978), reeditado en Aesthetics Today, ed. Philipson and Gudel, New York, NAL, 1980 __________, The politics of Knowledge Rariten, verano de 1991 en The Anti-Aesthetic, Bay Press, Port Townsend, Washington, 1984. __________, The World, the Text, and the Critic, Harvard University Press, Cambridge, Mass. 1983. Saumaraz S. C., "Museums, artifacts, and Meanings" en Peter Vergo (ed.), The new Museology,, Reaktion Books, Londres 1989. Schapiro, M., Womahouse, Exh. Cat. California Institute of the arts, Valencia 1972 __________,"The education of women as artists,: Project Womanhouse" Art Journal (spring 1972) __________,"The still life as Personal Object-A note on Heidegger and van Gogh" in the Reach of Mind: Essays in Memory of Kurt Goldstein ed. M.L. Simmel, , Springer, New York 1968 Schor, N. y Majewiski, H. F. (eds.) Flaubert and Postmodernism, University of Nebraska Press, 1984. Schwartz, A. , The Complete works of Marcel Duchamp, New York, 1969. Sherman, D. J., and Rogoff, I., eds. Museum Culture: Histories, Discourses, Spectacles, Minneapolis, University of Minnsota Press, 1994. Shi, D., The Modernist Revolt From Fancing Facts: Realism in American Thought and culture:: 1850-1920, Oxford University Press,

11

1995 Short R., An artist who sees the frame first, an interview with Joseph kosuth, en The Play of the Unmentionable, Thames and Hudson, London 1992, pg. 26 (entrevista originalmente publicada en New York Newsday, October 15, 1990) Silva, U., Arte e ideologa del Fascismo, Fernando Torres, Valencia, 1975. Silver K. E. , "Past Imperfect" en Art in America, enero de 1993. _________,The body Politic" en Art in America, Marzo de 1991. Simons, J., Robert Gober y lo extraordinario, Cat. Exp. Robert Gober, M.N.C.A.R.S. Madrid, 1991. Singer, I., 'The aesthetics of 'Art for Art's Sake" The Journal of Aesthetics and Art Criticism 12, 1953 Singerman, H, "In the Text", en A Forest of Signs. Art in the crisis of Representation, The Museum of Contemporary Art, Los Angeles 1989. Smith R., "Paying Homage to Irreverence" New York Times, July 16, 1993 ________, "The Whitney Interprets Museum's Dreams" The New York Times, Sunday, Arts&Leisure Section, July 23, 1989 ________, "Paying Homage to Irreverence" New York Times, July 16, 1993. Snauwaert, D., Marcel Broodthaers. Muse dArt Moderne, Dpartement des Aigles, Section des Figures. Der Adler vom Oligozn bis heute: Ean Analyse, Rijksuniversiteit, Gent, 1985. Solomon Goudeau., A., Living with contradictions: critical practices in the age of Supply-side aesthetics, en Andrew Ross, Universal abandon? The politics of Postmodernism, University of Minnesota Press, 1989. Spear, R., Art history and the blockbuster exhibition, Art Bulletin, 68: 3, 1986, pp. 358-9. Spector, J. J., "Freud and Duchmap: The Mona Lisa 'Exposed' Artforum, April 1968, Spivak G., The politics of Interpretations" en The Politics of Interpretation, editado por W.J.T. Mitchell y Wayne Booth Chicago, University of Chicago Press, 1984 Staniszewski, M. A., Appropriate, Appropiated, Appropos, Manhattan, Inc. Noviembre 1985. Stein, J. E., Sins of omission (Fred Wilson), Art in America, 81: 10, pp. 110-15. Steinberg, L., The Philosophical Brothel, Artnews, 71, no. 5, Septiembre de 1972, 20-29, no. 6. Octubre de 1972. ___________, Other Criteria, en Other Criteria: Confrontation with Twentieth-Century Art, Oxford University Press, N.Y. 1972. ___________, Velzquezs Las Meninas, October 19, invierno 1982, 45-54. Stewart S., On Longining: Narratives of the miniature , The Gigantic, the Souvenir, the Collection, Duke University Press, Durham, N.C. 1993. Stove, H. B., Sunny Memories of Foreign lands., Boston, 1854. Tallman, S., Report from London, Faking it, Art in America, noviembre de 1990, p. 75. Taylor, J. C., "The Art Museum in the United States" en Sherman E. Lee: Understanding Art Museums, Englewood Cliffs, N.J, 1975. Taylor, P., "Sherrie Levine, Plays with", Flash Art, Summer 1987. Temkin, A., Sherrie Levine: Newborn, Philadelphia Museum of Art, 1993. Tetransky, V., Collage and the Problem of Representation: Sherrie Levines New Work, Real Life Magazine, Diciembre 1979. ____________, Pictures, Arts Magazine, Diciembre, 1977, p. 17. Thompson, J. B., Ideology and Modern Culture: critical Social theory in the era of mass comunication, Polity Press, Mass. 1990. Tomberg, F., Negation affirmativ. Zur ideologischen Funktion der modernen Kunst im Unterricht, Politische sthetik. Vortrge und Sammlung, Luchterhand, Darmstadt/Neuwied, 1973. Tomkins, C., Post- to Neo-: The Art World of the 1980s, Henry Holt Inc. NY. 1991. Torres, F., Policas y ladrones al mismo tiempo: Arte, financiacin estatal y reaccin poltica en USA, Lpiz, n65, Feb 1990 Tras, E., Teora de las ideologas y otros textos afines, Ed. Pennsula, Barcelona, 1987 Vance, C., "The war on Culture" Art in America 77, n9, (Sept 1989) pp39-43 __________, Misunderstanding Obscenity, Art in America 78, n5 Mayo 1990 pp 49-55. __________, "The war on Culture" Art in America 77, n9, Sept 1989, pp 39-43 Varnedoe, K., High & Low, modern art and popular culture, Museum of Modern Art , N.Y, 1990

12

Vattimo, G., El fin de la Modernidad, Gedisa, Barcelona 1986. __________, "Dialctica, Diferencia y pensamiento Dbil", en El Pensamiento dbil, Ctedra, Madrid 1990. __________, El Pensamiento dbil, Paids, Madrid 1991 __________, et al. En torno a la Posmodernidad, Antropos, Barcelona 1990. Vergo, P., The New Museology, Reaktion, Londres, 1989 Vogel, S., Domesticating the West: Cultural Appropiation in 20th Century African Art, Center for African Art in New York, 1991. Wall, J., The Story Teller, cat. Exp. Vancouver Art Gallery, 1991 Wallis, B., (Ed) Blasted Allegories, the New Museum of Contemporary Art, New York-the MIT Press, Cambridge, Massachusetts, London, England, 1987. __________, Museum blockbusters: the art of big business, Art in America, 74: 6, 1986, pp. 592-622. __________,ed., Hans Haacke: Unfinished Business, The New Museum of Contemporary Art, N.Y. 1986. Warneken, B. J. , "Autonomie und Indienstnahme. Zu ihrer Beziehung in der Literatur der brgerlichen Gesellschaft" en Rethorik, sthetik, Ideologie. Aspekte einer kritischen Kulturwissenschaft Stuttgart, 1973. Watzlawick P. et alt. La Realidad inventada, Gedisa, Barcelona 1994 Waxman, C. I., ed. The End of Idology Debate, Funk & Waganalls, New Yok 1969. Wei, L., , "Talking abstract" part II. Art in America, Diciembre 1987 Weil, S., "La tica de la Debilidad, Simone Weil y el nihilismo", en El Pensamiento dbil, Ctedra, Madrid, 1990. ______, Reflexiones acerca de las causas de la libertad y de la opresin social, Paids, Barcelona 1995 Weil, S. E., Rethnking the Museum, Smithsonian Institution Press, Washington, D.C., 1990. Weiss, E., Chance: History-Evolution: Freedom On the Works of Braco Dimitrijevic, Braco Dimitrijevic "Culturescapes" 19761984 Gemlde, Skulpturen, Fotografien, Museum Ludwig, Kln, 1984. Weiss, P., Die sthetik des Widerstands, Suhrkamp, vol. I (1975), vol. II (1978), vol. III (1983). Versin inglesa,The Aesthetics of Resistance, Maisonnewe, Washington 1997 Wellmer, A., La dialctica de Modernidad y Postmodernidad (1985), en Modernidad y Postmodernidad, J. Pic (ed.), Alianza, Madrid, 1988. Welchman, J. C., Modernism Relocated, Alen & Unwin, Australia, 1995. Westfall, S., "Sherrie Levine, Mary Boone", Flash Art, noviembre-Diciembre 1987. Whiting, C., Antifascism in American Art, by, New Haven, Yale University Press, 1989. Wilcox, J., "The beginnings of l'Art pour l'Art, The journal of Aesthetics and Art Criticism 11, 1952. Willis B., "What's wrong with this picture? An introduction, en Art after modernism, representation, Brian Willis, (ed.) The New museum of Contemporary Art, New York,en asociacin con D. R. Godine Publisher, Inc. Horticultural Hall, Boston, 1984 _______, Hans Haacke and cultural logic of Postmodernism en Hans Hacke: unfinished business, The new Museum of Contemporary, MIT Press, Mass. 1986. _______, ed., Art After Modernism: Rethinking Representation, The New Museum of Contemporary Art, N.Y. 1984. Winckler, L., "Entstehung und Funktion des literarischen Marktes", Kulturwarenproduktion. Aufstze zur Literatur-und Sprachsoziologie, ed. Suhrkamp, 628 Frankfurt, 1973. Wittgenstein, L., Conferencia sobre tica, Paids, Barcelona 1995 Wolff, J., The Social Production of Art, St. Martins Press, N.Y., 1981. Wollheim, R., El arte y sus objetos. Introduccin a la Esttica. Editorial Seix Barral, S.A. Esplugues de Llobregat, Barcelona 1972. Woodmansee, P. J. (ed.), The Construction of Authorship: Textual Appropiation Law and literature, Duke University Press, Durham, North Carolina, 1994. Young, J. E., The Counter-Monument: Memory against Itself in Germany today, Critical Inquiry 18, invierno 1992. Zhao, Y., "The "end of ideology" again? The concept of ideology in the era of Post-modern, The Canadian Journal of Sociology 18:1 1993. Zill B. (ed.), Borrowed Power, Essays on Cultural appropriation, Rutgers Univ. Press, 1997 Zimmer, W., Sherrie Levine, Soho News, 6 de Octubre de 1977.

13

Vous aimerez peut-être aussi