| The Allegorical Impulse: Toward a Theory of Postmodernism, Craig Owens, 1980—– | Wikipedia(Craig Owens)mentioned in Art: Art in a New World(”芸術”が終わったあとのアート） | — |
| Participation (Whitechapel: Documents of Contemporary Art) , Claire Bishop(ed), 2006 | from AMAZON: The desire to move viewers out of the role of passive observers and into the role of producers is one of the hallmarks of twentieth-century art. This tendency can be found in practices and projects ranging from El Lissitzky’s exhibition designs to Allan Kaprow’s happenings, from minimalist objects to installation art. More recently, this kind of participatory art has gone so far as to encourage and produce new social relationships. Guy Debord’s celebrated argument that capitalism fragments the social bond has become the premise for much relational art seeking to challenge and provide alternatives to the discontents of contemporary life…. | — |
| The Everyday (Whitechapel: Documents of Contemporary Art) , Stephen Jphnstone(ed), 2008 | — | — |
| Situation (Whitechapel: Documents of Contemporary Art) , Claire Doherty(ed), 2009 | from AMAZON: Key texts on the notion of “situation” in art and theory that consider site, place, and context, temporary interventions, remedial actions, place-making, and public space. | — |
| Chance (Whitechapel: Documents of Contemporary Art) , Margaret Iversen(ed), 2010 | — | — |
| Design and Art (Whitechapel: Documents of Contemporary Art) , Alex Coles(ed), 2007 | from AMAZON: Since the the Pop and Minimalist eras–as the work of artists ranging from Andy Warhol to Dan Graham demonstrates–the traditional boundaries between art and architectural, graphic, and product design have dissolved in critically significant ways. Design and Art traces the rise of the “design-art” phenomenon through the writings of critics and practitioners active in both fields.The texts include writings by Paul Rand, Hal Foster, Miwon Kwon, and others that set the parameters of the debate; utopian visions, including those of architect Peter Cook and writer Douglas Coupland; project descriptions by artists (among them Tobias Rehberger and Jorge Pardo) juxtaposed with theoretical writings; surveys of group practices by such collectives as N55 and Superflex; and views of the artist as mediator–a role assumed in the past to be the province of the designer–as seen in work by Frederick Kiesler, Ed Ruscha, and others. Finally, a book that doesn’t privilege either the art world or the design world but puts them in dialogue with each other. —- |
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| The Art of Participation: 1950 to Now, Rudolf Frieling(ed), 2008 | from AMAZON: The first fully illustrated survey of participatory art and its key practitioners, published in association with the San Francisco Museum of Modern Art. This new survey covers the rich and varied history of participatory art, from early happenings and performances to current practices that demand audience interaction. As the hallmarks of Web 2.0—browsing, sharing, collecting, producing—increasingly permeate every aspect of society, this timely project reveals the ways in which artists and viewers have approached the creation of open works of art. The featured artists include Marina Abramovic and Ulay, Vito Acconci, Joseph Beuys, John Cage, Janet Cardiff, Lygia Clark, Kit Galloway and Sherrie Rabinowitz, Dan Graham, Hans Haacke, Allan Kaprow, Lynn Hershman Leeson, Antoni Muntadas, Yoko Ono, Nam June Paik, and Erwin Wurm.Original essays by Rudolf Frieling, Boris Groys, Robert Atkins, and Lev Manovich identify seminal moments in participatory practice from the 1950s to the present day. A rich array of plates introduce work by all the artists in the accompanying exhibition, with reproductions of significant projects by other major figures—from Helio Oiticica, Joan Jonas, and Gordon Matta-Clark to Rirkrit Tiravanija and SUPERFLEX—rounding out the survey. 215 color illustrations.—- | — |
| Relational Aesthetics, Nicolas Bourriaud,1998(f)/2002(e) | — | — |
| Echo Objects: The Cognitive Work of Image, Barbara Maria Stafford, 2009 | from amazon:In Echo Objects, she argues that humanists should seize upon the exciting neuroscientific discoveries that are illuminating the underpinnings of cultural objects. | — |
| Digital Art(World of Art), Christiane Paul, 2003 | — | — |
| Engaging Art: The Next Great Transformation of America’s Cultural Life, Steven J. Tepper(ed) Bill Ivey(ed), 2007 | from AMAZON: Engaging Art explores what it means to participate in the arts in contemporary society – from museum attendance to music downloading. Drawing on the perspectives of experts from diverse fields (including Princeton scholars Robert Wuthnow and Paul DiMaggio; Barry Schwartz, author of The Paradox of Choice; and MIT scholars Henry Jenkins and Mark Schuster), this volume analyzes key trends involving technology, audience demographics, religion, and the rise of “do-it-yourself” participatory culture. Commissioned by The Wallace Foundation and independently carried out by the Curb Center at Vanderbilt University, Engaging Art offers a new framework for understanding the momentous changes impacting America’s cultural life over the past fifty years. | — |
Japanese
| アート:“芸術”が終わった後の“アート、松井みどり、2002 | — | — | — |
Exhibition Catalogs
| コネクティング•ワールド：創造的コミュニケーションに向けて2006 | from amazon:私たちを取り巻くコミュニケーションの諸相に対して、音、ゲーム、インターネットなどのメディアを駆使しユニークな介入を試みる表現を中心に、過去の先見的な作品も紹介する。同名の展覧会の図録。 |