Resources

 

Annotated Bibliography : MFA Thesis

Alexander, M. Darsie., Charles Harrison, and Robert Storr. Slide Show: Projected Images in Contemporary Art. University Park, PA: Pennsylvania State University Press, 2005.

Explores the medium of projection and asks questions about how the use of the projector as a source of family entertainment and personal archiving may have shaped the use in contemporary art. Gives contemporary grounding and prescience for continuing or returning to the medium.

Barthes, Roland, Nathalie Léger, and Richard Howard. Mourning Diary: October 26, 1977-September 15, 1979. New York: Hill and Wang, 2010.

The personal, anecdotal, and episodic  method employed by Bathes to explore his own grief, memory, and family imagery is highly influential in thinking about how to approach writing about my current time-based project.

Bell, Nicholas R. Wonder. London: Smithsonian American Art Museum in Association with D Giles Limited, 2015.

Essays about wonder, which include touching on the importance of science and the natural world really resonate with my approach and studio practice. Even though the exhibit deals with exquisitely crafted objects, sculptures, and installations instead of images, photographs or projections, I believe the spirit of the show is very akin to my own work.

Benson, Michael, and Owen Gingerich. Cosmigraphics: Picturing Space through Time. New York, NY: Abrams, 2014.

Useful in understanding and grappling with how humans visualize something that they can’t actually see. How they map or give physical presence to ideas or vast celestial spaces. Being able to do this with a more internal space, or emotion seems very linked and very similar. Also, the superstition that our emotions are linked to the solar system seems worth touching on.

Crary, Jonathan. Techniques of the Observer: On Vision and Modernity in the Nineteenth Century. Cambridge, MA: MIT Press, 1990.

The in depth study of the history of vision as it is tied to the ways in which we look and through the apparatuses we create to aid our sight. It seems impossible to think of looking closely without also delving into the philosophy and theory of why and how we look closely and how it affects us.

Gioni, Massimiliano, and Natalie Bell, eds. The Keeper. New York, NY: New Museum, 2016.

The inspirational show is cataloged for reference along with writings about collections, time-based work, hoarding, and curation. The theme of both keeping objects as well as keeping a specific types of knowledge is important to my work, along with the discussion of empathy towards inanimate objects.

Hankins, Thomas L., and Robert J. Silverman. Instruments and the Imagination. Princeton, NJ: Princeton University Press, 1995.

Description and discussion of specific “magical” instruments used from the seventeenth century into the nineteenth give a more in depth understanding of the blurry relationship between science and purely aesthetic  pleasures of looking.

Katz, Cheryl, and Jeffrey Katz. Dirty Wow Wow and Other Love Stories: A Tribute to the Threadbare Companions of Childhood. Berkeley, CA: Ten Speed Press, 2007.

This small picture book with anecdotal stories of object empathy supports information from The Keeper exhibition, as well as delves more clearly into loved and comfort objects. While these objects seem to be more about touch and comfort, I believe it is a stepping stone into thinking about why we feel empathy towards more mechanical and visual objects.

Kemp, Martin. Visualizations: The Nature Book of Art and Science. Berkeley, Calif: University of California Press, 2000.

Many great essays on science and art, especially “Lucid Looking”, “Maculate moons” and “Hesse-Honeger’s handwork” are key to helping describe drawing as an important action to aid in looking.

Schaffner, Ingrid, Matthias Winzen, Geoffrey Batchen, and Hubertus Gassner.Deep Storage: Collecting, Storing, and Archiving in Art. Munich: Prestel, 1998.

Examples of contemporary artists who highlight and incorporate archiving, storing, and collecting as part of their artistic practice.

Stafford, Barbara Maria, Frances Terpak, and Isotta Poggi. Devices of Wonder: From the World in a Box to Images on a Screen. Los Angeles, CA: Getty Research Institute, 2001.

The archaic instruments, many made as one-offs by inventors are mesmerizing and a testament to our need to look and see differently. The stories of John Herschel and his fake moonscapes for one is important to my work, along with the explorations of microscopes, the solar microscope, magic lanterns, Joseph Cornell, epiphany, home experiments and appliances, and lenses.

Waal, Edmund De. The Hare with Amber Eyes: A Family’s Century of Art and Loss. New York: Farrar, Straus and Giroux, 2010.

A narrative documentation of a family who passes objects down from generation to generation and how those memories are attached to objects and place.

 

 

Artists, influential works:

Adam Fuss, Ark

Alison Rossiter, Nepera Chemical Company Carbon Velox

Ann Hamilton, Indigo Blue Books

Chris McCaw, Sunburn

Christian Marclay, All Over (Gospel Songs)

Diana Shpungin, Recurring Tide

Dieter Roth, Wait, Later This Will Be Nothing

John Wood, Fall Creek Rock Drawing Portfolio

Hiroshi Sugimoto, Seascapes

Linda Connor, July 23, 1903 (Glass negatives from the Lick Observatory Collection)

Marco Breuer, Spin

Mark Dion,

Paul Sharits, N:O:T:H:I:N:G

Pauline Oliveros, Deep Listening

Susan Derges, Moons

Tacita Dean, The Green Ray

Walead Beshty, Passages