المراجع

الفصل الأول: منطقة حرية؟

  • Rasheed Araeen, The Other Story: Afro-Asian Artists in Post-War Britain (London: Hayward Gallery, 1989).
  • The Art Sales Index: www.art-sales-index.com.
  • Pierre Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field (Cambridge: Polity Press, 1996), p. xiv.
  • Benjamin Buchloh, ‘Critical Reflections’, Artforum, vol. 35, no. 5, January 1997, pp. 68-9, 102.
  • Centre Georges Pompidou, Magiciens de la terre (Paris: Editions de Centre Pompidou, 1989).
  • Douglas Davis, ‘Multicultural Wars’, Art in America, vol. 83, no. 2, February 1995, pp. 35–9, 41, 43, 45.
  • Jacques Derrida, Of Grammatology, tr. Gayatri Chakravorty Spivak (Baltimore: Johns Hopkins University Press, 1976), pt. II.
  • Coco Fusco, The Bodies That Were Not Ours and Other Writings (London: IVA/Routledge, 2001).
  • Thelma Golden, Black Male: Representations of Masculinity in Contemporary American Art (New York: Whitney Museum of American Art, 1994).
  • Karl Marx and Frederick Engels, The Communist Manifesto: A Modern Edition (London: Verso, 1998), pp. 39-40.
  • Julie H. Reiss, From Margin to Center: The Spaces of Installation Art (Cambridge, Mass.: The MIT Press, 1999).
  • Justin Rosenberg, The Follies of Globalisation Theory (London: Verso, 2000).
  • Donald Sassoon, ‘On Cultural Markets’, New Left Review, new series, no. 17, September/October 2002, pp. 113–26.
  • Joseph Stiglitz, Globalization and Its Discontents (London: Allen Lane, 2002).

الفصل الثاني: نظام عالمي جديد

  • Carol Becker, ‘The Romance of Nomadism: A Series of Reflections’, Art Journal, vol. 58, no. 2, Summer 1999, pp. 22–9 (p. 27).
  • Alexander Brener, ‘Ticket that Exploded’: http://www.ljudmila.org/interpol/intro2.htm.
  • Jen Budney, ‘Who’s It For? The 2nd Johannesburg Biennale’, Third Text, no. 42, Spring 1998, pp. 88–94.
  • Mikhail Bulgakov, The Heart of a Dog, tr. Mirra Ginsburg (London: Picador, 1990).
  • Eugenio Valdés Figueroa, ‘Trajectories of a Rumour: Cuban Art in the Postwar Period’, in Block (ed.), Art Cuba: The New Generation, tr. Cola Franzen/Marguerite Feitlowitz (New York: Harry N. Abrams Inc., 2001), p. 20.
  • Jean Fisher, quoted in Kobena Mercer, ‘Ethnicity and Internationality: New British Art and Diaspora-Based Blackness’, Third Text, no. 49, Winter 1999-2000, pp. 51–62.
  • Coco Fusco, The Bodies That Were Not Ours and Other Writings, (London: inIVA/Routledge, 2001), p. 156.
  • Eduardo Galeano, Memory of Fire, tr. Cedric Belfrage (London: Quartet Books, 1995).
  • Hou Hanrou, interviewed in Franklin Sirmans, ‘Johannesburg Biennale: Meet the Curators of “Trade Routes: History and Geography”’, Flash Art, vol. 30, no. 190, October 1997, pp. 78–82 (p. 78).
  • Fredric Jameson, ‘Marxism and Postmodernism’, in The Cultural Turn: Selected Writings on the Postmodern, 1983–1998 (London: Verso, 1998).
  • 1st Liverpool Biennial of International Contemporary Art: Trace (Liverpool: Liverpool Biennial of International Contemporary Art/Tate Liverpool, 1999).
  • Rosa Martínez, cited in Carlos Basualdo, ‘Launching Site’, Artforum, vol. 37, no. 10, Summer 1999, pp. 39-40, 42 (p. 39).
  • Thomas McEvilley, ‘Report from Johannesburg: Towards a World-Class City?’, Art in America, vol. 83, no. 9, September 1995, pp. 45–7, 49.
  • David McNeill, ‘Planet Art: Resistances and Affirmation in the Wake of “9/11”’, Australian and New Zealand Journal of Art, vol. 3, no. 2, 2002, pp. 11–32.
  • Charles Merewether, ‘Naming Violence in the Work of Doris Salcedo’, Third Text, no. 24, Autumn 1993, pp. 31–44.
  • Gao Minglu, ‘Extensionality and Intentionality in a Transnational Cultural System’, Art Journal, vol. 57, no. 4, Winter 1998, pp. 36–9.
  • Gerardo Mosquera, ‘New Cuban Art Y2K’, in Block (ed.), Art Cuba: The New Generation, tr. Cola Franzen/Marguerite Feitlowitz (New York: Harry N. Abrams Inc., 2001), p. 13.
  • Moderna Musset, Organising Freedom: Nordic Art of the ‘90s (Stockholm, 2000).
  • Tom Patchett (ed.), Most Art Sucks: Five Years of Coagula (Santa Monica: Smart Art Press, 1998).
  • Katya Sander and Simon Sheikh (eds.), We Are All Normal (and We Want Our Freedom): A Collection of Contemporary Nordic Artists’ Writings (London: Black Dog Publishing, 2001), p. 70.
  • Måns Wrange, ‘To Change the World: On Statistical Averages, the Art of Social Engineering and Political Lobbying’, in Sander and Sheikh, We Are All Normal. See also www.averagecitizen.org.
  • Slavoj Žižek, ‘Multiculturalism, or, the Cultural Logic of Multinational Capitalism’, New Left Review, no. 225, September-October 1997, pp. 28–51.

الفصل الثالث: الثقافة الاستهلاكية

  • Theodor W. Adorno, Negative Dialectics, tr. E. B. Ashton (London: Routledge, 1973).
  • Theodor W. Adorno, ‘Free Time’, in The Culture Industry: Selected Essays on Mass Culture, ed. J. M. Bernstein (London: Routledge, 1991).
  • Benjamin H. D. Buchloh, ‘Moments of History in the Work of Dan Graham’ and ‘Parody and Appropriation in Picabia, Pop, and Polke’, in Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, October, Cambridge, Mass. 2000.
  • Claude Closky, www.sittes.net/links.
  • Dallas Museum of Art and Metropolitan Museum of Art, New York, Thomas Struth, 1977–2002, Dallas 2002.
  • Diedrich Diedrichsen, ‘The Boundaries of Art Criticism: Academicism, Visualism and Fun’, in Jürgen Bock (ed.), From Work to Text: Dialogues on Practise and Criticism in Contemporary Art (Lisbon: Fundaçaõ Centro Cultural de Belém, 2002).
  • Marcel Duchamp, ‘Apropos of “Ready-mades”’, in Michel Sanouillet and Elmer Peterson (eds.), The Essential Writings of Marcel Duchamp (London: Thames and Hudson, 1975).
  • Thomas Frank and Matt Weiland (eds.), Commodify Your Dissent: Salvos from The Baffler (New York: W. W. Norton, 1997).
  • Michael Hardt and Antonio Negri, Empire (Cambridge, Mass.: Harvard University Press, 2000), p. 150.
  • Fredric Jameson, Postmodernism or, the Cultural Logic of Late Capitalism (London: Verso, 1991), chapter 1.
  • Naomi Klein, No Logo: Taking Aim at the Brand Bullies (London: Flamingo, 2000).
  • Fernand Léger, ‘The Machine Aesthetic: The Manufactured Object, the Artisan, and the Artist’ (1924), in Functions of Painting, ed. Edward F. Fry (London: Thames and Hudson, 1973).
  • Karl Marx, Grundrisse: Foundations of the Critique of Political Economy (Rough Draft), tr. Martin Nicolaus (Harmondsworth, Middlesex: Penguin Books, 1973).
  • Karl Marx, Capital: A Critique of Political Economy, Volume I, tr. Ben Fowkes (Harmondsworth, Middlesex: Penguin Books, 1976), pp. 176-7.
  • Vladimir Mayakovsky, ‘Broadening the Verbal Basis’, Lef, no. 10, 1927; reprinted in Anna Lawton, (ed.), Russian Futurism through Its Manifestoes, 1912–1928 (Ithaca, NY: Cornell University Press, 1988).
  • Martha Rosler, ‘Video: Shedding the Utopian Moment’, in Doug Hall and Sally Jo Fifer (eds.), Illuminating Video: An Essential Guide to Video Art (New York: Aperture/Bay Area Video Coalition, 1990), p. 49.
  • Dan Schiller, Digital Capitalism: Networking the Global Market System (Cambridge, Mass.: The MIT Press, 1999).
  • Susan Sontag, ‘Notes on “Camp”’, in Against Interpretation [1961] (London: Vintage, 1994).
  • Tate Liverpool, Shopping: A Century of Art and Consumer Culture, ed. Christoph Grunenberg/Max Hollein (Ostfildern-Ruit: Hatje Cantz Publishers, 2002).
  • Walker Art Center, Let’s Entertain: Life’s Guilty Pleasures (Minneapolis, 2000).
  • Andy Warhol, The Philosophy of Andy Warhol (From A to B & Back Again) (New York: Harcourt, Brace, Jovanovich, 1975).
  • Renate Wiehager (ed.), Sylvie Fleury (Osfildern-Ruit: Cantz, 1999).
  • Joann Wypijewski, Painting by Numbers: Komar and Melamid’s Scientific Guide to Art (New York: Farrar, Straus, and Giroux, 1997).

الفصل الرابع: استخدامات الفن وأسعاره

  • Hans Abbing, Why Are Artists Poor? The Exceptional Economy of the Arts (Amsterdam: Amsterdam University Press, 2002), p. 286.
  • Alexander Alberro, Conceptual Art and the Politics of Publicity (Cambridge, Mass.: The MIT Press, 2003).
  • Walter Benjamin, The Arcades Project, tr. Howard Eiland and Kevin McLaughlin (Cambridge, Mass.: The Belknap Press of Harvard University Press, 1999).
  • Ernst Bloch, The Utopian Function of Art and Literature: Selected Essays, tr. Jack Zipes/Frank Mecklenburg (Cambridge, Mass.: The MIT Press, 1988), p. 187.
  • Pierre Bourdieu and Alain Darbel, The Love of Art: European Art Museums and Their Public, tr. Caroline Beattie/Nick Merriman (Cambridge: Polity Press, 1991).
  • Kim Bradley, ‘The Deal of the Century’, Art in America, vol. 85, no. 7, July 1997, pp. 48–55, 105-6.
  • Robert Brenner, The Boom and the Bubble: The US in the Global Economy (London: Verso, 2001).
  • Benjamin Buchloh, ‘Critical Reflections’, Artforum, vol. 35, no. 5, January 1997, pp. 68-9, 102.
  • Timothy Cone, ‘Regulating the Art Market’, Arts Magazine, vol. 64, no. 7, March 1990, pp. 21-2.
  • Neil Cummings and Marysia Lewandowska, The Value of Things (Basel: Birkhäuser, 2000).
  • Deutsche Guggenheim, Jeff Koons: Easyfun and Ethereal (Berlin, 2000), p. 56.
  • Adrian Ellis, ‘Museum Boom Will Be Followed by Bust’, The Art Newspaper, no. 116, July-August 2001, p. 14.
  • Coco Fusco, The Bodies That Were Not Ours and Other Writings (London: inIVA/Routledge, 2001).
  • Liam Gillick, Literally No Place: Communes, Bars and Greenrooms (London: Book Works, 2002).
  • Kassel, Internationale Austellung, Documenta IX (Stuttgart: Edition Cantz, 1992).
  • Naomi Klein, No Logo: Taking Aim at the Brand Bullies (London: Flamingo, 2000).
  • Niklas Luhmann, Art as a Social System, tr. Eva M. Knodt (Stanford: Stanford University Press, 2000), p. 145.
  • Cynthia MacMullin, ‘The Influence of Bi-Nationalism on the Art and Economy of Contemporary Mexico’, in Deichtorhallen Hamburg, Art and Economy, ed. Zdenek Felix/Beate Hentschel/Dirk Luckow (Ostfildern-Ruit: Hatje Cantz, 2002).
  • Neil De Marchi and Craufurd D. W. Goodwin, Economic Engagements with Art (Durham, NC: Duke University Press, 1999).
  • Mark W. Rectanus, Culture Incorporated: Museums, Artists and Corporate Sponsorships (Minneapolis: University of Minnesota Press, 2002).
  • Howard Singerman, Art Subjects: Making Artists in the American University (Berkeley: University of California Press, 1999).
  • Leo Steinberg, Other Criteria: Confrontations with Twentieth-Century Art (New York: Oxford University Press, 1972).
  • Peter Watson, From Manet to Manhattan: The Rise of the Modern Art Market (London: Hutchinson, 1992).
  • Whitechapel Art Gallery, Liam Gillick: The Wood Way (London, 2002), p. 5.
  • Chin-tao Wu, Privatising Culture: Corporate Art Intervention since the 1980s (London: Verso, 2001).

الفصل الخامس: قواعد الفن الآن

  • Pierre Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field (Cambridge: Polity Press, 1996).
  • Arthur C. Danto, After the End of Art: Contemporary Art and the Pale of History (Princeton, NJ: Princeton University Press, 1997).
  • Diedrich Diedrichsen, ‘The Boundaries of Art Criticism: Academicism, Visualism and Fun’, in Jürgen Bock (ed.), From Work to Text: Dialogues on Practise and Criticism in Contemporary Art (Lisbon: Fundaçaõ Centro Cultural de Belém, 2002).
  • Hal Foster, Design and Crime (and Other Diatribes) (London: Verso, 2002), pp. 124, 12, and 15.
  • Francis Fukuyama, The End of History and the Last Man (New York: The Free Press, 1992).
  • Renée Green, ‘Introductory Notes of a Reader and “A Contemporary Moment”’, in Jürgen Bock (ed.), From Work to Text, p. 248.
  • Dave Hickey, Air Guitar: Essays on Art and Democracy (Los Angeles: Art Issues Press, 1997), pp. 21, 71, and 107.
  • Dave Hickey (curator), Beau Monde: Toward a Redeemed Cosmopolitanism (Site Santa Fe’s Fourth International Biennial, 2002), p. 79.
  • David Hume, ‘An Inquiry Concerning Human Understanding’, in On Human Nature and the Understanding, ed. Antony Flew (London: Collier, 1962).
  • Thomas McEvilley, Art and Otherness: Crisis in Cultural Identity (Documentext/McPherson, 1992), pp. 12 and 145.
  • Museum of Modern Art, ‘Primitivism’ in Twentieth Century Art: Affinity of the Tribal and the Modern (New York, 1984).
  • Meyer Schapiro, ‘The Sculptures of Souillac’, in Medieval Studies in Memory of A. Kingsley Porter, ed. Wilhelm R. W. Koehler (Cambridge, Mass.: Harvard University Press, 1939).
  • Howard Singerman, Art Subjects: Making Artists in the American University (Berkeley: University of California Press, 1999), p. 186.
  • Robert Venturi, Denise Scott Brown, and Steven Izenour, Learning from Las Vegas: The Forgotten Symbolism of Architectural Form (Cambridge, Mass.: The MIT Press, 1977).
  • Paul Virilio, Art and Fear, tr. Julie Rose (London: Continuum, 2003).

الفصل السادس: تناقضات

  • Theodor W. Adorno, Aesthetic Theory, tr. Robert Hullot-Kentor (Minneapolis: University of Minnesota Press, 1997).
  • Matthew Arnatt and Matthew Collings, Documenta 11 (London: Artswords Press, 2002), pp. 10-11 and 12.
  • Rachel Baker: http://www.irational.org/tm/archived/tesco/front2.html Walter Benjamin, ‘The Author as Producer’ (1934), in Selected Writings, Volume 2, 1927–1934, ed. Michael W. Jennings, Howard Eiland, and Gary Smith (Cambridge, Mass.: The Belknap Press of Harvard University Press, 1999).
  • Pierre Bourdieu, The Rules of Art: Genesis and Structure of the Literary Field (Cambridge: Polity Press, 1996), p. 26.
  • Nicolas Bourriaud, Relational Aesthetics, tr. Simon Pleasance/Fronza Woods (Dijon: Les Presses du réel, 2002).
  • Benjamin H. D. Buchloh, Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, October, Cambridge, Mass., 2000, p. 198.
  • Alexander Cockburn, Jeffrey St Clair, and Allan Sekula, Five Days that Shook the World: Seattle and Beyond (London: Verso, 2000), p. 122.
  • Digital Hijack: http://146.228.204.72:8080/.
  • eToys dispute: http://www.toywar.com/.
  • Paul Garrin, Name.Space: http://name.space.xs2.net/.
  • Serge Guilbaut, How New York Stole the Idea of Modern Art: Abstract Expressionism, Freedom, and the Cold War, tr. Arthur Goldhammer (Chicago: University of Chicago Press, 1983).
  • Michael Hardt and Antonio Negri, Empire (Cambridge, Mass.: Harvard University Press, 2000).
  • Karl Marx and Friedrich Engels, The German Ideology (Amherst, NY: Prometheus Books, 1998).
  • Leo Steinberg, Other Criteria: Confrontations with Twentieth-century Art (New York: Oxford University Press, 1972), p. xv.
  • Paul Virilio, Art and Fear, tr. Julie Rose (London: Continuum, 2003).

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