{"id":290,"date":"2017-06-21T20:07:30","date_gmt":"2017-06-22T03:07:30","guid":{"rendered":"https:\/\/blogs.ubc.ca\/donofrio\/?p=290"},"modified":"2019-05-22T12:21:10","modified_gmt":"2019-05-22T19:21:10","slug":"375-extended-reading","status":"publish","type":"post","link":"https:\/\/blogs.ubc.ca\/donofrio\/375-extended-reading\/","title":{"rendered":"VISA 375 Reading List"},"content":{"rendered":"<p><em>(Required in Bold, otherwise recommended)<\/em><\/p>\n<h2>Artist\u2019s Role<\/h2>\n<ul>\n<li><strong>Ann Hamilton <em>Making Not Knowing <\/em>from <u>Learning Mind: Experience Into <\/u>Art p.66-73<\/strong><\/li>\n<li><strong>Excerpts from AKADEMIE X: Lessons in Art + Life 2015 <\/strong><\/li>\n<li>James Elkins (Ed) <u>What do Artists Know?<\/u> 2012<\/li>\n<li>Michael Schwab (Ed) <u>Experimental Systems: Future Knowledge in Artistic Research<\/u> 2013<\/li>\n<li>Estelle Barrett <em>Experiential Learning in practice as research: context, method, knowledge <\/em>from <u>Journal of Visual Art Practice<\/u>, Volume 6 Number 2, 2007 p.115-123<\/li>\n<li>Janet Eyler <em>Creating Your Reflection Map<\/em> from <u>New Directions for Higher Education<\/u>114, Summer 2001 p.35-43<\/li>\n<\/ul>\n<h2>Artist Run Culture<\/h2>\n<ul>\n<li><strong>Gabriele Detterer <\/strong><em><strong>The Spirit and Culture of Artist-Run Spaces<\/strong><\/em><strong> in <u>Artist Run Spaces:\u00a0 Nonprofit Collective Organizations in the 1960s and 1970s<\/u>10-49 <\/strong><\/li>\n<li>AA Bronson <em>The Humiliation of the Bureaucrat:\u00a0 Artist-Run Centres as Museums by Artists<\/em> first from <u>Museums by artists<\/u> (<a href=\"http:\/\/goodreads.timothycomeau.com\/aabronson\/%29\">Available here<\/a>)<\/li>\n<li>AA Bronson <em>The Transfiguration of the Bureaucrat<\/em> in <u>Institutions by Artists <\/u>(<a href=\"http:\/\/arcpost.ca\/articles\/the-transfiguration-of-the-bureaucrat\">Available here<\/a>)<\/li>\n<li>Keith Wallace <em>Artist-Run Centres in Vancouver:\u00a0 A Reflection on Three Texts<\/em> in <u>Institutions by Artists<\/u> (<a href=\"http:\/\/fillip.ca\/content\/artist-run-centres-in-vancouver\">Available here<\/a>)<\/li>\n<\/ul>\n<h2>Commercial &amp; International Events<\/h2>\n<ul>\n<li><strong>Michael Turner <\/strong><em><strong>Whose Business Is It? Vancouver\u2019s Commercial Galleries and the Production of Art<\/strong><\/em><strong> in <u>Vancouver Art &amp; Economies<\/u>205-218 <\/strong><\/li>\n<li>Sarah Thornton <em>The Fair<\/em> in <u>Seven Days in the Art World\u00a0 <\/u>76-104<\/li>\n<li>Jan Verwoert <em>The Curious Case of Biennial Art <\/em>in Filipovic, Van Hal, Ovstebo <u>The Biennial Reader<\/u><\/li>\n<li>Okwui Enwezor <em>Mega-Exhibitions and the Antinomies of the Transnational Global Form <\/em>in Filipovic, Van Hal, Ovstebo <u>The Biennial Reader<\/u><\/li>\n<li>Gerardo Mosquera <em>Beyond Anthropophagy: Art, Interantionaization<\/em>, <em>and Cultural Dynamics<\/em> in <u>The Global Contemporary and the Rise of New Art Worlds<\/u><\/li>\n<li>Sara Giannini <em>J\u2019est un autre: Notes on Cannibalism and Contemporary Art<\/em> from <u>The Global Contemporary and the Rise of New Art Worlds<\/u><\/li>\n<\/ul>\n<h2>The Artist\u2019s Studio<\/h2>\n<ul>\n<li><strong>Daniel Buren <\/strong><em><strong>Function of the Studio<\/strong><\/em><strong> in <u>Museums by <\/u>artists p.61-67 (on Connect)<\/strong><\/li>\n<li><strong>Rebecca Fortnum <\/strong><em><strong>Creative Accounting: Not Knowing in Talking and<\/strong><\/em><strong> Making from <u>On Not Knowing: How Artists Think <\/u>70-87<\/strong><\/li>\n<li>Glenn Adamson and Julia Bryan-Wilson <u>Art in the Making Artists and their Materials: From Studio to Crowdsourcing<\/u> 2016<\/li>\n<li>Caitlin Jones <em>The Function of the Studio (When the Studio is a Laptop)<\/em> from <u>STUDIO<\/u>, p.116-121<\/li>\n<li>Mary Jane Jacobs and Michelle Grabner <u>The Studio Reader<\/u> 2010<\/li>\n<li>Edited by Jens Hoffman <u>STUDIO<\/u> (From Whitechapel\u2019s Documents of Contemporary Art series) 2012<\/li>\n<li>Twyla Tharp <u>The Creative Habit: Learn It and Use it for Life<\/u> 2003<\/li>\n<\/ul>\n<h2>Artist as Activist<\/h2>\n<ul>\n<li><strong>Alfredo Jaar <em>It is Difficult<\/em> from from <u>Learning Mind: Experience Into Art<\/u>82-89<\/strong><\/li>\n<li><strong>Claire Bishop <\/strong><em><strong>Antagonism and Relational Aesthetics<\/strong><\/em><strong> in <u>October <\/u>110, Fall 2004. P.51-79\u00a0<\/strong><\/li>\n<li>Renzo Martens and Joe Penney <em>\u2018Enjoy Poverty\u2019: Interview with Renzo Martens\u00a0 <\/em>(<a href=\"http:\/\/africasacountry.com\/poverty-for-sale\/\">Available here<\/a>)<\/li>\n<li>Marcus Steinweg <em>Art between Affirmation and Critique<\/em> in <u>Scandalous: A Reader on Art and <\/u>Ethics p.169-175<\/li>\n<li>Boris Groys <em>On Art Activism<\/em> from <u>e-flux <\/u>(<a href=\"http:\/\/www.e-flux.com\/journal\/on-art-activism\">Available here<\/a>)<\/li>\n<li>Chantal Mouffe <em>Artistic Activism and Agonistic Spaces<\/em> Art&amp;Research 2007<\/li>\n<li>Mick Wilson<em> Autonomy, Agonism, and Activist Art: An Interview with Grant Kester<\/em> from <u>Art Journal<\/u> 2006<\/li>\n<li>Nicolas Bourriaud Excerpt from <u>Relational Aesthetics<\/u> (Presses du R\u00e9el, 1998, trans. 2002)<\/li>\n<\/ul>\n<h2>The Artist\u2019s Labour<\/h2>\n<ul>\n<li><strong>Pascal Gielen <u>The Murmuring of the Artistic Multitude: Global Art, Memory and Post-Fordism<\/u>12-32 (On Connect)<\/strong><\/li>\n<li><strong>Turions, Cheyanne <em>Youth in Revolt: Precarious Labour, the Young Curator and Sectorial Burn Out in the Media Arts\u00a0 <\/em><u>(<\/u><a href=\"https:\/\/cheyanneturions.wordpress.com\/2013\/11\/17\/1781\/\">Available here<\/a><u>)<\/u><\/strong><\/li>\n<li><strong>Claire Fontaine <em>Human Strike has Already Begun<\/em> in <u>Human Strike Has Already Begun &amp; Other Writings<\/u>29-33 \u00a0PDF Download available here:<\/strong> <a href=\"http:\/\/www.metamute.org\/shop\/mute-books\/human-strike-has-already-begun-other-essays\"><strong>http:\/\/www.metamute.org\/shop\/mute-books\/human-strike-has-already-begun-other-essays<\/strong><\/a><\/li>\n<li>Andrea Fraser <em>It\u2019s Art When I Say It\u2019s Art, Or\u2026<\/em> in <u>Museum Highlights, the Writings of Andrea <\/u>Fraser p.37-44<\/li>\n<li>Liam Gillick <em>The Good of Work<\/em> Available here: www.liamgillick.info\/home\/texts\/why-work<\/li>\n<li>Keti Chukhrov <em>On the False Democracy of Contemporary Art<\/em> from <u>e-flux<\/u> Available here: http:\/\/www.e-flux.com\/journal\/on-the-false-democracy-of-contemporary-art\/<\/li>\n<li>Hans Haacke <em>All the Art that\u2019s Fit to Show<\/em> from <u>Museums by <\/u>artists p.151-152<\/li>\n<li>Pascal Gielen <em>The Art Scene. A Clever Working Model for Economic Exploitation?<\/em> from <u>Open 17:\u00a0 A Precarious Existence, Vulnerability in the Public Domain<\/u><\/li>\n<\/ul>\n","protected":false},"excerpt":{"rendered":"<p>(Required in Bold, otherwise recommended) Artist\u2019s Role Ann Hamilton Making Not Knowing from Learning Mind: Experience Into Art p.66-73 Excerpts from AKADEMIE X: Lessons in Art + Life 2015 James Elkins (Ed) What do Artists Know? 2012 Michael Schwab (Ed) Experimental Systems: Future Knowledge in Artistic Research 2013 Estelle Barrett Experiential Learning in practice as &hellip; <a href=\"https:\/\/blogs.ubc.ca\/donofrio\/375-extended-reading\/\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">VISA 375 Reading List<\/span><\/a><\/p>\n","protected":false},"author":17601,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-290","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"_links":{"self":[{"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/posts\/290","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/users\/17601"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/comments?post=290"}],"version-history":[{"count":5,"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/posts\/290\/revisions"}],"predecessor-version":[{"id":1136,"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/posts\/290\/revisions\/1136"}],"wp:attachment":[{"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/media?parent=290"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/categories?post=290"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.ubc.ca\/donofrio\/wp-json\/wp\/v2\/tags?post=290"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}