Reading & References

• Julie Ault, “Exhibition as Political Space”, in Critical Condition (Essen: Zollverein/Zeitgenössische Kunst und Kritik, 2003)
• Julie Ault, Judith Barry, Martin Beck, “Making the Politics of Display Visible”, in Critical Condition (Essen: Zollverein/Zeitgenössische Kunst und Kritik, 2003)
• Gaston Bachelard, “Corners” in The Poetics of Space (New York: Orion Press, 1964)
• James Baldwin, “Nothing Personal,” in Richard Avedon and James Baldwin, Nothing Personal (New York: Atheneum; Toronto: McClelland & Stewart, 1964)
• Judith Barry, “Designed Aesthetic: Exhibition Design and the Independent Group”, in Lucy Steeds (ed.), Documents of Contemporary Art: Exhibition (Cambridge: MIT Press, 2014)
• David Batchelor, “A Bit of Nothing”, Tate Etc., Issue 16: Summer 2009
• Martin Beck, “An Organized System of Instructions”, lecture (text and/or video), Carpenter Center for the Visual Arts, April 14, 2016
• Martin Beck, “The Exhibition and the Display”, in Lucy Steeds (ed.), Documents of Contemporary Art: Exhibition (Cambridge: MIT Press, 2014)
• Claire Bishop, “Black Box, White Cube, Public Space,” Out of Body, Skulptur Projekte Münster 2017, Spring Issue 2016
• Jorge Luis Borges, The Aleph (Buenos Aires: Editorial Losada, 1949; London: Penguin Classics, 2004)
• Edward Booth-Clibborn and Daniele Baroni, “The Sign and Symbol in Graphic Art,” The Language of Graphics (New York: Abrams, 1980)
• Amaranth Borsuk, The Book (Cambridge: The MIT Press, 2018) Excerpts of introductory pages from each of the four chapters: “The Book as Object,” “The Book as Content,” “The Book as Idea,” “The Book as Interface”
• Roger M. Buergel, ”‘This Exhibition is an Accusation’: The Grammar of Display According to Lina Bo Bardi”, Afterall, Spring 2011
• Italo Calvino, “The Distance of the Moon,” in Cosmicomics (Turin: Giulio Einaudi Editore, 1965; Houghton Mifflin Harcourt, 2014)
• Ulises Carrión resources on Monoskop
• Ulises Carrión, Dear Reader. Don’t Read. (Curator: Guy Schraenen), Museo Nacional Centro de Arte, March 16–October 10, 2016
• Ulises Carrión, “The New Art of Making Books”, Kontext 6/7, 1975
• Ned Carter Miles, “Rana Begum: Simply Put,” Art Asia Pacific, July Aug 2017
• Germano Celant, “The Record as Artwork: From Futurism to Conceptual Art”, in The Record as Artwork: From Futurism to Conceptual Art (Fort Worth: Fort Worth Art Museum, 1977)
• Alejandro Cesarco, Interview with Luis Camnitzer, Bomb 115, Spring 2011
• Beatriz Colomina, “Collaborations: The Private Life of Modern Architecture”, Journal of the Society of Architectural Historians, Vol. 58, No. 3, September 1999
• Céline Condorelli, Support Structures (Berlin: Sternberg Press, 2009)
• Céline Condorelli and Gavin Wade, supportstructure.org
• Mónica de la Torre, “Ulises Carrión’s The Poet’s Tongue,” Bomb 122, Winter 2013
• Rachel Donadio, “Le Corbusier’s Architecture and His Politics Are Revisited,” New York Times, July 12, 2015
• W.A. Dwiggins, The Crew of the Ship “Earth” (New York: The Typophiles, 1944)
• Keller Easterling, “The Year in Weather,” Artforum, December 2017
• R. Buckminster Fuller, “Spaceship Earth”, in Operating Manual for Spaceship Earth (New York: Simon and Schuster, 1969)
• Édouard Glissant, Poetics of Relation (Paris: Gallimard, 1990; Ann Arbor: University of Michigan Press, 1997)
• James Goggin, “Brand New Institutionalism,” James Voorhies (ed.), What Ever Happened to New Institutionalism?, Carpenter Center for the Visual Arts/Sternberg Press, 2016
• James Goggin, “Ground Zero Zero,” Zak Kyes and Mark Owens (eds.), Forms of Inquiry: The Architecture of Critical Graphic Design (London: Architectural Association, 2007)
• James Goggin, “Word Worlds,” Typojanchi 2017: Mohm (Seoul: Ahn Graphics, 2017)
• April Greiman, “Does It Make Sense?,” Design Quarterly 133, 1986
• Joseph Grigely, “Exhibition Prosthetics,” Exhibition Prosthetics (London: Bedford Press and Berlin: Sternberg Press, 2010)
• Yotam Hadar, Reading Forms A self-described “depository of hyperlinks and images of graphic design exhibitions”, blog edited by graphic designer Yotam Hadar)
• Yuki Higashino, “The How of an Exhibition: On Martin Beck’s An Organized System of Instructions,” The Avery Review 26, October 2017
• Christopher Hight, “Modulor: Residues of History” (excerpt) in Architectural Principles in the Age of Cybernetics (London: Routledge, 2007)
• Jost Hochuli and Robin Kinross, “Designing books: an introduction to book design, in particular to book typography” (including “Format and Thickness, Hand and Eye”) in Designing books: practice and theory (London: Hyphen Press, 1996)
• Richard Hollis, “The Modernist Grid,” 2004
• Sarah Hromack, “It’s Complicated: The Institution as Publisher,” Superscript Reader, Walker Art Center, Summer 2015
• Eric Klinenberg, “To Restore Civil Society, Start With the Library,” New York Times, September 8, 2018
• Léopold Lambert, “A Subversive Approach to the Ideal Normatized Body”, The Funambulist, April 29, 2012
• Alexandra Lange, “Play Ground”, New Yorker, May 16, 2016
• Chris Lee, “This Was Written On Stolen Indigenous Land,” Decolonising Design, 11 July 2017
• Lucy R. Lippard, The Lure of the Local (New York: The New Press, 1997)
• Anne Livet, “Introduction”, The Record as Artwork: From Futurism to Conceptual Art (Fort Worth: Fort Worth Art Museum, 1977)
• Louis Lüthi, On the Self-Reflexive Page (Amsterdam: Roma Publications, 2010)
• Herbert Muschamp, “Critic’s Notebook; One Vision: A Hill of Green at Ground Zero,” New York Times, September 11, 2003
• Hans Ulrich Obrist and Julia Peyton-Jones, ed., Etel Adnan: The Weight of the World, (London: Koenig Books, 2016)
• Amandas Ong, “Tania Bruguera on transforming Tate Modern’s Turbine Hall,” Apollo, October 2, 2018
• Marion von Osten, “If White is Just a Colour, the Gallery is Just a Sight?”, in Lucy Steeds (ed.), Documents of Contemporary Art: Exhibition (Cambridge: MIT Press, 2014)
• Mark Owens, “A Note on the Type,” Shannon Ebner, Auto Body Collision (Pittsburgh: Carnegie Museum of Art, 2015)
• Giancarlo Paba, “Body, Architecture, and City” in Planum: The Journal of Urbanism, No. 27, Vol. 2, 2013
• Georges Perec, “Foreword” and “The Page” in Species of Spaces (Paris: Galilée, 1974; London: Penguin, 1997)
• Jennifer L. Roberts, “Introduction: Seeing Scale” in Scale, Terra Foundation Essays, Volume 2 (Chicago and Paris: Terra Foundation for American Art, 2016)
• Michael Rock, “The Accidental Power of Design”, The New York Times Style Magazine, September 26, 2016
• Zoë Ryan, “Taking Positions: An Incomplete History of Architecture and Design Exhibitions,” As Seen: Exhibitions That Made Architecture and Design History (Chicago: Art Institute of Chicago, 2017)
• Guy Schraenen, Dear Reader. Don’t Read. (Madrid: Museo Nacional Centro de Arte Reina Sofía, 2016)
• Laurel Schwulst, “My website is a shifting house next to a river of knowledge: What could yours be?,” The Creative Independent, May 25, 2018
• David Senior, “Infinite Hospitality,” Dot Dot Dot #18, 2009
• Mindy Seu, “Case Study: The Poetry of Tools,” Are.na Blog, August 10, 2017
• Jacques Tati (dir.), PlayTime, 1967; Paris: Les Films de Mon Oncle; Specta Films
• James Voorhies, “From Relational Aesthetics to New Institutionalism and Now?,” in James Voorhies (ed.), What Ever Happened to New Institutionalism?, Carpenter Center for the Visual Arts/Sternberg Press, 2016
• Frank Zöllner, “Anthropomorphism: From Vitruvius to Neufert, from Human Measurement to the Module of Fascism” in Kirsten Wagner and Jasper Cepl (Eds.) Images of the Body in Architecture: Anthropology and Built Space (Tübingen/Berlin: Ernst Wasmuth Verlag, 2014)