Bibliography for DT3110: Advanced Option Performance and Visual Art BETA

Abramovic, M. and Biesenbach, K.P. (2010a) Marina Abramovic: The Artist Is Present. New York: Museum of Modern Art.

Abramovic, M. and Biesenbach, K.P. (2010b) ‘Seven Easy Pieces’, in Marina Abramovic: The Artist Is Present. New York: Museum of Modern Art, pp. 36–93.

Andre, C. (1959) Last Ladder | Tate. Available at: https://www.tate.org.uk/art/artworks/andre-last-ladder-t01533.

Auslander, P. (1997a) From Acting to Performance: Essays in Modernism and Postmodernism. London: Routledge.

Auslander, P. (1997b) From Acting to Performance: Essays in Modernism and Postmodernism. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=169806.

Auslander, P. (1997c) ‘Presence and Theatricality in the Discourse of Performance and the Visual Arts’, in From Acting to Performance: Essays in Modernism and Postmodernism. London: Routledge, pp. 49–57.

Auslander, P. (1997d) ‘Presence and Theatricality in the Discourse of Performance and the Visual Arts’, in From Acting to Performance: Essays in Modernism and Postmodernism. London: Routledge, pp. 49–57. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=169806.

Auslander, P. (2006) ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28(3), pp. 1–10. Available at: https://www.jstor.org/stable/4140006.

Auslander, P. (2008a) Liveness: Performance in a Mediatized Culture. 2nd Edition. London: Routledge.

Auslander, P. (2008b) Liveness: Performance in a Mediatized Culture. London: Routledge.

Batchelor, D. (1997a) Minimalism. London: Tate Gallery.

Batchelor, D. (1997b) Minimalism. London: Tate Gallery.

Battcock, G. (1995) Minimal Art: A Critical Anthology. Berkeley: University of California Press.

Battcock, G. and Nickas, R. (1984) The Art of Performance: A Critical Anthology. New York: E.P. Dutton.

Birringer, J. (2011) ‘Dancing in the Museum’, PAJ: A Journal of Performance and Art, 33(3), pp. 43–52. Available at: https://muse.jhu.edu/article/448380.

Bishop, C. (2004) ‘Antagonism and Relational Aesthetics’, October, 110, pp. 51–79. Available at: https://www.jstor.org/stable/3397557.

Bishop, C. (2006a) Participation. London: Whitechapel.

Bishop, C. (2006b) Participation. London: Whitechapel.

Bishop, C. (2006c) ‘The Social Turn: Collaboration and its Discontents’, Artforum, 44(Feb), pp. 178–183.

Bishop, C. (2012a) Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.

Bishop, C. (2012b) Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5176988.

Bishop, C. (2012c) Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso.

Bishop, C. (2012d) Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=5176988.

Bishop, C. (2014a) ‘The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney’, The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney, 46(3), pp. 62–76. Available at: https://muse.jhu.edu/article/566328.

Bishop, C. (2014b) ‘The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney’, Dance Research Journal, 46(3), pp. 63–76. Available at: https://doi.org/10.1017/S0149767714000497.

Bishop, C. and Sladen, M. (2008) Double Agent. London: Institute of Contemporary Arts.

BMW Tate Live: If Tate Modern was Musée de la danse? – Performance at Tate Modern | Tate (no date). Available at: https://www.tate.org.uk/whats-on/tate-modern/performance/bmw-tate-live-2015/bmw-tate-live-if-tate-modern-was-musee-de-la.

Bourriaud, N. (2002) ‘Relational Form’, in Relational Aesthetics. Dijon, pp. 11–24.

Bourriaud, N., Pleasance, S. and Woods, F. (2002) Relational Aesthetics. Dijon.

Brentano, R. (1994) Outside the Frame - Performance and the Object: A Survey History of Performance Art in the USA Since 1950. Cleveland, Ohio: Cleveland Center for Contemporary Art.

Charmatz, B. (2016) ‘How to Dance with Art’, in How to Frame: On the Threshold of Performing and Visual Arts. Berlin: Sternberg Press, pp. 133–142.

Copeland, M. (2013a) Choreographing Exhibitions. Dijon: Presses du Reel.

Copeland, M. (2013b) ‘People and Things in the Museum’, in Choreographing Exhibitions. Dijon: Presses du Reel.

Courage, C. (2017a) Arts in Place: The Arts, the Urban and Social Practice. London: Routledge, Taylor & Francis Group.

Courage, C. (2017b) Arts in Place: The Arts, the Urban and Social Practice. Abingdon: Routledge. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4799881.

Courage, C. and McKeown, A. (eds) (2019a) Creative Placemaking: Research, Theory and Practice. London: Routledge.

Courage, C. and McKeown, A. (eds) (2019b) Creative Placemaking: Research, Theory and Practice. London: Routledge. Available at: https://www-taylorfrancis-com.ezproxy01.rhul.ac.uk/books/9781315104607.

Crouch, T. (2011) ‘My Arm’, in Plays One. London: Oberon, pp. 21–47.

Cunningham, M. (1952) Space, Time and Dance | Merce Cunningham Trust. Available at: https://www.mercecunningham.org/the-work/writings/space-time-and-dance/.

Downey, A. (2007a) ‘Towards a Politics of (Relational) Aesthetics’, Third Text, 21(3), pp. 267–275. Available at: https://doi.org/10.1080/09528820701360534.

Downey, A. (2007b) ‘Towards a Politics of (Relational) Aesthetics’, Third Text, 21(3), pp. 267–275. Available at: https://doi.org/10.1080/09528820701360534.

Ferdman, B. (2014) ‘From Content to Context: The Emergence of the Performance Curator’, Theater, 44(2), pp. 5–19. Available at: https://doi.org/10.1215/01610775-2409482.

Fernandez, L. (2015) ‘Once Again’, in F. Grossi (ed.) Ragnar Kjartansson. Paris, France: Palais de Tokyo, pp. 29–38.

Finbow, A. (2018) ‘Multiplicity in the Documentation of Performance-Based Artworks: Displaying Multi-Media Documentation in Rebecca Horn’s Body Sculptures at Tate’, Journal of New Music Research, 47(4), pp. 291–299. Available at: https://doi.org/10.1080/09298215.2018.1486432.

Foster, H. (1996) The Return of the Real: The Avant-Garde at the End of the Century. Cambridge, Mass: MIT Press.

Fried, M. (1995a) ‘Art and Objecthood’, in Minimal Art: A Critical Anthology. Berkeley: University of California Press, pp. 116–147.

Fried, M. (1995b) ‘Art and Objecthood’, in Minimal Art: A Critical Anthology. Berkeley: University of California Press, pp. 49–57.

Gallizio, P. (1958) Industrial Painting | Tate. Available at: https://www.tate.org.uk/art/artworks/gallizio-industrial-painting-t14249.

Giannachi, G. and Westerman, J. (eds) (2018) Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. London: Routledge.

Goldberg, R. (1998) Performance: Live Art Since the 60s. London: Thames & Hudson.

Goldberg, R. (2011a) ‘Living Art c.1933 to the 1970s’, in Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson, pp. 121–151.

Goldberg, R. (2011b) Performance Art: From Futurism to the Present. 3rd Edition. London: Thames & Hudson.

Goldberg, R.L. (2004) ‘One Hundred Years’, in Live: Art and Performance. London: Tate, pp. 176–182.

Groĭs, B. (2008) Art Power. Cambridge, Mass: MIT Press. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3338770.

Groĭs, B. (2013) Art Power. Cambridge, Massachusetts: The MIT Press.

Gronau, B., Hartz, M. von and Hochleichter, C. (2016) How to Frame: On the Threshold of Performing and Visual Arts. Berlin: Sternberg Press.

Guy, G. (2016a) ‘Introduction: Displaying Performance’, in Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge, pp. 1–43.

Guy, G. (2016b) ‘Introduction: Displaying Performance’, in Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge, pp. 1–43. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4513466.

Guy, G. (2016c) Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge.

Guy, G. (2016d) Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge. Available at: http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719.

Guy, G. (2016e) ‘Visitor and Performer: The Return of the Relational’, in Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge, pp. 100–138.

Guy, G. (2016f) ‘Visitor and Performer: The Return of the Relational’, in Theatre, Exhibition, and Curation: Displayed & Performed. New York: Routledge, pp. 100–138. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4513466.

Guy, G. (2017) ‘From Visible Object to Reported Action: The Performance of Verbal Images in Visual Art Museums’, Theatre Journal, 69(3), pp. 339–359. Available at: https://muse.jhu.edu/article/670581.

Harvie, J. (2011a) ‘Agency and Complicity in "A Special Civic Room”: London’s Tate Modern Turbine Hall’, in Performance and the City. Basingstoke: Palgrave Macmillan, pp. 204–221.

Harvie, J. (2011b) ‘Democracy and Neoliberalism in Art’s Social Turn and Roger Hiorns’s Seizure’, Performance Research, 16(2), pp. 113–123. Available at: https://doi.org/10.1080/13528165.2011.578842.

Harvie, J. (2013a) Fair Play: Art, Performance and Neoliberalism. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Harvie, J. (2013b) Fair Play: Art, Performance and Neoliberalism. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431369.

Harvie, J. (2013c) Fair Play: Art, Performance and Neoliberalism. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan.

Harvie, J. (2013d) Fair Play: Art, Performance and Neoliberalism. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431369.

Heathfield, A. (2000) Small Acts: Performance, the Millennium and the Marking of Time. London: Black Dog.

Heathfield, A. and Glendinning, H. (2004) Live: Art and Performance. London: Tate.

Heathfield, A. and Hsieh, T. (2009) Out of Now: The Lifeworks of Tehching Hsieh. London: Live Art Development Agency.

Heddon, D. and Klein, J. (eds) (2012) Histories and Practices of Live Art. Basingstoke, Hampshire: Palgrave Macmillan.

Hoffmann, J. and Jonas, J. (2005) Perform. New York: Thames & Hudson.

Jackson, S. (2011a) ‘Quality Time: Social Practice Debates in Contemporary Art’, in Social Works: Performing Art, Supporting Publics. New York: Routledge, pp. 43–74.

Jackson, S. (2011b) ‘Quality Time: Social Practice Debates in Contemporary Art’, in Social Works: Performing Art, Supporting Publics. New York: Routledge, pp. 43–74. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668595.

Jackson, S. (2011c) Social Works: Performing Art, Supporting Publics. New York: Routledge.

Jackson, S. (2011d) Social Works: Performing Art, Supporting Publics. New York: Routledge.

Jones, A. (1997a) ‘"Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56(4), pp. 11–18. Available at: https://doi.org/10.1080/00043249.1997.10791844.

Jones, A. (1997b) ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56(4), pp. 11–18. Available at: https://doi.org/10.2307/777715.

Jones, A. (2011a) ‘"The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence’, TDR/The Drama Review, 55(1), pp. 16–45. Available at: https://www.jstor.org/stable/23017597.

Jones, A. (2011b) ‘"The Artist is Present”: Artistic Re-enactments and the Impossibility of Presence’, TDR/The Drama Review, 55(1), pp. 16–45. Available at: https://www.jstor.org/stable/23017597.

Jones, A. (2013) ‘Unpredictable Temporalities: The Body and Performance in (Art) History’, in G. Borggreen and R. Gade (eds) Performance Archives - Archives of Performance. Copenhagen: Museum Tusculanum, University of Copenhagen, pp. 53–72.

Jones, A. and Heathfield, A. (2012a) Perform, Repeat, Record: Live Art in History. Bristol: Intellect.

Jones, A. and Heathfield, A. (eds) (2012b) Perform, Repeat, Record: Live Art in History. Bristol: Intellect. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4307809.

Jones, A. and Heathfield, A. (2012c) Perform, Repeat, Record: Live Art in History. Bristol: Intellect.

Jones, A. and Heathfield, A. (eds) (2012d) Perform, Repeat, Record: Live Art in History. Bristol: Intellect. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4307809.

Judd, D. (1980) Untitled | Tate. Available at: https://www.tate.org.uk/art/artworks/judd-untitled-t03087.

Kaye, N. (2000a) Site-Specific Art: Performance, Place, and Documentation. New York: Routledge.

Kaye, N. (2000b) Site-Specific Art: Performance, Place, and Documentation. London: Routledge.

Kelleher, J. (2015) The Illuminated Theatre: Studies on the Suffering of Images. London: Routledge.

Kim, K. (1964) Death of Sun I | Tate. Available at: https://www.tate.org.uk/art/artworks/kim-death-of-sun-i-t14359.

Krauss, R.E. (1981a) ‘Mechanical Ballets: Light, Motion, Theatre’, in Passages in Modern Sculpture. Cambridge, Mass: MIT Press, pp. 201–242.

Krauss, R.E. (1981b) Passages in Modern Sculpture. Cambridge, Mass: MIT Press.

Kunst, B. (2015a) ‘Conclusion: On Laziness and Less Work’, in Artist at Work, Proximity of Art and Capitalism. Alresford: Zero Books, an imprint of John Hunt Publishing, pp. 111–121.

Kunst, B. (2015b) ‘Conclusion: On Laziness and Less Work’, in Artist at Work, Proximity of Art and Capitalism. Alresford: Zero Books, an imprint of John Hunt Publishing, pp. 111–121. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4448938.

Laurenson, P. and van Saaze, V. (2014) ‘Collecting Performance Based Art: New Challenges and Perspectives’, in O. Remes, L. MacCulloch, and M. Leino (eds) Performativity in the Gallery: Staging Interactive Encounters. Bern: Peter Lang, pp. 27–41.

Leighton, T. (2008) Art and the Moving Image: A Critical Reader. London: Tate Pub.

Lepecki, A. (2006a) Exhausting Dance: Performance and the Politics of Movement. New York: Routledge.

Lepecki, A. (2006b) Exhausting Dance: Performance and the Politics of Movement. New York: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=261301.

Lepecki, A. and Whitechapel Art Gallery (2012) Dance. London: Whitechapel Art Gallery.

Lind, M. (2012a) Performing the Curatorial: Within and Beyond Art. Berlin: Sternberg Press.

Lind, M. (2012b) Performing the Curatorial: Within and Beyond Art. Berlin: Sternberg Press.

Lippard, L.R. (1997) Six Years: The Dematerialization of the Art Object From 1966 to 1972. Berkeley: University of California Press.

McKenzie, J. (2001a) Perform or Else: From Discipline to Performance. London: Routledge.

McKenzie, J. (2001b) Perform or Else: From Discipline to Performance. London: Routledge. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=166268.

Meisel, M. (1983) Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England. Princeton, N.J.: Princeton University Press.

Morris, R. (1973) Location Piece | Tate. Available at: https://www.tate.org.uk/art/artworks/morris-location-piece-p07235.

Mundy, J. (2013) Lost Art: Missing Artworks of the Twentieth Century. London: Tate Publishing.

Nixon, M. (2006) ‘Dream Dust’, October, 116(Spring), pp. 63–86. Available at: https://www.jstor.org/stable/40368425.

Nyong’o, T. (2019) ‘Does Staging Historical Trauma Re-Enact it?’, in M. Bleeker et al. (eds) Thinking Through Theatre and Performance. London: Bloomsbury Methuen Drama, pp. 200–210. Available at: https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u.

Obrist, H.U. (2012) A Brief History of Curating. New York: JRP|Ringier. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=829682.

Obrist, H.U. (2014) A Brief History of Curating. Edited by L. Bovier and B. Theiler. Zurich: JRP.

Obrist, H.U. and Abramovic, M. (2010a) Marina Abramovic. Kln: Walther Knig.

Obrist, H.U. and Abramovic, M. (2010b) Marina Abramovic. Kln: Walther Knig.

O’Doherty, B. (1999) Inside the White Cube: The Ideology of the Gallery Space. Expanded ed. Berkeley, Calif: University of California Press.

Ose, E.D. (2014) ‘Enthusiasm: Collectiveness, Politics, and Aesthetics’, Nka Journal of Contemporary African Art, 2014(34), pp. 24–33. Available at: https://doi.org/10.1215/10757163-2415159.

Pan Daijing: The Absent Hour – Performance at Tate Modern | Tate (no date). Available at: https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-absent-hour.

Pan Daijing: Tissues – Performance at Tate Modern | Tate (no date). Available at: https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-tissues.

Patel, J. (1963) Untitled | Tate. Available at: https://www.tate.org.uk/art/artworks/patel-untitled-t14950.

Phelan, J. and Rabinowitz, P.J. (2005) ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory. Oxford: Blackwell, pp. 499–514. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=243554.

Phelan, P. (1992a) ‘The Ontology of Performance: Representation Without Reproduction’, in Unmarked: The Politics of Performance. London: Routledge, pp. 146–166. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=179272.

Phelan, P. (1992b) Unmarked: The Politics of Performance. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272.

Phelan, P. (1993a) ‘The Ontology of Performance: Representation Without Reproduction’, in Unmarked: The Politics of Performance. London: Routledge, pp. 146–166.

Phelan, P. (1993b) Unmarked: The Politics of Performance. London: Routledge.

Phelan, P. (2004) ‘Marina Abramovic: Witnessing Shadows’, Theatre Journal, 56(4), pp. 569–577. Available at: https://doi.org/10.1353/tj.2004.0178.

Phelan, P. (2005) ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory. Oxford: Blackwell, pp. 499–514. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=243554.

Phelan, P. (2008a) ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory. Malden, Mass: Blackwell, pp. 499–514.

Phelan, P. (2008b) ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory. Malden, Mass: Blackwell, pp. 499–514.

Pollock, J. (1951) Number 14 | Tate. Available at: https://www.tate.org.uk/art/artworks/pollock-number-14-t03978.

Ranciere, J. (2015) The Politics of Aesthetics: The Distribution of the Sensible. Updated edition. Edited by G. Rockhill. London: Bloomsbury Academic.

Read, A. (no date) Theatre in the Expanded Field. Bloomsbury Publishing. Available at: http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137.

Read, A. and Robinson, B. (2013) Theatre in the Expanded Field: Seven Approaches to Performance. London: Bloomsbury.

Rebecca Horn – Display at Tate Modern | Tate (no date). Available at: https://www.tate.org.uk/visit/tate-modern/display/tanks/rebecca-horn.

Rebellato, D., Boon, R. and Roberts, P. (eds) (2013) Modern British Playwriting: 2000 – 2009: Voices, Documents, New Interpretations. London: Bloomsbury.

Rebellato, D., Boon, R. and Roberts, P. (eds) (2015) Modern British Playwriting: 2000 – 2009: Voices, Documents, New Interpretations. Bloomsbury Publishing. Available at: http://www.dramaonlinelibrary.com/context-and-criticism/modern-british-playwriting-2000-2009-iid-137977.

Remes, O., MacCulloch, L. and Leino, M. (eds) (2014) Performativity in the Gallery: Staging Interactive Encounters. Bern: Peter Lang.

Rendell, J. (2006) Art and Architecture: A Place Between. London: I. B. Tauris.

Ridout, N. (2007a) ’You Look Charming. You Look Enchanting. You Look Dazzling. You Look Breathtaking. You Look Unique. but You Don’t Make an Evening. | Tate. Available at: https://web.archive.org/web/20180217070314/http://www.tate.org.uk/context-comment/articles/you-look-charming-you-look-enchanting-you-look-dazzling-you-look.

Ridout, N. (2007b) ’You Look Charming. You Look Enchanting. You Look Dazzling. You Look Breathtaking. You Look Unique. but You Don’t Make an Evening. | Tate. Available at: https://web.archive.org/web/20220710020051/https://www.tate.org.uk/tate-etc/issue-11-autumn-2007/you-look-charming-you-look-enchanting-you-look-dazzling-you-look.

Ridout, N. (2008) ‘Performance in the Service Economy: Outsourcing and Delegation’, in Double Agent. London: Institute of Contemporary Arts, pp. 126–131.

Roms, H. (2019) ‘How and Why Are Performances Documented?’, in M. Bleeker et al. (eds) Thinking Through Theatre and Performance. London: Methuen Drama, pp. 225–239.

Rosenthal, S. (2011a) ‘Choreographing You: Choreographies in the Visual Arts’, in Move: Choreographing You: Art and Dance Since the 1960s. London: Hayward Pub, pp. 7–11.

Rosenthal, S. (2011b) ‘Choreographing You: Choreographies in the Visual Arts’, in Move: Choreographing You : Art and Dance Since the 1960s. London: Hayward Pub, pp. 7–11.

Rugg, J. and Sedgwick, M. (2007a) Issues in Curating Contemporary Art and Performance. Bristol, UK: Intellect.

Rugg, J. and Sedgwick, M. (2007b) Issues in Curating Contemporary Art and Performance. Bristol, UK: Intellect.

Rugg, J. and Sedgwick, M. (2007c) Issues in Curating Contemporary Art and Performance. Bristol, UK: Intellect.

de Saint Phalle, N. (1961) Shooting Picture | Tate. Available at: https://www.tate.org.uk/art/artworks/saint-phalle-shooting-picture-t03824.

Sayre, H.M. (1992) The Object of Performance: The American Avant-Garde Since 1970. New Edition. Chicago, IL: The University of Chicago Press.

Schimmel, P. and Stiles, K. (1998) Out of Actions: Between Performance and the Object, 1949-1979. Los Angeles: Museum of Contemporary Art.

Schneider, R. (2011a) ‘In the Meantime: Performance Remains’, in Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge, pp. 87–110.

Schneider, R. (2011b) ‘In the Meantime: Performance Remains’, in Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge, pp. 87–110. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=668786.

Schneider, R. (2011c) Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge.

Schneider, R. (2011d) Performing Remains: Art and War in Times of Theatrical Reenactment. London: Routledge. Available at: https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786.

Schneider, R. (2014) ‘Remembering Feminist Remimesis: A Riddle in Three Parts’, TDR/The Drama Review, 58(2), pp. 14–32. Available at: https://muse.jhu.edu/article/545170.

Serota, N. (2000) Experience or Interpretation: The Dilemma of Museums of Modern Art. London: Thames & Hudson.

Shalson, L. (2012) ‘On Duration and Multiplicity’, Performance Research, 17(5), pp. 98–106. Available at: https://doi.org/10.1080/13528165.2012.728448.

Shimamoto, S. (1954) Holes | Tate. Available at: https://www.tate.org.uk/art/artworks/shimamoto-holes-t07898.

Spector, N. (2010) ‘Seven Easy Pieces’, in Marina Abramovic: The Artist Is Present. New York, pp. 36–93.

Tate Exchange at Tate Modern | Tate (no date). Available at: https://www.tate.org.uk/visit/tate-modern/tate-exchange.

Theanyspacewhatever | Guggenheim (2008). Available at: https://www.guggenheim.org/video/theanyspacewhatever.

Westerman, J. (2018a) ‘Museum of Modern Art, New York’, in G. Giannachi and J. Westerman (eds) Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. London: Routledge, pp. 15–20.

Westerman, J. (2018b) ‘Museum of Modern Art, New York’, in G. Giannachi and J. Westerman (eds) Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices. London: Routledge, Taylor & Francis Group, pp. 15–20. Available at: https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4947457.

What Happened, Sherlock Holmes and the Museum Dance | Spangbergianism (no date). Available at: https://spangbergianism.wordpress.com/2014/10/19/what-happened-sherlock-holmes-and-the-museum-dance/.

Wood, C. (2012) ‘Painting in the Shape of a House’, in A Bigger Splash: Painting After Performance. London: Tate, pp. 10–22.

Wood, C. (2018a) Performance in Contemporary Art. London: Tate Publishing.

Wood, C. (2018b) Performance in Contemporary Art. London: Tate Publishing.

Wood, C. and Cufer, E. (2012) A Bigger Splash: Painting After Performance. London: Tate.