Abramovic, Marina, and Klaus Peter Biesenbach, Marina Abramovic: The Artist Is Present (Museum of Modern Art, 2010)
——, and Klaus Peter Biesenbach, ‘Seven Easy Pieces’, in Marina Abramovic: The Artist Is Present (Museum of Modern Art, 2010), pp. 36–93
Andre, Carl, Last Ladder | Tate, 1959 <https://www.tate.org.uk/art/artworks/andre-last-ladder-t01533>
Auslander, Philip, From Acting to Performance: Essays in Modernism and Postmodernism (Routledge, 1997)
——, From Acting to Performance: Essays in Modernism and Postmodernism (Routledge, 1997) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=169806>
——, Liveness: Performance in a Mediatized Culture, 2nd Edition (Routledge, 2008)
——, Liveness: Performance in a Mediatized Culture (Routledge, 2008)
——, ‘Presence and Theatricality in the Discourse of Performance and the Visual Arts’, in From Acting to Performance: Essays in Modernism and Postmodernism (Routledge, 1997), pp. 49–57
——, ‘Presence and Theatricality in the Discourse of Performance and the Visual Arts’, in From Acting to Performance: Essays in Modernism and Postmodernism (Routledge, 1997), pp. 49–57 <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/reader.action?docID=169806&ppg=58&c=RVBVQg>
——, ‘The Performativity of Performance Documentation’, PAJ: A Journal of Performance and Art, 28.3 (2006), pp. 1–10 <https://www.jstor.org/stable/4140006>
Batchelor, David, Minimalism (Tate Gallery, 1997)
——, Minimalism (Tate Gallery, 1997)
Battcock, Gregory, Minimal Art: A Critical Anthology (University of California Press, 1995)
——, and Robert Nickas, The Art of Performance: A Critical Anthology (E.P. Dutton, 1984)
Birringer, Johannes, ‘Dancing in the Museum’, PAJ: A Journal of Performance and Art, 33.3 (2011), pp. 43–52 <https://muse.jhu.edu/article/448380>
Bishop, Claire, ‘Antagonism and Relational Aesthetics’, October, 110 (2004), pp. 51–79 <https://www.jstor.org/stable/3397557>
——, Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso, 2012)
——, Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso, 2012) <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/detail.action?docID=5176988>
——, Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso, 2012)
——, Artificial Hells: Participatory Art and the Politics of Spectatorship (Verso, 2012) <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/detail.action?docID=5176988>
——, Participation (Whitechapel, 2006)
——, Participation (Whitechapel, 2006)
——, ‘The Perils and Possibilities of Dance in the Museum: Tate, MoMA, and Whitney’, Dance Research Journal, 46.3 (2014), pp. 63–76, doi:10.1017/S0149767714000497
——, ‘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 (2014), pp. 62–76 <https://muse.jhu.edu/article/566328>
——, ‘The Social Turn: Collaboration and Its Discontents’, Artforum, 44.Feb (2006), pp. 178–83 <https://go-gale-com.royalholloway.idm.oclc.org/ps/retrieve.do?tabID=T003&resultListType=RESULT_LIST&searchResultsType=SingleTab&retrievalId=3990d91a-bae7-4835-a870-dbba232bf5b0&hitCount=1&searchType=AdvancedSearchForm¤tPosition=1&docId=GALE%7CA142338795&docType=Article&sort=RELEVANCE&contentSegment=ZONE-MOD1&prodId=AONE&pageNum=1&contentSet=GALE%7CA142338795&searchId=R1&userGroupName=rho_ttda&inPS=true>
——, and Mark Sladen, Double Agent (Institute of Contemporary Arts, 2008)
‘BMW Tate Live: If Tate Modern Was Musée de La Danse? – Performance at Tate Modern | Tate’, n.d. <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, Nicholas, ‘Relational Form’, in Relational Aesthetics (Dijon, 2002), pp. 11–24
Bourriaud, Nicolas, Simon Pleasance, and Fronza Woods, Relational Aesthetics (Dijon, 2002)
Brentano, Robyn, Outside the Frame - Performance and the Object: A Survey History of Performance Art in the USA Since 1950 (Cleveland Center for Contemporary Art, 1994)
Charmatz, Boris, ‘How to Dance with Art’, in How to Frame: On the Threshold of Performing and Visual Arts (Sternberg Press, 2016), pp. 133–42
Copeland, Mathieu, Choreographing Exhibitions (Presses du Reel, 2013)
——, ‘People and Things in the Museum’, in Choreographing Exhibitions (Presses du Reel, 2013)
Courage, Cara, Arts in Place: The Arts, the Urban and Social Practice (Routledge, Taylor & Francis Group, 2017)
——, Arts in Place: The Arts, the Urban and Social Practice (Routledge, 2017) <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4799881>
——, and Anita McKeown (eds), Creative Placemaking: Research, Theory and Practice (Routledge, 2019)
——, and Anita McKeown (eds), Creative Placemaking: Research, Theory and Practice (Routledge, 2019) <https://www-taylorfrancis-com.ezproxy01.rhul.ac.uk/books/9781315104607>
Crouch, Tim, ‘My Arm’, in Plays One (Oberon, 2011), pp. 21–47
Cunningham, Merce, ‘Space, Time and Dance | Merce Cunningham Trust’, 1952 <https://www.mercecunningham.org/the-work/writings/space-time-and-dance/>
Downey, Anthony, ‘Towards a Politics of (Relational) Aesthetics’, Third Text, 21.3 (2007), pp. 267–75, doi:10.1080/09528820701360534
——, ‘Towards a Politics of (Relational) Aesthetics’, Third Text, 21.3 (2007), pp. 267–75, doi:10.1080/09528820701360534
Ferdman, Bertie, ‘From Content to Context: The Emergence of the Performance Curator’, Theater, 44.2 (2014), pp. 5–19, doi:10.1215/01610775-2409482
Fernandez, Laure, ‘Once Again’, in Ragnar Kjartansson, ed. by Frédéric Grossi (Palais de Tokyo, 2015), pp. 29–38
Finbow, Acatia, ‘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 (2018), pp. 291–99, doi:10.1080/09298215.2018.1486432
Foster, Hal, The Return of the Real: The Avant-Garde at the End of the Century (MIT Press, 1996)
Fried, Michael, ‘Art and Objecthood’, in Minimal Art: A Critical Anthology (University of California Press, 1995), pp. 116–47
——, ‘Art and Objecthood’, in Minimal Art: A Critical Anthology (University of California Press, 1995), pp. 49–57
Gallizio, Pinot, Industrial Painting | Tate, 1958 <https://www.tate.org.uk/art/artworks/gallizio-industrial-painting-t14249>
Giannachi, Gabriella, and Jonah Westerman (eds), Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices (Routledge, 2018)
Goldberg, Rose Lee, ‘One Hundred Years’, in Live: Art and Performance (Tate, 2004), pp. 176–82
Goldberg, RoseLee, ‘Living Art c.1933 to the 1970s’, in Performance Art: From Futurism to the Present, 3rd Edition (Thames & Hudson, 2011), pp. 121–51
——, Performance Art: From Futurism to the Present, 3rd Edition (Thames & Hudson, 2011)
——, Performance: Live Art Since the 60s (Thames & Hudson, 1998)
Groĭs, Boris, Art Power (MIT Press, 2008) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=3338770>
——, Art Power (The MIT Press, 2013)
Gronau, Barbara, Matthias von Hartz, and Carolin Hochleichter, How to Frame: On the Threshold of Performing and Visual Arts (Sternberg Press, 2016)
Guy, Georgina, ‘From Visible Object to Reported Action: The Performance of Verbal Images in Visual Art Museums’, Theatre Journal, 69.3 (2017), pp. 339–59 <https://muse.jhu.edu/article/670581>
——, ‘Introduction: Displaying Performance’, in Theatre, Exhibition, and Curation: Displayed & Performed (Routledge, 2016), xlvi, pp. 1–43
——, ‘Introduction: Displaying Performance’, in Theatre, Exhibition, and Curation: Displayed & Performed (Routledge, 2016), xlvi, pp. 1–43 <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/reader.action?docID=4513466&ppg=17&c=RVBVQg>
——, Theatre, Exhibition, and Curation: Displayed & Performed (Routledge, 2016), xlvi
——, Theatre, Exhibition, and Curation: Displayed & Performed (Routledge, 2016), xlvi <http://ezproxy01.rhul.ac.uk/login?url=http://www.dawsonera.com/depp/reader/protected/external/AbstractView/S9781315735719>
——, ‘Visitor and Performer: The Return of the Relational’, in Theatre, Exhibition, and Curation: Displayed & Performed (Routledge, 2016), xlvi, pp. 100–38
——, ‘Visitor and Performer: The Return of the Relational’, in Theatre, Exhibition, and Curation: Displayed & Performed (Routledge, 2016), xlvi, pp. 100–38 <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/reader.action?docID=4513466&ppg=134&c=RVBVQg>
Harvie, Jen, ‘Agency and Complicity in "A Special Civic Room”: London’s Tate Modern Turbine Hall’, in Performance and the City (Palgrave Macmillan, 2011), pp. 204–21
——, ‘Democracy and Neoliberalism in Art’s Social Turn and Roger Hiorns’s Seizure’, Performance Research, 16.2 (2011), pp. 113–23, doi:10.1080/13528165.2011.578842
——, Fair Play: Art, Performance and Neoliberalism (Palgrave Macmillan, 2013)
——, Fair Play: Art, Performance and Neoliberalism (2013) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431369>
——, Fair Play: Art, Performance and Neoliberalism (Palgrave Macmillan, 2013)
——, Fair Play: Art, Performance and Neoliberalism (2013) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=1431369>
Heathfield, Adrian, Small Acts: Performance, the Millennium and the Marking of Time (Black Dog, 2000)
——, and Hugo Glendinning, Live: Art and Performance (Tate, 2004)
——, and Tehching Hsieh, Out of Now: The Lifeworks of Tehching Hsieh (Live Art Development Agency, 2009)
Heddon, Deirdre, and Jennie Klein (eds), Histories and Practices of Live Art (Palgrave Macmillan, 2012)
Hoffmann, Jens, and Joan Jonas, Perform (Thames & Hudson, 2005)
Jackson, Shannon, ‘Quality Time: Social Practice Debates in Contemporary Art’, in Social Works: Performing Art, Supporting Publics (Routledge, 2011), pp. 43–74
——, ‘Quality Time: Social Practice Debates in Contemporary Art’, in Social Works: Performing Art, Supporting Publics (Routledge, 2011), pp. 43–74 <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/reader.action?docID=668595&ppg=58&c=RVBVQg>
——, Social Works: Performing Art, Supporting Publics (Routledge, 2011)
——, Social Works: Performing Art, Supporting Publics (Routledge, 2011)
Jones, Amelia, ‘"Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56.4 (1997), pp. 11–18, doi:10.1080/00043249.1997.10791844
——, ‘“Presence” in Absentia: Experiencing Performance as Documentation’, Art Journal, 56.4 (1997), pp. 11–18, doi:10.2307/777715
——, ‘"The Artist Is Present”: Artistic Re-Enactments and the Impossibility of Presence’, TDR/The Drama Review, 55.1 (2011), pp. 16–45 <https://www.jstor.org/stable/23017597>
——, ‘"The Artist Is Present”: Artistic Re-Enactments and the Impossibility of Presence’, TDR/The Drama Review, 55.1 (2011), pp. 16–45 <https://www.jstor.org/stable/23017597>
——, ‘Unpredictable Temporalities: The Body and Performance in (Art) History’, in Performance Archives - Archives of Performance, ed. by Gunhild Borggreen and Rune Gade (Museum Tusculanum, University of Copenhagen, 2013), pp. 53–72
——, and Adrian Heathfield, Perform, Repeat, Record: Live Art in History (Intellect, 2012)
——, and Adrian Heathfield, Perform, Repeat, Record: Live Art in History (Intellect, 2012)
——, and Adrian Heathfield (eds), Perform, Repeat, Record: Live Art in History (Intellect, 2012) <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/detail.action?docID=4307809>
——, and Adrian Heathfield (eds), Perform, Repeat, Record: Live Art in History (Intellect, 2012) <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/detail.action?docID=4307809>
Judd, Donald, Untitled | Tate, 1980 <https://www.tate.org.uk/art/artworks/judd-untitled-t03087>
Kaye, Nick, Site-Specific Art: Performance, Place, and Documentation (Routledge, 2000)
——, Site-Specific Art: Performance, Place, and Documentation (Routledge, 2000)
Kelleher, Joe, The Illuminated Theatre: Studies on the Suffering of Images (Routledge, 2015)
Kim, Ku-lim, Death of Sun I | Tate, 1964 <https://www.tate.org.uk/art/artworks/kim-death-of-sun-i-t14359>
Krauss, Rosalind E., ‘Mechanical Ballets: Light, Motion, Theatre’, in Passages in Modern Sculpture (MIT Press, 1981), pp. 201–42
——, Passages in Modern Sculpture (MIT Press, 1981)
Kunst, Bojana, ‘Conclusion: On Laziness and Less Work’, in Artist at Work, Proximity of Art and Capitalism (Zero Books, an imprint of John Hunt Publishing, 2015), pp. 111–21
——, ‘Conclusion: On Laziness and Less Work’, in Artist at Work, Proximity of Art and Capitalism (Zero Books, an imprint of John Hunt Publishing, 2015), pp. 111–21 <https://ebookcentral-proquest-com.ezproxy01.rhul.ac.uk/lib/rhul/detail.action?docID=4448938>
Laurenson, Pip, and Vivian van Saaze, ‘Collecting Performance Based Art: New Challenges and Perspectives’, in Performativity in the Gallery: Staging Interactive Encounters, ed. by Outi Remes, Laura MacCulloch, and Marika Leino (Peter Lang, 2014), volume 31, pp. 27–41
Leighton, Tanya, Art and the Moving Image: A Critical Reader (Tate Pub, 2008)
Lepecki, Andre, Exhausting Dance: Performance and the Politics of Movement (Routledge, 2006)
——, Exhausting Dance: Performance and the Politics of Movement (Routledge, 2006) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=261301>
—— and Whitechapel Art Gallery, Dance (Whitechapel Art Gallery, 2012)
Lind, Maria, Performing the Curatorial: Within and Beyond Art (Sternberg Press, 2012)
——, Performing the Curatorial: Within and Beyond Art (Sternberg Press, 2012)
Lippard, Lucy R., Six Years: The Dematerialization of the Art Object From 1966 to 1972 (University of California Press, 1997)
McKenzie, Jon, Perform or Else: From Discipline to Performance (Routledge, 2001)
——, Perform or Else: From Discipline to Performance (Routledge, 2001) <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/detail.action?docID=166268>
Meisel, Martin, Realizations: Narrative, Pictorial, and Theatrical Arts in Nineteenth-Century England (Princeton University Press, 1983)
Morris, Robert, Location Piece | Tate, 1973 <https://www.tate.org.uk/art/artworks/morris-location-piece-p07235>
Mundy, Jennifer, Lost Art: Missing Artworks of the Twentieth Century (Tate Publishing, 2013)
Nixon, Mignon, ‘Dream Dust’, October, 116.Spring (2006), pp. 63–86 <https://www.jstor.org/stable/40368425>
Nyong’o, Tavia, ‘Does Staging Historical Trauma Re-Enact It?’, in Thinking Through Theatre and Performance, ed. by Maaike Bleeker and others (Bloomsbury Methuen Drama, 2019), pp. 200–10 <https://ezproxy01.rhul.ac.uk/login?url=http://www.vlebooks.com/vleweb/product/openreader?id=Holloway&isbn=9781472579638&uid=^u>
Obrist, Hans Ulrich, A Brief History of Curating (JRP|Ringier, 2012) <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/detail.action?docID=829682>
——, A Brief History of Curating, ed. by Lionel Bovier and Birte Theiler (JRP, 2014)
——, and Marina Abramovic, Marina Abramovic (Walther Knig, 2010), xxiii
——, and Marina Abramovic, Marina Abramovic (Walther Knig, 2010), xxiii
O’Doherty, Brian, Inside the White Cube: The Ideology of the Gallery Space, Expanded ed (University of California Press, 1999)
Ose, Elvira Dyangani, ‘Enthusiasm: Collectiveness, Politics, and Aesthetics’, Nka Journal of Contemporary African Art, 2014.34 (2014), pp. 24–33, doi:10.1215/10757163-2415159
‘Pan Daijing: The Absent Hour – Performance at Tate Modern | Tate’, n.d. <https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-absent-hour>
‘Pan Daijing: Tissues – Performance at Tate Modern | Tate’, n.d. <https://www.tate.org.uk/whats-on/tate-modern/performance/pan-daijing-tissues>
Patel, Jeram, Untitled | Tate, 1963 <https://www.tate.org.uk/art/artworks/patel-untitled-t14950>
Phelan, James, and Peter J. Rabinowitz, ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory (Blackwell, 2005), pp. 499–514 <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/reader.action?docID=243554&ppg=519&c=UERG>
Phelan, Peggy, ‘Marina Abramovic: Witnessing Shadows’, Theatre Journal, 56.4 (2004), pp. 569–77, doi:10.1353/tj.2004.0178
——, ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory (Blackwell, 2005), pp. 499–514 <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/reader.action?docID=243554&ppg=519&c=UERG>
——, ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory (Blackwell, 2008), pp. 499–514
——, ‘Shards of a History of Performance Art: Pollock and Namuth Through a Glass, Darkly’, in A Companion to Narrative Theory (Blackwell, 2008), pp. 499–514
——, ‘The Ontology of Performance: Representation Without Reproduction’, in Unmarked: The Politics of Performance (Routledge, 1992), pp. 146–66 <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/reader.action?docID=179272&ppg=156&c=RVBVQg>
——, ‘The Ontology of Performance: Representation Without Reproduction’, in Unmarked: The Politics of Performance (Routledge, 1993), pp. 146–66
——, Unmarked: The Politics of Performance (Routledge, 1992) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=179272>
——, Unmarked: The Politics of Performance (Routledge, 1993)
Pollock, Jackson, Number 23 | Tate, 1948 <https://www.tate.org.uk/art/artworks/pollock-number-23-t00384>
Ranciere, Jacques, The Politics of Aesthetics: The Distribution of the Sensible, ed. by Gabriel Rockhill, Updated edition (Bloomsbury Academic, 2015)
Read, Alan, Theatre in the Expanded Field (Bloomsbury Publishing, n.d.) <http://www.dramaonlinelibrary.com/context-and-criticism/theatre-in-the-expanded-field-iid-115137>
——, and Beryl Robinson, Theatre in the Expanded Field: Seven Approaches to Performance (Bloomsbury, 2013)
‘Rebecca Horn – Display at Tate Modern | Tate’, n.d. <https://www.tate.org.uk/visit/tate-modern/display/tanks/rebecca-horn>
Rebellato, Dan, Richard Boon, and Philip Roberts (eds), Modern British Playwriting: 2000 – 2009: Voices, Documents, New Interpretations (Bloomsbury, 2013)
——, Richard Boon, and Philip Roberts (eds), Modern British Playwriting: 2000 – 2009: Voices, Documents, New Interpretations (Bloomsbury Publishing, 2015) <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/detail.action?docID=1507658>
Remes, Outi, Laura MacCulloch, and Marika Leino (eds), Performativity in the Gallery: Staging Interactive Encounters (Peter Lang, 2014), volume 31
Rendell, Jane, Art and Architecture: A Place Between (I. B. Tauris, 2006)
Ridout, Nicholas, ‘Performance in the Service Economy: Outsourcing and Delegation’, in Double Agent (Institute of Contemporary Arts, 2008), pp. 126–31
——, ‘’You Look Charming. You Look Enchanting. You Look Dazzling. You Look Breathtaking. You Look Unique. but You Don’t Make an Evening. | Tate’, 2007 <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>
——, ‘’You Look Charming. You Look Enchanting. You Look Dazzling. You Look Breathtaking. You Look Unique. but You Don’t Make an Evening. | Tate’, 1 September 2007 <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>
Roms, Heike, ‘How and Why Are Performances Documented?’, in Thinking Through Theatre and Performance, ed. by Maaike Bleeker and others (Methuen Drama, 2019), pp. 225–39
Rosenthal, Stephanie, ‘Choreographing You: Choreographies in the Visual Arts’, in Move: Choreographing You: Art and Dance Since the 1960s (Hayward Pub, 2011), pp. 7–11
——, ‘Choreographing You: Choreographies in the Visual Arts’, in Move: Choreographing You : Art and Dance Since the 1960s (Hayward Pub, 2011), pp. 7–11
Rugg, Judith, and Michele Sedgwick, Issues in Curating Contemporary Art and Performance (Intellect, 2007)
——, and Michele Sedgwick, Issues in Curating Contemporary Art and Performance (Intellect, 2007)
——, and Michele Sedgwick, Issues in Curating Contemporary Art and Performance (Intellect, 2007)
Saint Phalle, Niki de, Shooting Picture | Tate, 1961 <https://www.tate.org.uk/art/artworks/saint-phalle-shooting-picture-t03824>
Sayre, Henry M., The Object of Performance: The American Avant-Garde Since 1970, New Edition (The University of Chicago Press, 1992)
Schimmel, Paul, and Kristine Stiles, Out of Actions: Between Performance and the Object, 1949-1979 (Museum of Contemporary Art, 1998)
Schneider, Rebecca, ‘In the Meantime: Performance Remains’, in Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge, 2011), pp. 87–110
——, ‘In the Meantime: Performance Remains’, in Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge, 2011), pp. 87–110 <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/detail.action?docID=668786>
——, Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge, 2011)
——, Performing Remains: Art and War in Times of Theatrical Reenactment (Routledge, 2011) <https://ebookcentral.proquest.com/lib/rhul/detail.action?docID=668786>
——, ‘Remembering Feminist Remimesis: A Riddle in Three Parts’, TDR/The Drama Review, 58.2 (2014), pp. 14–32 <https://muse.jhu.edu/article/545170>
Serota, Nicholas, Experience or Interpretation: The Dilemma of Museums of Modern Art (Thames & Hudson, 2000)
Shalson, Lara, ‘On Duration and Multiplicity’, Performance Research, 17.5 (2012), pp. 98–106, doi:10.1080/13528165.2012.728448
Shimamoto, Shozo, Holes | Tate, 1954 <https://www.tate.org.uk/art/artworks/shimamoto-holes-t07898>
Spector, Nancy, ‘Seven Easy Pieces’, in Marina Abramovic: The Artist Is Present (New York, 2010), pp. 36–93
‘Tate Exchange at Tate Modern | Tate’, n.d. <https://www.tate.org.uk/visit/tate-modern/tate-exchange>
‘Theanyspacewhatever | Guggenheim’, 24 October 2008 <https://www.guggenheim.org/video/theanyspacewhatever>
Westerman, Jonah, ‘Museum of Modern Art, New York’, in Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices, ed. by Gabriella Giannachi and Jonah Westerman (Routledge, 2018), pp. 15–20
——, ‘Museum of Modern Art, New York’, in Histories of Performance Documentation: Museum, Artistic, and Scholarly Practices, ed. by Gabriella Giannachi and Jonah Westerman (Routledge, Taylor & Francis Group, 2018), pp. 15–20 <https://ebookcentral-proquest-com.royalholloway.idm.oclc.org/lib/rhul/reader.action?docID=4947457&ppg=33&c=RVBVQg>
‘What Happened, Sherlock Holmes and the Museum Dance | Spangbergianism’, n.d. <https://spangbergianism.wordpress.com/2014/10/19/what-happened-sherlock-holmes-and-the-museum-dance/>
Wood, Catherine, ‘Painting in the Shape of a House’, in A Bigger Splash: Painting After Performance (Tate, 2012), pp. 10–22
——, Performance in Contemporary Art (Tate Publishing, 2018)
——, Performance in Contemporary Art (Tate Publishing, 2018)
——, and Eda Cufer, A Bigger Splash: Painting After Performance (Tate, 2012)
