Sound and Documentary in Cardiff and Miller's PandemoniumMain MenuWelcomeThe ProjectChapter 1: Pandemonium—Sensory Assault and DeprivationChapter 2: Sound Art—Narrative and NoiseChapter 3: Documentary—“Waking the Dead”Conclusions: Pandemonium, Radical Proximity, and ProtestAcknowledgmentsBibliographyAll MediaNews + UpdatesCecilia Wichmann570c894159ad998517c62537a60758b7099e0270
DOCUMENTARY, REALISM, ART HISTORY
12015-07-12T13:29:59-07:00Cecilia Wichmann570c894159ad998517c62537a60758b7099e027055424plain2015-10-04T16:59:00-07:00Cecilia Wichmann570c894159ad998517c62537a60758b7099e0270“Chronology of Documentary History.” UC Berkeley—Media Resources Center. Accessed March 19, 2015, www.lib.berkeley.edu/MRC/docexhibit/docuchron.htm.
Demos, T.J. “Storytelling in/as Contemporary Art.” In The Storyteller. Edited by Claire Gilman and Margaret Sundell, 83–107. New York: Independent Curators International, 2010. Exhibition catalog.
Enwezor, Okwui. “Documenta 11, Documentary, and the Reality Effect.” In Experiments with Truth. Edited by Mark Nash (Philadelphia: The Fabric Workshop and Museum, 2004), 97–103. Exhibition catalog.
———. “Documentary/Verité: Bio-Politics, Human Rights and the Figure of “Truth” in Contemporary Art.” In The Green Room: Reconsidering the Documentary and Contemporary Art, 62–102. Berlin: Sternberg Press, 2008.
———. “Documentary’s Discursive Spaces.” In Berlin Documentary Forum 1: New Practices Across Disciplines Edited by Hila Peleg, 9–15. Berlin: Haus der Kulturen der Welt, 2010.
———. “What is it?: The Image Between Documentary and Near Documentary.” In The Storyteller. Edited by Claire Gilman and Margaret Sundell, 73–82. New York: Independent Curators International, 2009. Exhibition catalog.
Fraser, Marie. “Tell Me, or The Narrative and Its Paradoxes.” In Raconte-Moi/Tell Me. Montreal: Musée National des Beaux-Arts du Québec, 2005. Exhibition catalog.
Fried, Michael. “Conclusion: Jeff Wall’s ‘Adrian Walker.’" Studies in the History of Art 72, Symposium Papers XLIX: French Genre Painting in the Eighteenth Century, 294–303. Washington, DC: National Gallery of Art, 2007.
Gilman, Claire, and Margaret Sundell. “The Storyteller.” In The Storyteller, 7–69. New York: Independent Curators International, 2010. Exhibition catalog.
Godfrey, Mark. “The Artist as Historian.” October 120 (Spring 2007): 140–172.
Green, David, and Peter Seddon, eds. “Introduction: Art, Historiographical Practice and the Ends of History.” In History Painting Reassessed: The Representation of History in Contemporary Art, 1–17. Manchester: Manchester University Press, 2000.
Krauss, Rosalind. “Sculpture in the Expanded Field.” October 8 (Spring 1979): 30–44.
Lambert-Beatty, Carrie. “Make-Believe: Parafiction and Plausibility.” October 129 (Summer 2009): 51–84.
Leja, Michael. “Touching Pictures by William Harnett.” In Looking Askance: Skepticism and American Art from Eakins to Duchamp, 125–152. Berkeley, CA: University of California Press, 2004.
Lind, Maria, and Hito Steyerl. “Introduction.” In The Green Room: Reconsidering the Documentary and Contemporary Art. Berlin: Sternberg Press, 2008.