‘I can’t get no/Satisfaction’ may be grammatically incorrect, but ‘I can’t get any satisfaction’ would murder the Rolling Stones’s song. Rules can be broken to grand effect, but breaking rules is quite different from being fully ignorant of them. Knowing a few rules and conventions will boost your confidence no end. Tuck these under your belt, then ignore with discretion. This section covers just a few common errors; for comprehensive rules consult style manuals.
> It’s means ‘it is’ or ‘it has’. Its means ‘belonging to it’
Two familiar nursery rhymes can help you to learn and remember this simple rule:
It’s raining, it’s pouring/The old man is snoring.
It is raining, it is pouring; Grandpa sleeps. Apostrophe.
Mary had a little lamb/ Its fleece was white as snow.
The fleece belonging to it (Mary’s lamb) sure is white. No apostrophe.
It’s (with apostrophe) is a contraction of two words, ‘it’ + ‘is’ (or + ‘has’). Its (without apostrophe) is a possessive pronoun and means ‘belonging to it’. The reason that ‘it’s’ and ‘its’ persists as the Bermuda Triangle of correct written English is because ‘it’ is an exception. Other possessives do require the apostrophe:
Sarah’s looking exhausted, because Sarah’s gallery has done six art fairs this year.
Sarah’s looking = ‘Sarah is looking’
Sarah’s gallery = ‘the gallery belonging to Sarah’.
Notice Sarah’s looks the same in both usages. However, when using ‘it’, the two usages are written differently:
It’s tough spending four days at an art fair, with its lack of air and constant noise.
It’s tough = ‘it is tough’
its lack of air = ‘the lack of air belonging to it’ (the art fair).
This is not that complicated.
> Whodunnit? Who, whom, and indefinite pronouns
The word ‘whom’ sounds archaic, so mostly there’s no reason to worry about ‘who’ and ‘whom’ any more. In some academic (or other formal) writing, keep ‘who’ as the subject and ‘whom’ as the object, or use ‘whom’ after a preposition.
With indefinite pronouns (‘its’; ‘some’; ‘most’), check that your reader can be sure of the referent.
Confusing: There are many reasons why collectors buy art, some better than others.
What is this writer trying to say? This sentence could mean either:
OK: There are many reasons—some better than others—why collectors buy art.
OK: There are many reasons why collectors buy art; some collectors are better than others.
For clarity, rework sentences to keep pronouns near their referent.
> Hyphenate compound adjectives
Art-language is awash with compound adjectives:
large-scale, site-specific, anti-art, computer-assisted, text-based, self-taught.
Alway hyphenate these; use find/replace to ensure you are consistent and not missing any hyphens. Be sure to distinguish between compound adjectives and adjective+noun:
Jay DeFeo’s The Rose is like a three-dimensional painting.
Jay DeFeo’s The Rose is like a painting in three dimensions.
Yayoi Kusama may be the most noted twentieth-century Japanese artist.
Yayoi Kusama may be the most noted Japanese artist of the twentieth century.
Usually, an adjective is not hyphenated with its adverb: ‘poorly written’; ‘carefully drawn’. A common exception is ‘well-’: ‘well-known’; ‘well-read’; ‘well-received’. But don’t forget: ‘The book was well received’ (no hyphen); ‘it was a well-received book’ (hyphen).
> Avoid splitting infinitves (but keep an open mind)
An assistant to Margaret Thatcher reputedly refused to read any memo with a split infinitive. A split infinitive separates ‘to’ from the second part of the verb (‘to type’; ‘to watch’), usually splicing these with the insertion of an adverb (‘to quickly type’; ‘to actually watch’). This is considered seriously bad English.
Split infinitive: Each work could be said to, somehow, represent the artist.
Unsplit infinitive: Each work could be said to represent the artist, somehow.
This would sound even better if you lost the commas and kept the sentence brief:
Best: Each work somehow represents the artist.
Sometimes the split infinitive actually clarifies meaning: ‘to boldly go’ sounds better than ‘to go boldly’. Here’s another example:
Split infinitive (best): I can’t bring myself to really like messy abstract paintings.
Unsplit infinitive: I can’t bring myself really to like messy abstract paintings.
The first version, with the split infinitive ‘to really like’, best gets across this person’s resistance to sloppy abstraction. Unsplitting your infinitive might change the sentence’s meaning:
Changed meaning: I can’t bring myself, really, to like messy abstract paintings.
Changed meaning: I can’t bring myself to like really messy abstract paintings.
This final version implies that the writer dislikes only ‘really messy abstract paintings’ when in fact she has an aversion to semi-messy ones, too. Avoid split infinitives, but develop an ear for when unsplitting will wreak havoc on your sentence.
> ‘The Case of the Dangling Participle’
Don’t misdirect your reader in the hunt for clues as to who is doing what.
Crazy: Chirping and building nests, the French artist created an aviary-like installation for birds.
Here, the French artist chirps and builds nests. Probably the writer meant:
OK: Chirping and building nests, birds filled the aviary-like installation that the French artist had created.
The artist stops ‘chirping and building nests’, starts making an installation. Somehow this ‘dangling participle’ error often crops up in cover letters:
Crazy: Being so hardworking, my previous employer always asked me to organize the booth.
Surely you’re not advertising how hardworking your previous employer was. You mean:
OK: Being so hardworking, I always organized the booth for my previous employer.
> Ensure parallel construction
We all can see the parallel construction in ‘An American, a Russian, and an Italian walk into a bar’. Each nationality/noun does the same thing, ‘walk into a bar’, so the joke can continue. Here’s where it gets tricky:
Wrong: Suzanne writes best about sculpture, new British art, and thinking about the legacy of Modernism.
The last element in this sentence ‘thinking about the legacy of Modernism’, does not behave like the other two, ‘sculpture’ and ‘new British art’. If you removed those, you’d be left with:
Crazy: Suzanne writes best about thinking about the legacy of Modernism.
Best: Suzanne writes best about sculpture, new British art, and the legacy of Modernism.
In the final corrected version, ‘sculpture’, ‘new British art’ and ‘the legacy of Modernism’ are all nouns—they’re all ‘parallel’, and the grammar police are satisfied.
Bad Grammar Awards often go to those culprits who ignore parallel construction. Transport for London was a recent recipient (The Idler magazine, 2013) for the sign:
It is safer to stay on the train than attempting to get off.
That signage mixed up the infinitive (‘to stay’) with the gerund (‘attempting’). For sticklers, the correct grammar would be one of these:
It is safer to stay on the train than to get off.
It is safer to stay on the train than to attempt to get off.
Staying on the train is safer than attempting to get off.
> Enclose parenthetic phrases within commas.
Recall this sentence from Jerry Saltz’s shorthand reports on the art fairs:
Best: This artist, who died young in 1999, is way overlooked.
Place a comma on either side of a parenthetic phrase (‘who died young in 1999’) just as you would open and close brackets [ ] or parentheses ( ). It is acceptable to remove both commas, but this can be a mouthful. Best two commas; OK zero commas; but never peg-legged parenthetic phrases with only one comma.
Wrong: This artist who died young in 1999, is way overlooked.
Wrong: This artist, who died young in 1999 is way overlooked.
No commas, OK: This artist who died young in 1999 is way overlooked.
> Avoid ending a sentence with a preposition, but be flexible.
OK: ‘Quantum dot heterostructures’ is something I’d never heard of.
Better: I’d never heard of quantum dot heterostructures.
A New York Times review by Ken Johnson (21 December 2001) of a Sarah Morris exhibition ends with a preposition: ‘the paintings are gratifying just to look at’, which is fine. To force that preposition deep inside the sentence—‘the paintings at which we look are just gratifying’—sounds ridiculous and alters meaning. Another example:
OK: Bad behavior is something I will not put up with.
This sounds insane when rearranged to avoid that final preposition; it also demonstrates the advantages of reordering to direct speech:
Crazy: Bad behavior is something up with I will not put.
Best: I will not put up with bad behavior.
Questions often end with a preposition; that’s fine.
Who are you going with? What is it made of?
> Never start a sentence with a digit
Wrong: 1970 marked a watershed year for video.
OK: Nineteen-seventy marked a watershed year for video.
Best: The year 1970 marked a watershed for video.
Business English spells out single-digit numbers under 10. David Foster Wallace, in ‘Authority and American Usage’ (1999), says spell out one through nineteen and write digits over 20. Some publishers’ house style spells out one to ninety-nine, digits over 100. Pick one and be consistent.
Use digits for election results (‘he won narrowly, 104 to 101’), percentages (‘66%’), measurements (‘the silkscreen is 40 × 40 in.’), decimal-pointed prices (‘$1.99’; ‘£12.5 million’), and dates/years (‘29 March 2001’; ‘1998’), which are all incomprehensible if spelled out.
> British/American English
Unless otherwise directed, pick one and be consistent. For international art-writing, context will dictate but American spelling often prevails. There are exceptions to the differences listed below; and some publishers’ house style mixes the two.
The use of ‘single’ and “double” quotation marks—or ‘inverted commas’, as the British call them—is reversed:
American: “Was this video described as ‘pure genius’ by the Chicago Tribune?” Paula asked.
British: ‘Was this video described as “pure genius” by the Guardian?’, Maureen asked.
> The Oxford Comma
I love that name; in the US, its Ivy League equivalent is called ‘the Harvard comma’, wonderfully enough. This is the ‘three or more’ or the ‘comma before the “and”’ rule:
American: An American, a Russian, and an Italian walk into a bar.
British: An American, a Russian and an Italian walk into a bar.
Pick one and be consistent—but remain alert:
I’d like to thank my parents, Nelson Mandela, and Hillary Clinton.
I’d like to thank my parents, Nelson Mandela and Hillary Clinton.
Unless you are the love-child of Nelson Mandela and Hillary Clinton, you really need that second comma.
My general rule for commas is: the fewer the better. A sentence peppered with commas could probably stand a good rewrite (see Steinberg on Rauschenberg, ‘Order information logically’).
> Semicolons
Semicolons signal a break stronger than a comma, and are especially helpful when the subject of a sentence changes. This is from David Sylvester:
Picasso took junk and turned it into useful objects such as musical instruments; Duchamp took a useful stool and a useful wheel and made them useless.
Theses two ideas need to stay connected to make his point, but the subject changes from Picasso to Duchamp: Sylvester judiciously inserts a semicolon. A very long sentence, joined by a semi-colon, may read better split into two.
Semicolons may also be used in a list where each element is a short phrase (recall this promotional blurb:
Rhode’s witty, engaging and poetic works make reference to hip-hop and graffiti art; to the histories of modernism; and to the act of creative expression itself.
A long dash interrupts the sentence more forcefully than a comma, to insert details or abruptly add an aside. Michael Fried:
What seems to have been revealed to Smith that night was the pictorial nature of painting—even, one might say, the conventional nature of art.
It can be used parenthetically—i.e. around an interjection—or singly to add a related but separate point, or to extend the idea of the main clause. Iwona Blazwick:
Duchamp’s paradigmatic readymade—the mass-produced urinal—was never plumbed in or pissed into.
Visually, a dash interrupts the flow of the text; avoid having more than two ‘dashed’ sentences in a single paragraph.
> Colon
A colon emphatically stops a sentence, usually to introduce a list or a new idea. Use sparingly. John Kelsey introduces a short list with a colon:
[Fischli and Weiss’s] Women come in three sizes: small, medium and large.
> Parentheses
The information inside parentheses is additional information, extraneous to your text, so maybe drop it altogether? Use parentheses only as a last resort. If you open one, be sure eventually to close it. Chris Kraus:
I’m reminded of Magnum Agency founder Werner Bischof (about whom Porcari has written).
> Last details
An artist’s name can stand in for her artwork, but this usage is too colloquial for an academic or museum text. For more informal writing, ‘A gallery full of Agnes Martins’ safely communicates that the gallery contains many of this artist’s paintings, not her clones or eponymous offspring.
Did you like the Lygia Pape?
We saw many Laure Prouvosts on the artist’s website.
And finally, footnote numbers always go outside all punctuation.
The first texts listed below (in bold) serve as basic introductions and other essential reading; listed below those are more advanced texts. For further reading, see specialized anthologies and compendia; manuals of style; art magazines; contemporary art-fiction,; on the art market.
And read plenty of literature, poetry, and non-art books too: art only takes on meaning when plugged in to the rest of the world.
Overviews
Charles Harrison and Paul Wood, eds., Art in Theory 1900–2000: An Anthology of Changing Ideas (Oxford: Blackwell, 2003).
David Hopkins, After Modern Art, 1945–2000 (Oxford History of Art, Oxford: Oxford University Press, 2000).
Jonathan Fineberg, Art Since 1940: Strategies of Being, 2nd edn. (New York: Prentice Hall, 2003).
Rosalind Krauss, Hal Foster, Yve-Alain Bois, Benjamin Buchloh, and David Joselit, Art Since 1900: Modernism, Antimodernism, Postmodernism (2004), 2nd edn., vols. 1–2 (London and New York: Thames & Hudson, 2012).
Greil Marcus, Lipstick Traces: A Secret History of the 20th Century (Cambridge, MA: Harvard University Press, 1989).
Robert S. Nelson and Richard Schiff, eds., Critical Terms for Art History, 2nd edn. (Chicago, IL, and London: University of Chicago Press, 2003).
Art into the 21st century
Art Now, vols. 1–4 (Cologne: Taschen, 2002; 2006; 2008; 2013).
Julieta Aranda et al., What is Contemporary Art? Available for free at http://www.e-flux.com/issues/11-december-2009/http://www.e-flux.com/issues/12-january-2010/.
Daniel Birnbaum et al., Defining Contemporary Art in 25 Pivotal Artworks (London: Phaidon, 2011).
Charlotte Cotton, The Photograph as Contemporary Art, 3rd edn. (London and New York: Thames & Hudson, 2014).
Julian Stallabrass, Contemporary Art: A Very Short Introduction (Oxford: Oxford University Press, 2006).
Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012).
T.J. Demos, The Migrant Image: The Art and Politics of Documentary During Global Crisis (Durham, NC: Duke University Press, 2013).
Rosalind Krauss, A Voyage on the North Sea: Art in the Age of the Post-medium Condition (London and New York: Thames & Hudson, 2000).
Peter Osborne, Anywhere or Not at All: Philosophy of Contemporary Art (London: Verso, 2013).
Terry Smith, Contemporary Art: World Currents (London: Laurence King, 2011).
Barry Schwabsky, ed., Vitamin P; Lee Ambrozy, ed., Vitamin P2: New Perspectives in Painting (London: Phaidon, 2002; 2012).
Michael Archer, Art Since 1960, 2nd edn. (London and New York: Thames & Hudson, 2002).
Thomas Crow, Modern Art in the Common Culture (New Haven and London: Yale University Press, 2005).
Thomas Crow, The Rise of the Sixties: American and European Art in the Era of Dissent, 1955–1969 (London: Laurence King; New Haven: Yale University Press, 1996).
Tony Godfrey, Conceptual Art (London: Phaidon, 1998).
Gillian Perry and Paul Wood, eds., Themes in Contemporary Art (New Haven and London: Yale University Press in association with The Open University, 2004).
Arthur C. Danto, After the End of Art: Contemporary Art and the Pale of History (Princeton, NJ: Princeton University Press, 1997).
Briony Fer, The Infinite Line: Re-Making Art After Modernism (New Haven and London: Yale University Press, 2004).
Lucy Lippard, Six Years: The Dematerialization of the Art Object from 1966 to 1972 (1973) (Berkeley and Los Angeles: University of California Press, 1997).
Craig Owens, Beyond Recognition: Representation, Power, and Culture (Berkeley and Los Angeles: University of California Press, 1992).
Griselda Pollock, Vision and Difference: Femininity, Feminism and Histories of Art (London and New York: Routledge, 1988).
Modernism
H.H. Arnason, History of Modern Art: Painting, Sculpture, Architecture, Photography, 7th edn. (London: Pearson, 2012).
T.J. Clark, Farewell to an Idea: Episodes from a History of Modernism (New Haven and London: Yale University Press, 1999).
Rosalind Krauss, Passages in Modern Sculpture (1977) (Cambridge, MA: MIT Press, 1977).
Leo Steinberg, Other Criteria: Confrontations with Twentieth-Century Art (London, Oxford, and New York: Oxford University Press, 1972).
Paul Wood, Varieties of Modernism (New Haven and London: Yale University Press in association with The Open University, 2004).
Marshall Berman, All That is Solid Melts into Air: The Experience of Modernity (Harmondsworth, Middlesex: Penguin, 1982).
Rosalind Krauss, The Optical Unconscious (Cambridge, MA: MIT Press, 1993).
Rosalind Krauss, The Originality of the Avant-Garde and Other Modernist Myths (Cambridge, MA: MIT Press, 1985).
Clement Greenberg, ‘Modernist Painting’ (1960), in Clement Greenberg: The Collected Essays and Criticism, vol. IV, ed. John O’Brian (Chicago, IL, and London: University of Chicago Press, 1993), 85–93.
Meyer Schapiro, Modern Art: 19th and 20th Centuries, Selected Papers, vol. 2 (New York: George Braziller, 1978).
Curating
Tony Bennett, The Birth of the Museum: History, Theory, Politics (London: Routledge, 1995).
Iwona Blazwick et al., A Manual for the 21st Century Art Institution (London: Koenig Books/Whitechapel Gallery, 2009).
Bruce W. Ferguson, Reesa Goldberg, and Sandy Nairne, Thinking about Exhibitions (London: Routledge, 1996).
Brian O’Doherty, Inside the White Cube: The Ideology of the Gallery Space (1976), 6th edn. (Oakland, CA: University of California Press, 2000).
Hans Ulrich Obrist, A Brief History of Curating (Zurich: JRP Ringier, 2008).
Bruce Altshuler, Salon to Biennial: Exhibitions that Made Art History, vol. 1: 1863–1959; Biennials and Beyond: Exhibitions that Made Art History, vol. 2: 1962–2002 (London: Phaidon, 2008; 2013).
Douglas Crimp, On the Museum’s Ruins (Cambridge, MA and London: MIT Press, 1993).
Elena Filipovic, Marieke Van Hall, and Solveig Østebø, eds., The Biennial Reader: An Anthology on Large-Scale Perennial Exhibitions of Contemporary Art (Bergen: Bergen Kunsthall, and Ostfildern: Hatje Cantz Verlag, 2010).
Susan Hiller and Sarah Martin, eds., The Producers: Contemporary Curators in Conversation (Gateshead: Baltic Centre for Contemporary Art, 2000).
Christian Rattemeyer and Wim Beeren, Exhibiting the New Art: ‘Op Losse Schroeven’ and ‘When Attitudes Become Form’ 1969 (London: Afterall, 2010).
Artist’s Writings
Alexander Alberro and Blake Stimson, eds., Institutional Critique: An Anthology of Artists’ Writings (London and Cambridge, MA: MIT Press, 2009).
Andrea Fraser, Museum Highlights: The Writings of Andrea Fraser, ed. Alexander Alberro (London and Cambridge, MA: MIT Press, 2005).
Robert Smithson, Robert Smithson: The Collected Writings, ed. Jack Flam (Berkeley and Los Angeles: University of California Press, 1996).
Kristine Stiles and Peter Selz, eds., Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, 2nd edn. (Berkeley and Los Angeles: University of California Press, 2012).
Andy Warhol, The Philosophy of Andy Warhol (From A to B and Back Again) (New York: Harcourt Brace Jovanovich, 1975).
John Cage, Silence: Lectures and Writings (Middletown: Wesleyan University Press, 1961).
Hollis Frampton, Circles of Confusion: Film, Photography, Video: Texts 1968–1980 (Rochester: Visual Studies Workshop Press, 1983).
Dan Graham, Two-Way Mirror Power: Selected Writings by Dan Graham on his Art, ed. Alexander Alberro (London and Cambridge, MA: MIT Press, 1999).
Mike Kelley, Foul Perfection: Essays and Criticism (Cambridge, MA: MIT Press, 2003).
Hito Steyerl, The Wretched of the Screen (New York and Berlin: e-flux journal and Sternberg Press, 2012).
Philosophy and theory
Gaston Bachelard, The Poetics of Space (1958), trans. Maria Jolas (Boston: Beacon Press, 1994).
Roland Barthes, Camera Lucida: Reflections on Photography (1980), trans. Richard Howard (New York: Farrar, Straus and Giroux, 1981).
Roland Barthes, Image, Music, Text, trans. Stephen Heath (New York: Hill and Wang, 1977).
Jean Baudrillard, The System of Objects (1968), trans. James Benedict (London and New York: Verso, 2005).
Walter Benjamin, Illuminations, ed. Hannah Arendt, trans. Harry Zohn (London: Pimlico, 1955/1999).
Homi Bhabha, The Location of Culture (1991) (New York: Routledge, 1994).
Pierre Bourdieu, Distinction: A Social Critique of the Judgment of Taste (1979), trans. Richard Nice (Cambridge, MA: Harvard University Press, 1984).
Judith Butler, Gender Trouble: Feminism and the Subversion of Identity (New York and London: Routledge, 1990).
Guy Debord, The Society of the Spectacle (1967), trans. Donald Nicholson-Smith (New York: Zone Books, 1995).
Michel de Certeau, The Practice of Everyday Life (1974), trans. Steven Rendall (Berkeley and Los Angeles: University of California Press, 1984).
Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia (1980), trans. and foreword by Brian Massumi (Minneapolis: University of Minnesota Press, 1987).
Michel Foucault, This is Not a Pipe (1973), trans. and ed. James Harkness (Berkeley and Los Angeles: University of California Press, 1983).
Sigmund Freud, The Uncanny (1919), trans. David McLintock (Harmondsworth, Middlesex: Penguin Classics, 2003).
Stuart Hall, Representation: Cultural Representations and Signifying Practices (London: SAGE, 1997).
Michael Hardt and Antonio Negri, Empire (Cambridge, MA: Harvard University Press, 2000).
Maurizio Lazzarato, ‘Immaterial Labour’ (1996), trans. Paul Colilli and Ed Emory, in Paolo Virno and Michael Hardt, eds., Radical Thought in Italy (Minneapolis: University of Minnesota Press, 1996), 132–46.
Henri Lefebvre, The Production of Space (1974), trans. Donald Nicholson-Smith (Oxford: Blackwell, 1991).
Jean-Luc Nancy, The Ground of the Image (2003), trans. Jeff Fort (New York: Fordham University Press, 2006).
Jacques Rancière, The Emancipated Spectator, trans. Gregory Elliott (London and New York: Verso, 2009).
Jacques Rancière, The Politics of Aesthetics: The Distribution of the Sensible (2004), trans. and introduction by Gabriel Rockhill (London and New York: Continuum, 2006).
Edward W. Said, Orientalism (New York: Vintage Books, 1979).
Susan Sontag, On Photography (New York: Farrar, Straus and Giroux, 1977).
(see also the websites of print magazines: artforum.com; blog.frieze.com/ et al.)
http://www.contemporaryartdaily.com/
http://www.dazeddigital.com/artsandculture
http://www.edwardwinkleman.com/ (also for listings of new art blogs)
http://www.e-flux.com/journals/
http://hyperallergic.com/horrid.giff
http://www.thisistomorrow.info/
http://we-make-money-not-art.com/
Michael Archer, ‘Crisis, What Crisis?’, Art Monthly 264 (Mar 2003): 1–4.
Jack Bankowsky, ‘Editor’s Letter’, Artforum 10, vol. X (Sept 1993): 3.
Oliver Basciano, ‘10 Tips for Art Criticism’, Specularum, 12 Jan 2012; http://spectacularum.blogspot.co.uk/2012/01/10-tips-for-art-criticism-from-oliver.html.
Sylvan Barnet, A Short Guide to Writing About Art (Boston, MA: Pearson/Prentice Hall, 2011).
Andy Beckett, ‘A User’s Guide to Artspeak’, Guardian, 17 Jan 2013; http://www.guardian.co.uk/artanddesign/2013/jan/27/users-guide-international-art-english.
Eugenia Bell and Emily King, ‘Collected Writings’ (on historic art magazines), frieze 100 (Jun–Aug 2006), http://www.frieze.com/issue/article/collected_writings/.
Walter Benjamin, ‘The Writer’s Technique in Thirteen Theses’ (1925–26), trans. Edmund Jephcott and Kingsley Shorter, from ‘One-Way Street’, in One-Way Street and Other Writings (London: NLB, 1979), 64–65.
Daniel Birnbaum and Isabelle Graw, eds., Canvases and Careers Today: Criticism and Its Markets (Berlin: Sternberg Press, 2008).
‘Editorial: Mind your language’, Burlington 1320, vol. 155 (Mar 2013).
Jack Burnham, ‘Problems of Criticism’, in Idea Art: A Critical Anthology, Gregory Battcock, ed. (New York: Dutton, 1973), 46–70.
David Carrier, Rosalind Krauss and American Philosophical Art Criticism: From Formalism to Beyond Postmodernism (Westport, CT: Praeger, 2002).
—Writing about Visual Art (New York: Allworth, 2003).
T.J. Clark, The Sight of Death: An Experiment in Art-writing (New Haven: Yale University Press, 2008).
Thomas Crow, Painters and Public Life in Eighteenth-Century Paris (New Haven and London: Yale University Press, 1985).
Arthur C. Danto, ‘From Philosophy to Art Criticism’, American Art 1, vol. 16 (Spring 2002): 14–17.
Denis Diderot, ‘Salon de 1765’, in Denis Diderot: Selected Writings on Art and Literature, trans. Geoffrey Bremner (London: Penguin, 1994), 236–39.
Georges Didi-Huberman, ‘The History of Art Within the Limits of its Simple Practice’ (1990), Confronting Images: Questioning the Limits of a Certain History of Art, trans. John Goodman (PA: Pennsylvania State University Press, 2005), 11–52.
James Elkins, What Happened to Art Criticism? (Chicago, IL: Prickly Paradigm, 2003).
—and Michael Newman, eds., The State of Art Criticism (New York; Oxford: Routledge, 2008).
Hal Foster, ‘Art Critics in Extremis’, in Design and Crime (London; New York: Verso, 2003), 104–22.
Dan Fox, ‘Altercritics’, frieze blog, Feb 2009; http://blog.frieze.com/altercritics/.
frieze editors, ‘Periodical Tables (Part 2)’, Frieze 100 (Jun–Aug 2006); http://www.frieze.com/issue/article/periodical_tables_part_2/.
Maria Fusco, Michael Newman, Adrian Rifkin, and Yve Lomax, ‘11 Statements Around Art-writing’, frieze blog, 10 October 2011; http://blog.frieze.com/11-statements-around-art-writing/.
Dario Gamboni, ‘The Relative Autonomy of Art Criticism’, in Art Criticism and its Institutions in Nineteenth-Century France, ed. Orwicz (Manchester University Press, 1994), 182–94.
Orit Gat, ‘Art Criticism in the Age of Yelp’, Rhizome, 12 Nov 2013; http://rhizome.org/editorial/2013/nov/12/art-criticism-age-yelp/.
Eric Gibson, ‘The Lost Art of Writing About Art’, Wall Street Journal, 18 Apr 2008; http://online.wsj.com/article/SB120848379018525199.html#printMode.
Boris Groys, ‘Critical Reflections’, in Art Power (Cambridge, MA: MIT Press, 2008), 111–29.
—in conversation with Brian Dillon, ‘Who do You Think You’re Talking To?’, frieze 121 (Mar 2009); https://www.frieze.com/issue/article/who_do_you_think_youre_talking_to/.
Philip A. Hartigan, ‘How (Not) to Write Like an Art Critic’, hyperallergic, 22 Nov 2012; http://hyperallergic.com/60675/how-not-to-write-like-an-art-critic/.
Jonathan Harris, The New Art History: A Critical Introduction (London: Routledge, 2001).
Eleanor Heartney, ‘What Are Critics For?’, American Art 1, vol. 16 (Spring 2002): 4–8.
Mostafa Heddaya, ‘When Artspeak Masks Oppression’, hyperallergic, 6 Mar 2013; http://hyperallergic.com/66348/when-artspeak-masks-oppression/.
Martin Heidegger, ‘The Thing’, in Poetry, Language, Thought, trans. and introduction Albert Hofstadter (New York and London: Harper and Row, 1975), 161–84.
Jennifer Higgie, ‘Please Release Me’, frieze 103 (Nov–Dec 2005); https://www.frieze.com/issue/article/please_release_me/.
Margaret Iversen and Stephen Melville, Writing Art History: Disciplinary Departures (Chicago, IL: University of Chicago Press, 2010).
Amelia Jones, ‘“Every Man Knows Where and How Beauty Gives Him Pleasure”: Beauty Discourse and the Logic of Aesthetics’, in Aesthetics in a Multicultural Age, Emory Elliot, Louis Freitas Caton, and Jeffrey Rhyne, eds. (Oxford; New York: Oxford University Press, 2002), 215–40.
Jonathan Jones, ‘What is the point of art criticism?’, Guardian art blog, 24 April 2009; http://www.guardian.co.uk/artanddesign/jonathanjonesblog/2009/apr/24/art-criticism.
John Kelsey, ‘The Hack’, in Birmbaum and Graw, eds., Canvases and Careers Today: Criticism and its Markets (Berlin: Sternberg Press, 2008), 65–74.
Jeffrey Khonsary and Melanie O’Brien, eds., Judgment and Contemporary Art Criticism (Vancouver: ‘Folio Series’, Artspeak/Filip, 2011).
Pablo Lafuente, ‘Notes on Art Criticism as a Practice’, ICA blog, 4 December 2008; http://www.ica.org.uk/blog/notes-art-criticism-practice-pablo-lafuente.
David Levi Strauss, ‘From Metaphysics to Invective: Art Criticism as if it Still Matters’, The Brooklyn Rail, 3 May 2012; http://www.brooklynrail.org/2012/05/art/from-metaphysics-to-invective-art-criticism-as-if-it-still-matters
Les Levine, reply to Robert Hughes, ‘The Decline and Fall of the Avant-garde’, in Idea Art: A Critical Anthology, ed. Gregory Battcock (New York: Dutton, 1973), 194–203.
Alisa Luxenberg, ‘Further Light on the Critical Reception of Goya’s Family of Charles IV as Caricature’, Artibus et Historiae 46, vol. 23 (2002): 179–82.
Maurice Merleau-Ponty, ‘Eye and Mind’, in The Merleau-Ponty Reader: Philosophy and Painting, ed. Galen Johnson (Evanston, IL: Northwestern University Press, 1993), 121–49.
W.J.T. Mitchell, ‘What Is an Image?’, in Iconology: Image, Text, Ideology (Chicago, IL: University of Chicago Press, 1986), 7–46.
Stuart Morgan, What the Butler Saw: Selected Writings, ed. Ian Hunt (London: Durian, 1996).
—Inclinations: Further Writings and Interviews, Juan Vicente Aliaga and Ian Hunt, eds. (London: Durian, 2007).
Michael Orwicz, ed., Art Criticism and its Institutions in Nineteenth-Century France (Manchester, UK: Manchester University Press), 1994.
James Panero, ‘The Critical Moment: Abstract Expressionism’s Dueling Dio’, in Humanities 4, vol. 29 (Jul–Aug 2008); http://www.neh.gov/humanities/2008/julyaugust/feature/the-critical-moment.
Michel Pepi, ‘The Demise of Artnet Magazine and the Crisis in Criticism’, Artwrit 17 (September 2012); http://www.artwrit.com/article/the-demise-of-artnet-magazine-and-the-crisis-in-criticism/.
Peter Plagens, ‘At a Crossroads’, in Rubinstein, ed. Critical Mess (Lennox, MA: Hard Press, 2006), 115–20.
Lane Relyea, ‘All Over and At Once’ (2003), in Rubinstein, ed., Critical Mess (Lennox, MA: Hard Press, 2006), 49–59.
—‘After Criticism’, in Contemporary Art: 1989 to the Present, Alexander Dumbadze and Suzanne Hudson, eds. (Oxford: Wiley-Blackwell, 2013), 357–66.
Martha Rosler, ‘English and All That’, e-flux journal 45 (May 2013); http://www.e-flux.com/journal/english-and-all-that/.
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1 Walter Benjamin, ‘Theses on the History of Philosophy’ (1940), trans. Harry Zohn, in Illuminations, ed. Hannah Arendt (London: Pimlico, 1999), 249.
2 Okwui Enwezor, ‘Documents into Monuments: Archives as Meditations on Time’, in Archive Fever: Photography between History and the Monument, ed. Enwezor (New York: International Center for Photography; Göttingen: Steidl, 2008), 23–26.
3 Thomas Crow, The Rise of the Sixties (1996) (London: Laurence King, 2004), 23–24.
4 Rosalind Krauss, ‘Cindy Sherman: Untitled’ (1993); first published in Cindy Sherman 1975–1993 (New York: Rizzoli International, 1993); in Bachelors (Cambridge, MA: MIT Press, 2000), 118; 122.
5 Jerry Saltz, ‘20 Things I Really Liked at the Art Fairs’, New York Magazine, 25 March 2013; http://www.vulture.com/2013/03/saltz-armory-show-favorites.html.
6 David Sylvester, ‘Picasso and Duchamp’ (1989, revised from a 1978 lecture); previously published as ‘Bicycle Parts’, in Scritti in onore di Giuliano Briganti (Milan: Longanesi, 1990); Modern Painters 4, vol. V, 1992; in About Modern Art: Critical Essays 1948–96 (London: Chatto & Windus, 1996), 417.
7 Stuart Morgan, ‘Playing for Time’, in Fiona Rae (London: Waddington Galleries, 1991), n.p.
8 Dale McFarland, ‘Beautiful Things: On Wolfgang Tillmans’, frieze 48 (Sept–Oct 1999); http://www.frieze.com/issue/article/beautiful_things/.
9 Hito Steyerl, ‘In Defense of the Poor Image’, e-flux journal 10 (November 2009), n.p.; http://www.e-flux.com/journal/in-defense-of-the-poor-image/.
10 John Kelsey, ‘Cars. Women’, in Peter Fischli & David Weiss: Flowers & Questions: A Retrospective (London: Tate, 2006), 49–52; 50–51.
11 Leo Steinberg, ‘The Flatbed Picture Plane’, from a lecture at the Museum of Modern Art, New York, 1968; first published as ‘Reflections on the State of Criticism’, Artforum 10, no. 7 (March 1972): 37–49; reprinted in Other Criteria: Confrontations with Twentieth-Century Art (Chicago, IL: University of Chicago Press, 2007), 61–98.
12 Manthia Diawara, ‘Talk of the Town: Seydou Keïta’ (1998); first published in Artforum 6, vol. 36, February 1998; in Olu Oguibe and Okwui Enwezor, eds., Reading the Contemporary: African Art from Theory to the Marketplace (London: Iniva, 1999), 241.
13 Brian Dillon, ‘Andy Warhol’s Magic Disease’, in Tormented Hope: Nine Hypochondriac Lives (London: Penguin, 2009), 238.
14 Dave Hickey, ‘Fear and Loathing Goes to Hell’, This Long Century, 2012. http://www.thislongcentury.com/?p=958&c=13.
15 Michael Fried, citing Tony Smith, ‘Art and Objecthood’, Artforum 5 (June 1967): 12–23.
16 Claire Bishop, Artificial Hells: Participatory Art and the Politics of Spectatorship (London: Verso, 2012), 256–57.
17 Negar Azimi, ‘Fluffy Farhad’, Bidoun 20 (Spring 2010); http://www.bidoun.org/magazine/20-bazaar/fluffy-farhad-by-negar-azimi/.
18 Erik Wenzel, ‘100% Berlin’, ArtSlant, 22 April 2012; http://www.artslant.com/ber/articles/show/30583.
19 Chris Kraus, ‘Untreated Strangeness’, Where Art Belongs (Los Angeles: Semiotext[e], 2011), 145–46.
20 Jon Thompson, ‘New Times, New Thoughts, New Sculpture’, first published in Gravity and Grace: The Changing Condition of Sculpture 1965–1975 (London: Hayward, 1993); in The Collected Writings of Jon Thompson, Jeremy Akerman and Eileen Daly, eds. (London: Ridinghouse, 2011), 92–123.
21 Brian O’Doherty, ‘Boxes, Cubes, Installation, Whiteness and Money’, in A Manual for the 21st Century Art Institution (Cologne: Koenig; London: Whitechapel, 2009), 26–27.
22 Miwon Kwon, ‘One Place After Another: Notes on Site Specificity’, October vol. 80 (Spring 1997): 85–110.
23 Charlotte Burns, ‘Artists take to the streets as Brazilians demand spending on services, not sport’, The Art Newspaper 248 (Jul–Aug 2013): 3.
24 unsigned, ‘Hong Kong Spring Sales Reach More Solid Ground’, Asian Art (May 2013): 1; http://www.asianartnewspaper.com/sites/default/files/digital_issue/AAN%20MAY2013%20web.pdf.
25 Martin Herbert, ‘Richard Serra’, Frieze Art Fair Yearbook (London: Frieze, 2008–9), n.p.
26 Christy Lange, ‘Andrew Dadson’, Frieze Art Fair Yearbook (London: Frieze, 2008–9), n.p.
27 Vivian Rehberg, ‘Aya Takano’, Frieze Art Fair Yearbook (London: Frieze, 2008–9), n.p.
28 Mark Alice Durant and Jane D. Marsching, ‘Out-of-Sync’, in Blur of the Otherworldy: Contemporary Art, Technology and the Paranormal (Baltimore, MD: Center for Art and Visual Culture, University of Maryland, 2006), 134.
29 Izzy Tuason, ‘Seth Price’, The Guidebook, dOCUMENTA (13) (Ostfildern: Hatje Kantz Verlag, 2012), 264.
30 unsigned, ‘Decorative Newsfeeds’, Thomson & Craighead, 2004, British Council Collection website, n.d.; http://collection.britishcouncil.org/collection/artist/5/19193/object/49377.
31 unsigned, ‘Stan Douglas wins the 2013 Scotiabank Photography Award’, Scotiabank website, 16 May 2013; http://www.scotiabank.com/photoaward/en/files/13/05/Stan_Douglas_wins_the_2013_Scotiabank_Photography_Award.html.
32 unsigned, ‘Harun Farocki. Against What? Against Whom?’, Raven Row website, November 2009; http://www.ravenrow.org/exhibition/harunfarocki/.
33 unsigned, ‘Robin Rhode: The Call of Walls’, National Gallery of Victoria website, May 2013; http://www.ngv.vic.gov.au/whats-on/exhibitions/exhibitions/robin-rhode.
34 unsigned, ‘Jean Dubuffet (1901–1985), La Fille au Peigne (1950)’, Christie’s Postwar and Contemporary Art Evening Sale, 12 November 2008, New York.
35 Alice Gregory, ‘On the Market’, n+1 Magazine, 1 March 2012; http://nplusonemag.com/on-the-market.
36 Hilton Als, ‘Daddy’, May 2013, http://www.hiltonals.com/2013/05/daddy/.
37 Jan Verwoert, ‘Neo Rauch at David Zwirner Gallery’, frieze 94 (October 2005), http://www.frieze.com/issue/review/neo_rauch1/.
38 Roberta Smith, ‘The Colors and Joys of the Quotidian’, New York Times, 28 February 2013; http://www.nytimes.com/2013/03/01/arts/design/lois-dodd-catching-the-light-at-portland-museum-in-maine.html?pagewanted=1.
39 Sally O’Reilly, ‘Review: Seven Days in the Art World’, Art Monthly (November 2008): 32.
40 Jack Bankowsky, ‘Previews: Haim Steinbach’, Artforum vol. 51 no. 9 (May 2013): 155.
41 Ben Davis, ‘Frieze New York Ices the Competition with its First Edition on Randall’s Island’, BlouinArtinfo, 4 May 2012; http://www.blouinartinfo.com/news/story/802849/frieze-new-york-ices-the-competition-with-its-first-edition-on.
42 Ben Davis, ‘Speculations on the Production of Social Space in Contemporary Art, with Reference to Art Fairs’, BlouinArtinfo, n.p., 10 May 2012; http://www.blouinartinfo.com/news/story/803293/speculations-on-the-production-of-social-space-in-contemporary-art-with-reference-to-art-fairs.
43 Don Thompson, The $12 Million Stuffed Shark: The Curious Economics of Contemporary Art and Auction Houses (London: Aurum, 2008), 13–14.
44 Dave Hickey, ‘Orphans’, Art in America (January 2009): 35–36.
45 Adam Szymczyk, ‘Touching from a Distance: on the Art of Alina Szapocznikow’, Artforum vol. 50, no. 3 (November 2011), 220.
46 Iwona Blazwick, ‘The Found Object’, in Cornelia Parker (London and New York: Thames & Hudson, 2013), 32–33.
47 Alex Farquharson, ‘The Avant Garde, Again’, in Carey Young, Incorporated (London: Film & Video Umbrella, 2002); http://www.careyyoung.com/essays/farquharson.html.
48 Lynne Tillman, ‘Portrait of a Young Painter Levitating’, in Karin Davie: Selected Works (New York: Rizzoli and Albright Knox Museum, Buffalo, NY, 2006), 149.
49 T.J. Demos, ‘Art After Nature: on the Post-Natural Condition’, Artforum 50, no. 8 (Apr 2012): 191–97.
50 Anne Truitt, ‘Daybook: The Journal of an Artist, 1974–79’, in Kristine Stiles and Peter Selz, eds., Theories and Documents of Contemporary Art: A Sourcebook of Artists’ Writings, 2nd edn. (Berkeley and Los Angeles: University of California Press, 2012, revised and expanded by Kristine Stiles), 100.
51 Jennifer Angus, ‘Artist statement’, The Centre for Contemporary Canadian Art website, n.d.; http://ccca.concordia.ca/statements/angus_statement.html.
52 Tacita Dean, ‘Palast, 2004’, in Jean-Christophe Royoux, Tacita Dean (London: Phaidon, 2006), 133.
53 Anri Sala, ‘Notes for Mixed Behaviour’ (2003) Mark Godfrey, Anri Sala (Phaidon, 2006), 122.
54 Anke Kempes, ‘Sarah Morris’, in Art Now: The New Directory to 136 International Contemporary Artists, vol. 2, Uta Grosenick and Burkhard Riemschneider, eds. (Cologne and London: Taschen, 2005), 196.
55 Ted Mann, ‘Mandalay Bay (Las Vegas): Sarah Morris’, Guggenheim Collection Online, n.d.; http://www.guggenheim.org/new-york/collections/collection-online/artwork/9426?tmpl=component&print=1.
56 Adrian Searle, ‘Life thru a lens’, Guardian, 4 May 1999; http://www.theguardian.com/culture/1999/may/04/artsfeatures4.
57 Alex Farquharson, ‘Review of “Painting Lab”’, Art Monthly 225 (April 1999): 34–36.
58 Gaby Wood, ‘Cinéma Vérité: Gaby Wood meets Sarah Morris’, Observer, 23 May 2004; http://www.theguardian.com/artanddesign/2004/may/23/art2.
59 Christopher Turner, ‘Beijing City Symphony: On Sarah Morris’, Modern Painters (Jul–Aug 2008): 57.
60 Michael Bracewell, ‘A Cultural Context for Sarah Morris’, in Sarah Morris: Modern Worlds (Oxford: Museum of Modern Art; Leipzig: Galerie für Zeitgenössische Kunst; Dijon: Le Consortium, 1999), n.p.
61 Jan Winkelmann, ‘A Semiotics of Surface’, in Sarah Morris: Modern Worlds, trans. Tas Skorupa (Oxford: Museum of Modern Art; Leipzig: Galerie für Zeitgenössische Kunst; Dijon: Le Consortium, 1999), n.p.
62 Isabelle Graw, ‘Reading the Capital: Sarah Morris’ New Pictures’, trans. Catherine Schelbert, in Ingvild Goetz and Rainald Schumacher, eds., The Mystery of Painting (Munich: Kunstverlag Ingvild Goetz, 2001), 79.
63 Douglas Coupland, ‘Behind the Glass Curtain’, in Sarah Morris: Bar Nothing (London: White Cube, 2004), n.p.
64 Sarah Morris, ‘A Few Observations on Taste or Advertisements for Myself’, in Texte zur Kunst 75 (September 2009): 71–74.
Measurements are given in centimetres followed by inches, height before width before depth, unless otherwise stated.
1 BANK, Fax-Back (London: ICA), 1999. Pen and ink on paper, 29.7 × 21 (11 3/4 × 8 1/4). Courtesy BANK and MOT International, London and Brussels.
2 Lori Waxman, 60 wrd/min art critic, 2005–. Performance as part of dOCUMENTA (13), June 9–September 16, 2012, in Kassel, Germany. Courtesy the artist. Photo Claire Pentecost.
3 Paul Klee, Angelus Novus, 1920. India ink, colored chalk, and brown wash on paper, 31.8 × 24.2 (12 1/2 × 9 1/2). Gift of Fania and Gershom Scholem, Jerusalem; John Herring, Marlene and Paul Herring, Jo Carole and Ronald Lauder, New York. (B87.994) Israel Museum, Jerusalem.
4 Francisco Goya, The Family of Carlos IV, c. 1800. Oil on canvas, 280 × 336 (110 1/4 × 132 1/4). Collection Museo del Prado, Madrid.
5 Craigie Horsfield, Leszek Mierwa & Magda Mierwa – ul. Nawojki, Krakow, July 1984, printed 1990. Silver gelatin unique photograph, 155 × 146 (61 × 57 1/2) (framed). Courtesy Frith Street Gallery. © ADAGP, Paris and DACS, London 2014.
6 Jess, The Mouse’s Tale, 1951/54. Collage (gelatin silver prints, magazine reproductions, and gouache on paper), 121 × 81.3 (47 5/8 × 32). Courtesy San Francisco Museum of Modern Art, Gift of Frederic P. Snowden. Copyright © 2014 by the Jess Collins Trust and used by permission.
7 Cindy Sherman, Untitled Film Still, 1977. Gelatin silver print, edition of 10 (MP #2), 25.4 × 20.3 (10 × 8). Courtesy the artist and Metro Pictures, New York.
8 Cindy Sherman, Untitled Film Still, 1980. Gelatin silver print, edition of 10 (MP #81), 25.4 × 20.3 (10 × 8). Courtesy the artist and Metro Pictures, New York.
9 Anna-Bella Papp, For David, 2012. Clay, 32 × 21 × 3 (12 5/8 × 8 1/4 × 1 1/8), (MA-PAPPA-00020). Courtesy Stuart Shave/Modern Art, London.
10 Martin Wong, It’s Not What You Think? What Is It Then?, 1984. Acrylic on canvas, 213.4 × 274.3 (84 × 108). Courtesy the Estate of Martin Wong and P.P.O.W Gallery, New York.
11 Haroon Mirza, Preoccupied Waveforms, 2012. Monitor, cables, modified drawer, TV, copper tape, speakers, media player, dimensions variable. Courtesy New Museum, New York and Lisson Gallery, London. Photo Jesse Untrachet Oakner. © the artist.
12 Ernesto Neto, Camelocama, 2010. Crochet, polypropylene balls, and PVC, 380 × 800 × 900 (149 5/8 × 315 × 354 3/8). View from the exhibition ‘La Lengua de Ernesto – Obras 1987–2011’, Antiguo Colegio San Ildefonso, Mexico. Courtesy Galeria Fortes Vilaca. Photo Diego Perez.
13 Elad Lassry, Untitled (Red Cabinet), 2011. MDF, high gloss paint, 43.2 × 177.8 × 40 (17 × 70 × 15 3/4). Inv #EL 11.065. Courtesy David Kordansky Gallery, Los Angeles and Galerie Francesca Pia, Zürich.
14 Wolfgang Tillmans, grey jeans over stair post, 1991. C-type print. Courtesy Maureen Paley, London. © the artist.
15 Hito Steyerl, Abstract, 2012. Still from HD video with sound, 5 minutes. Photo Leon Kahane.
16 Seydou Keïta, Untitled, 1959. Black and white photograph, 60 × 50 (23 × 19). Courtesy CAAC – the Pigozzi Collection, Geneva. © Seydou Keïta/SKPEAC.
17 Paweł Althamer, Einstein Class, 2005. Film, 35 mins. Courtesy the artist, Foksal Gallery Foundation, Warsaw and neugerriemschneider, Berlin.
18 Farhad Moshiri, Kitty Cat (Fluffy Friends series), 2009. Acrylic glitter powder colors and glaze on canvas mounted on board, 200 × 170 (78 3/4 × 66 7/8). Courtesy the artist and The Third Line.
19 Berlin, Potzdamer Platz, October 22, 2011, 2011. Digital photograph. Courtesy the artist. Photo Erik Wenzel.
20 Werner Bischof, Departure of the Red Cross Train, Budapest, Hungary, 1947. Werner Bischof/Magnum Photos.
21 George Porcari, Machu Picchu Cliff with Tourists, 1999. Color photograph. © George Porcari 2013.
22 Richard Serra, Promenade, 2008. Five slabs of weatherproof steel, each: 1700 × 400 × 13 (669 1/4 × 157 1/2 × 5 1/8). Grand Palais, Paris. Monumenta 2008. Photo Lorenz Kienzle. © ARS, NY and DACS, London 2014.
23 Andrew Dadson, Roof Gap, 2005. DVD on loop. Video still from installations at The Power Plant, Toronto, double video projection, dimensions variable. Courtesy the artist and Galleria Franco Noero, Turin.
24 Aya Takano, On the Way to Revolution, 2007. Acrylic on canvas, 200 × 420 (78 3/4 × 165 3/8). Courtesy Galerie Perrotin. © 2007 Aya Takano/kaikai Kiki Co., Ltd. All Rights Reserved.
25 Maria Miranda and Norie Neumark (Out-of-Sync), images from Museum of Rumour (Internet project), 2003. Courtesy the artist.
26 Franz West self-contradicting museum label, MuMOK, Vienna. Photo Catherine Wood.
27 Robin Rhode, Almanac, 2012–13. Mounted C-print, edition of 5. Eight parts, each: 41.6 × 61.6 × 3.8 (16 3/8 × 24 1/4 × 1 1/2) (framed). Overall dimensions 87.2 × 258.4 × 3.8 (34 5/16 × 101 3/4 × 1 1/2). Courtesy the artist and Lehmann Maupin, New York and Hong Kong. © Robin Rhode.
28 Neo Rauch, Lösung, 2005. Oil on canvas, 300 × 210 (118 1/8 × 82 11/16). Private Collection. Courtesy Galerie EIGEN + ART Leipzig/Berlin and David Zwirner, New York/London. Photo Uwe Walter, Berlin. © Neo Rauch courtesy Galerie EIGEN + ART Leipzig/Berlin/DACS 2014.
29 Lois Dodd, Apple Tree and Shed, 2007. Oil on linen, 106.7 × 214.3 (42 × 84 3/8). Courtesy Alexandre Gallery, New York. © Lois Dodd.
30 Alina Szapocznikow, Le Voyage [Journey], 1967. Fiberglass, polyester resin and metal structure, 180 × 110 × 60 (70 7/8 × 43 5/16 × 23 5/8). Muzeum Szutki, Lodz. Courtesy The Estate of Alina Szapocznikow/Piotr Stanislawski/Galerie Loevenbruck, Paris. © ADAGP, Paris.
31 Cornelia Parker, Thirty Pieces of Silver, 1988–89. Silver-plated objects, wire, dimensions variable. Courtesy the artist.
32 Lise Autogena and Joshua Portway, Black Shoals Stock Market Planetarium, 2012. Nikolaj Copenhagen Contemporary Art Centre, in cooperation with the Copenhagen Stock Exchange.
33 Sarah Morris, Mandalay Bay (Las Vegas), 1999. Gloss household paint on canvas, 214 × 214 (84 1/4 × 84 1/4). Courtesy White Cube. © Sarah Morris.
34 Ted Croner, Central South Park, 1947–48. Gelatin silver print, printed 1999, 40.6 × 50.8 (16 × 20). Estate of Ted Croner.
