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Painting and related concerns

 

Aguirre, P., Azimi, N. & Cahsdan, M. eds. (2011) Vitamin P2: New Perspectives in Painting. London: Phaidon Press.

 

Betterton, R. (2003) Unframed: Politics and Practices of Women's Contemporary Painting. London: I.B. Tauris.

 

Bick, A., Parsons, J. & Pratt, K. (2018) The Order of Things. London: Everyday Press.

 

Blazwick, I. (2015) Adventures of the Black Square. London: Prestel.

 

Breitwieser, S. & Prestel, B. J. Prestel eds. (2015) Carolee Schneemann: Kinetic Painting. New York & London: Prestel.

 

Brett, G. ed. (1998) Aubrey Williams. London: Iniva.

 

Britt, D. & Obrist, H.-U. (1995) Gerhard Richter: The Daily Practice of Painting: Writings and Interviews 1962-1993. London: Thames and Hudson.

 

Clark, M., Shalgosky, S., Sturgis, D. eds. (2011) The Indiscipline of Painting. London: Tate Publishing.

 

Cooke, L. ed. (2012) Agnes Martin. London: Yale University Press.

 

Crippa, E. (2018) All Too Human: Bacon, Freud and a Century Panting from Life. London: Tate Publishing.

 

Crippa, E. (2019) Frank Bowling. London: Tate Publishing.

 

Crone, R. (1970) Warhol. London: Thames and Hudson.

 

Deleuze, G. (2005) Francis Bacon: The Logic of Sensation. London. Continuum.

 

Draxler, H. ‘Painting as Apparatus: Twelve Theses’ in Text Zur Kunst, March 2010, issue no. 77.

 

Elger, D., Obrist, H. U. (2009) Gerhard Richter – Text: Writings, Interviews and Letters 1961-2007. London: Thames and Hudson.

 

Elkins, J. (2000) What Painting Is. London: Routledge.

 

Friedel, H. (2007) Gerhard Richter: Atlas.  London: Thames and Hudson.

Gingeras, A. (2002) “Dear Painter, paint me…”: Painting the Figure since Late Picabia. Paris: Centre Pompidou.

 

Godfrey, T. (2014) Painting Today. London: Phaidon.

 

Graw, I. (2018) The Love of Painting: Genealogy of a Success Medium. New York: Sternberg Press.

 

Isabelle Graw: The Economy of Painting: Notes on the Vitality of a Success Medium. 2015.

https://www.youtube.com/watch?v=1JDthDEcmAs

 

Guston, P. (2010) Philip Guston: Collected Writings, Lectures and Conversations. California: California University Press.

 

Hafner, H.-J. & Reski, G. (2015) The Happy Fainting of Painting. London: Buchhandlung Walther Koenig.

 

Hochdorfe, A., Joselit, D. & Ammer, M. (2015) Painting 2.0: Expression in the Information Age. London: Prestel.

 

Hoptman, L. (2014) The Forever Now: Contemporary Painting in an Atemporal World. New York: The Museum of Modern Art.

 

Joselit, D. ‘Painting Beside Itself’ in October 130, Fall, 2009, pp. 125-134.

http://www.reenaspaulings.com/images3/0911djoselit.pdf

 

Lasker, J. (1998) Complete Essays 1984-1999. New York: Edgewise Press.

 

Koether, J. (2015) f. Berlin: Sternberg Press.

 

Mercer, K. ed. (2006) Discrepant Abstraction. London: Iniva & MIT Press.

 

Myers, T. (2011) Painting. London: MIT Press.

 

Obrist, H. U. (2018) BBC Radio 4: An Alternative History of Art: Ibrahim El-Salahi

https://www.bbc.co.uk/programmes/b09v2x54

 

Prendeville, B.  (2000) Realism in 20th Century Painting. London: Thames and Hudson.

 

Price, D. (2017) Re-Visit: Navigating Invisible Strategies – The Art of Lubaina Himid

https://www.bbc.co.uk/programmes/b09v2x54

 

Reinhardt, A.  (1992) Art as Art: The Selected Writings of Ad Reinhardt. California: University of California Press.

 

Riley, B.  (2009) The Eye's Mind: Bridget Riley: Collected Writings. London: Thames and Hudson.

 

Rowley, A. (2008) Helen Frankenthaler: Painting History, Writing Painting. London: I.B. Tauris.

 

Rugoff, R. (2007) The Painting of Modern Life: 1960s to Now. London: Hayward Publishing.

 

Schor, M. (1997) Wet: On Painting, Feminism and Art Culture. Durham: Duke University Press.

 

Schwabsky, B. & Luard, H. (2015) Tightrope Walk. London: White Cube, London, 2015.

 

Sylvester, D. ed. (1987) The Brutality of Fact: Interviews with Francis Bacon. London: Thames and Hudson.

Whitten, J. (2018) Notes from the Woodshed. London: Hauser and Wirth Publishers

 

Wood, C. (2013) A Bigger Splash: Painting after Performance. New York: Harry N. Abrams.