Bibliography

Bibliography

| jonwhitbread

Joseph Campbell    Primitive Mythology   Penguin 1959

(Quote: “Where the rules or forms of play are abandoned, mythology dissolves – and with mythology, Life”. p? “The artists eye, as Thomas Mann has said, has a mythical slant upon life”. p21.)

Henry Moore On Sculpture  Ed. Philip James MacDonald 1966

Gary Snyder  Endless Streams And Mountains (poem) Counterpoint 2008

(quote: ” the Fashioner of Things has no original intentions. Mountains and rivers are spirit condensed”).

Robert Irwin interviewed by Nicholas Lazard at The London Review Bookshop, Nov 2016 quotes TS Eliot:

“Bad poets imitate, good poets steal”

Elkins, J. (2001) Why Art CannotbeTaught.Extracts from Chapter4Critiques Pp111-119
From Relational Aesthetics – Nicolas Bourriaud (1998)
Luis M. Mansilla and Emilio Tuñón architects LETTERS, 1999 On the first of July 1999, five trucks transported five letters from Madrid to Castellón. The five letters had been built in white reinforced concrete, in the city of Madrid. The five trucks were the same, the five letters were different. The drivers carried telephones so that they could attend to the orders of the directors of the action. As they moved through the landscape and the towns, the five letters formed a word. The emergence of a word, an intruder, implies a culturization of landscape through thought. A culturization in motion that leaves no lasting mark. An ephemeral action, limited to four hundred and forty kilometres and ten hours of travel. Nature is what a person sees through experience. The task of art is to generate thoughts able to propose new experiences. The task of photography is not to represent or imitate what exists, but to summarize an experience. Therefore, the pictures of this travel reveal the process of a different experience –Just a few documents are left as a trace that freezes time, catalyses memory and at the same time challenges the disappearance of the ephemeral. The movement of the five letters on trucks must be understood as a “travel with weight”, reminding us of the mass of the earth that claims for itself everything that moves on its surface. The aim of this ephemeral installation has to do with the earth (two ways of colonizing: the gaze and the footprint) and with time (two ways of measuring: distance and movement). Photographer: Luis Asín

 

The New Criterion, April 1998 edition available online at http://www.newcriterion.com/articles.cfm/Four-poems-by-Michelangelo-3072

Roland Barthes, Image Music Text, Fontana, London, 1977

TS Eliot, The Wasteland, Faber And Faber, London, 1922, (1999 edition).

Roger Fry, Vision And Design, Dover, New York, 1998

James Hall, The World As Sculpture, Pimlico, London, 2000

Eleanor Heartney, Art And Today, Phaidon, London, 2013.

Philip James (Ed), Henry Moore On Sculpture, Macdonald and Co, London, 1968

Calvin Tomkins, Marcel Duchamp: The Afternoon Interviews. New York, NY: ARTBOOK | D.A.P. p. 49. Quoted at https://en.wikipedia.org/wiki/Marcel_Duchamp

Gilda Williams, How To Write About Contemporary Art, Thames and Hudson,

London.date, The Divine Comedy, Inferno, Purgatorio, Paradiso (Trans. R. Kirkpatrick) Penguin, London, 2012