These bibliographies are a collaboration between Art Resources Transfer and publishers who contribute books for distribution through our D.U.C. Library Program, with support from the American Library Association.

Book selections are organised by key themes of the D.U.C.'s book catalog. We call these themes 'lenses' because they highlight important perspectives through which one can understand contemporary art and the social issues artists address. By inviting those who create art publications to share the sources that influence their understanding of our lenses, A.R.T. aims to share their insight with librarians, students, and readers.

Below each lens is a brief definition. Books available through the D.U.C. Library Program are marked with a # and linked to our catalog. Other books are linked to Worldcat, where their nearest library location can be found. All book selections are organized anonymously, with contributing publishers listed in the Colophon.


1) A collection of historical documents or records providing information about a place, institution, or group of people.
2) The place where historical documents are kept.
3) A computer file used to store electronic information and documents that are no longer used regularly.

  1. Yuji Agematsu, ZIP: 01–01–14…12–31–1, Vancouver BC: Artspeak, 2015.
  2. Albright-Knox Art Gallery, Address Book: Art of Contemporary Women, Buffalo NY: Albright-Knox Art Gallery, 1984. ⌗
  3. Miguel Angel Corzo, ed, Mortality Immortality: The Legacy of 20th Century Art, Los Angeles: The Getty Conservation Institute, 1999.
  4. Archive of Modern Conflict, In the Wake of Katrina, London: Archive of Modern Conflict, 2006. ⌗
  5. Tina M. Campt, Listening to Images, Durham NC: Duke University Press, 2017.
  6. ———, Image Matters: Archive, Photography, and the African Diaspora in Europe, Durham NC: Duke University Press, 2012.
  7. Hanne Darboven, Enlightenment – Time Histories, A Retrospective, Munich: Prestel, 2015.
  8. Nick Debs, Art's Communities/AIDS Communities: Realizing the Archive Project, New York: Visual AIDS, 1996. ⌗
  9. Jacques Derrida, Archive Fever, University of Chicago Press, 2017.
  10. Marc Fischer, Public Collectors, New York: Inventory Press, 2014. ⌗
  11. Dominique Gonzalez-Foerster, Chronotopes & Diorama, New York: Dia Art Foundation, 2010. ⌗
  12. Michael Foucault, The Archaeology of Knowledge, London: Routledge Classics, 2002.
  13. Andrew Lampert, ed, The George Kuchar Reader, New York: Primary Information, 2014.
  14. Alan Lomax, Alan Lomax: Selected writings 1934-1997, New York : Routledge/Taylor & Francis, 2005..
  15. Charles Merewether, ed, The Archive (Whitechapel Documents of Contemporary Art), London; Cambridge MA: Whitechapel Gallery & MIT Press, 2006.
  16. Allan McCollum, Allan McCollum, New York: A.R.T. Press, 1996. ⌗
  17. Dieter Roelstraete, The Way of the Shovel: On the Archaeological Imaginary in Art, Chicago: University of Chicago Press, 2013.
  18. Magda Salveson and Diane Cousineau, eds, Artists’ Estates: Reputations in Trust, New Brunswick NJ: Rutgers University Press, 1995.
  19. Ingrid Schaffer and Matthias Winzen, eds, Deep Storage: Collecting, Storing, and Archiving in Art, Munich: Prestel-Verlag 1998,.
  20. Ernst Van Alphen, Staging the Archive Art and Photography in the Age of New Media, London: Reaktion Books, 2014.
  21. Hito Steyerl, In Defense of the Poor Image, e-flux journal, no. 10, 2009.
  22. Aaron Swartz, The boy who could change the world: the writings of Aaron Swartz, London: Verso, 2016..


1) Happening or used every day.
2) Ordinary, typical, usual. Commonplace.

  1. Robert Ashley, Perfect Lives, US: Dalkey Archive Press, 2011.
  2. Paul Beatty, ed, Hokum: An Anthology of African-American Humor, London: Bloomsbury, 2006.
  3. Sophie Calle, Detachment, Paris: Perrotin Press, 1996.
  4. Moyra Davey, Burn the Diaries [a supplement], Philadelphia: ICA Philadelphia, 2014. ⌗
  5. Lynn Gumpert, The Art of the Everyday The Quotidian in Postwar French Culture, New York: NYU Press, 1997.
  6. Tom Holert, Marc Camille Chaimowicz : Celebration? Realife, London: Afterall, 2009.
  7. Stephen Johnstone, ed., The Everyday, Cambridge MA: MIT Press, 2008.
  8. Miranda July, No One Belongs Here More Than You, Edinburgh: Canongate Canons, 2015.
  9. Elad Lassry, Elad Lassry, New York: Luhring Augustine, 2011. ⌗
  10. ———, On Onions, New York: Primary Information, 2012. ⌗
  11. Henri Lefebvre, Critique of Everyday Life, Brooklyn: Verso, 2014.
  12. Helen Anne Moleworth, et. al, Work Ethic, Philadelphia: Pennsylvania State University Press, 2003.
  13. Sianne Ngai, Our Aesthetic Categories, Cambridge MA: Harvard University Press, 2015.
  14. Albert Oehlen, Christopher Williams, Oehlen Williams 95, Columbus OH: Wexner Center for the Arts, 1995. ⌗
  15. Sarah Pink, Situating Everyday Life, Los Angeles, CA London: SAGE, 2012.
  16. Gedi Sibony, Gedi Sibony, Minneapolis MN: Midway Contemporary, 2008. ⌗
  17. Niele Toroni, Niele Toroni, New York: Swiss Institute, 2016. ⌗
  18. Raoul Vaneigem, The Revolution of Everyday Life, London: Action Books, 1972.
  19. Yuriko Saito, Everyday Aesthetics, Oxford; New York : Oxford University Press, 2010.


1) The fact of being who or what a person or thing is.
2) The characteristics determining who or what a person or thing is.
3) Being the same person or thing over time.
4) That which establishes who the holder or owner is by bearing their name, signature, or photograph.
5) Close similarity or affinity.

  1. Pierre Bourdieu, Outline of a Theory of Practice, New York Cambridge University Press, 1977.
  2. Phil Collins, soy mi madre, Denver CO: Aspen Art Museum, 2008. ⌗
  3. Kodwo Eshun, Dan Graham: Rock My Religion, London: Afterall, 2012. ⌗
  4. Malik Gaines, Black Performance on the Outskirts of the Left: A History of the Impossible, New York: NYU Press, 2017.
  5. bell hooks, Yearning: Race, Gender, and Cultural Politics, New York: Routledge, 2015.
  6. Kellie Jones, Now Dig This!: Art and Black Los Angeles, 1960–1980, Los Angeles: Hammer Museum, 2011.
  7. Samir Kassir, Being Arab, London, Verso 2013.
  8. Mason Leaver-Yap, Mediated Monologues, New York: Sputnik & Fizzle, 2016. ⌗
  9. Glenn Ligon, Un/Becoming, Philadelphia: ICA Philadelphia, 1998. ⌗
  10. Fred Moten, Black and Blur, Durham, NC: Duke University Press Books, 2017.
  11. Nikos Papastergiadis and Laura Turney, On Becoming Authentic: Interview with Jimmie Durham, Cambridge, UK: Prickly Pear Press, 1996.
  12. William Pope.L, Showing Up to Withhold, Chicago: The Renaissance Society, 2014.
  13. Jimmy Raskin, The Prologue, The Poltergeist & The Hollow Tree, New York: Sequence Press, 2005.
  14. Simon Springer, Kean Birch, and Julie MacLeavy, eds, The Handbook of Neoliberalism, New York : Routledge/Taylor & Francis, 2005.
  15. Simone White, Dear Angel of Death, New York: Ugly Duckling Presse, 2018.


1) The method of human communication, either spoken or written, consisting of the use of words in a structured and conventional way.
2) Also: a non-verbal method of communication.
3) A system of symbols and rules.
4) The style of writing or speech.
5) The vocabulary and phrases used by a particular profession or group.

  1. Idurre Alonso and Selene Preciado, Customizing Language, Los Angeles, CA: Los Angeles Contemporary Exhibitions, 2016.
  2. Mai Abu ElDahab, ed, Final Vocabulary—on searching for new languages, Berlin: Sternberg Press, 2015.
  3. Susan Bee, Mira Schor, M/E/A/N/I/N/G, 1986-1996, . ⌗
  4. Pierre Bourdieu, Language and Symbolic Power, Cambridge; Malden, MA: Polity Press, 2011.
  5. Vilém Flusser, Does Writing Have a Future?, Minneapolis MN: University of Minnesota Press, 2011.
  6. Barbara Henning; Harryette Romell Mullen, Looking Up Harryette Mullen: Interviews on Sleeping with the Dictionary and Other Works, Brooklyn, NY: Belladonna Press 2011.
  7. Boris Groys, Moscow Symposium, Berlin : Sternberg Press, 2012. ⌗
  8. bell hooks, Art on My Mind: Visual Politics, New York: New Press, 1998.
  9. Danièle Huillet and Jean-Marie Straub, Writings, New York: Sequence Press, 2016. ⌗
  10. Corita Kent, International Signal Code Alphabet, Atelier Editions, 2017. ⌗
  11. Robin Coste Lewis, The Voyage of the Sable Venus, New York: Alfred A. Knopf, 2015.
  12. Jennifer Liese, ed, Social Medium: Artists Writing 2000-2015, New York: Paper Monument, 2016. ⌗
  13. Glenn Ligon, Neon, New York: Luhring Augustine, 2013. ⌗
  14. Fred Moten, A Poetics of the Undercommons, New York: Sputnik & Fizzle, 2016. ⌗
  15. Allen Ruppersberg and Bill Berkson, Allen Ruppersberg: and Writing, New York: Christine Burgin, 2014
. ⌗
  16. Lawrence Weiner, Liz Kotz, and Carlos Basualdo, Until It Is, Columbus OH: Wexner Center for the Arts, 2002. ⌗


1) The faculty by which the mind stores and remembers information.
2) The mind as a store of things remembered.
3) The length of time over which something continues to be remembered.

  1. Mary Kelly, The Ballad of Kastriot Rexhepi, Murcia: Región de Murcia, 2009. ⌗
  2. R. H. Quaytman, Spine, Berlin: Sternberg Press, 2011.
  3. E H Gombrich, Aby Warburg: An Intellectual Biography, Oxford: Phaidon, 1986.
  4. Felix Gonzalez-Torres, “1990: L.A, ‘The Gold Field’,” in Earths Grow Thick: Roni Horn, Columbus, Ohio: Wexner Center for the Arts, 1996.
  5. Avishai Margalit, The Ethics of Memory, Cambridge, MA : Harvard University Press, 2004.
  6. Lisa Saltzman, Making Memory Matter: Strategies of Remembrance in Contemporary Art, Chicago: The University of Chicago Press, 2006.
  7. Jalal Toufic, What Was I Thinking?, Berlin: e-flux / Sternberg, 2017.
  8. Ernst Van Alphen, Caught by History: Holocaust Effects in Contemporary Art, Literature, and Theory, Stanford, CA: Stanford University Press, 1998.


1) An account of connected events; a story.
2) The practice or art of telling stories.
3) A representation of a particular situation or process that reflects an overarching set of aims or values.

  1. Mieke Bal, Narratology, Toronto: University of Toronto Press, 2017.
  2. Dodie Bellamy and Kevin Killian, Writers Who Love Too Much: New Narrative Writing 1977–1997, New York: Nightboat, 2017.
  3. Jimmie Durham, Columbus Day, New York: West End Press, 1983.
  4. Walidah Imarisha, Adrienne M Brown, Octavia's brood: Science Fiction Stories from Social Justice Movements, Oakland, CA: AK Press, 2015.
  5. B.S. Johnson, The Unfortunates, New York: New Directions, 2007.
  6. Ben Lerner, 10:04: A Novel, New York: Farrar, Straus and Giroux, 2014.
  7. Michele Mancini and Giuseppe Perrella, eds, Pasolini's Bodies and Places, Zurich: Editions Patrick Frey, 2017.
  8. WJT Mitchell, On Narrative, Chicago ; London: University of Chicago Press, 1996.
  9. Laura Mulvey, Visual Pleasure and Narrative Cinema, .
  10. Beatriz Santiago Muñoz, Capp Street Project: Beatriz Santiago Muñoz, San Francisco: CCA Wattis Institute, 2008. ⌗
  11. Betye Saar, Migrations/Transformations, New York: Michael Rosenfeld Gallery, 2006. ⌗


1) Enjoyment, happiness, satisfaction, or something that gives this. Often through the senses.

  1. James Elkins, How to Use Your Eyes, New York: Routledge, 2009.
  2. Sigmund Freud, Beyond the Pleasure Principal, in The Standard Edition of the Complete Psychological Works of Sigmund Freud vol 8, London: Vintage, 2001.
  3. Juliana Huxtable, Mucus in my Pineal Gland, New York: Wonder/Capricious, 2017.
  4. Dorothy Iannone, You Who Read Me With Passion Now Must Forever Be My Friends, Los Angeles: Siglio, 2014.
  5. Francois Jullien, In Praise of Blandness: Proceeding from Chinese Thought and Aesthetics, New York : Zone, 2008.
  6. Steven Schaviro, The Universe of Things: On Speculative Realism, Minneapolis ; London: University of Minnesota Press, 2014.
  7. LaMonda Horton-Stallings, Funk the Erotic: Transaesthetics and Black Sexual Cultures, Urbana: University of Illinois Press, 2015.


1) The ability or capacity to do something or act in a particular way.
2) The capacity or ability to direct or influence the behavior of others or the course of events.
3) Political or social authority or control.
4) Authority that is given or delegated to a person or a body.
5) A supernatural being, deity, or force.
6) Physical strength or force.
7) The magnifying capacity of a lens.

  1. Theodor W Adorno, The Authoritarian Personality, New York: Norton, 1950.
  2. Kai Althoff, Thomas Hirschhorn, Ellen Gallagher, and Edgar Cleijne, Heart of Darkness, Minneapolis, MN: Walker Art Center, 2006. ⌗
  3. Afterall, Exhibition as Social Intervention: 'Culture in Action' 1993, London: Afterall, 2014. ⌗
  4. Jennifer K. Alexander, The Mantra of Efficiency: From Waterwheel to Social Control, Baltimore: Johns Hopkins University Press, 2008.
  5. Beatriz E. Balanta and Mary Walling Blackburn, Quaestiones Perversas, New York: Pioneer Works, 2017. ⌗
  6. John Berger, Ways of Seeing, New York: Penguin, 1977.
  7. Anne Boyer, A Handbook of Disappointed Fate, Brooklyn, NY: Ugly Duckling Presse, 2018.
  8. Byung-Chul Han, Psychopolitics: Neoliberalism and New Technologies of Power, London; Brooklyn, NY: Verso, 2017.
  9. Rosalyn Deutsche, Evictions: Art and Spatial Politics, Cambridge, MA: MIT Press, 2002.
  10. Coco Fusco, Dangerous Moves: Performance and Politics in Cuba, London: Tate Publishing, 2015.
  11. Boris Groys, Art Power, Cambridge, MA: MIT Press, 2013.
  12. Zoe Leonard, I Want A President, New York: Dancing Foxes, 2017. ⌗
  13. Audre Lorde, Uses of the Erotic: The Erotic as Power, Tucson, AZ: Kore Press, 2000.
  14. Achille Mbembe, Necropolitics, Public Culture, Volume 15, Number 1, Winter 2003.
  15. Elizabeth A. Povinelli, Geontologies: A Requiem to Late Liberalism, Durham: Duke University Press, 2016.
  16. Paul B. Preciado, Testo Junkie: Sex, Drugs, Biopolitics in the Pharmacopornographic Era, New York: The Feminist Press, 2013.
  17. Martha Rosler, Culture Class, Berlin: Sternberg Press, 2013.
  18. Susan Sontag, On Photography, London: Penguin Classics, 2014.

'Bibliographies' is produced by Art Resources Transfer (A.R.T.).

A.R.T. warmly thanks our contributing publishers:
CCA Wattis Institute for Contemporary Arts
Future Plan & Program
Hassla Books
INCA Press
Los Angeles Contemporary Exhibitions
MIT List Visual Arts CenterPioneer Works
Sequence Press
Soberscove Press
The Renaissance Society
Ugly Duckling Presse

This project was made possible by a Carnegie-Whitney Grant from the American Library Association.

Web programming by Document Services.

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