Bibliography Review


Alberro, A. and Stimson, B. 1999. Conceptual art: A critical anthology. (s.l.): MIT Press

Looking at the conceptual at the Conceptual art movement gave me more insights into how contemporary artists have been producing work. I was given a new perspective that filter through the dissertation; art is currently extremely inward looking, with an emphasis on art being for artists. Further to this is the idea that art is now production for the sake of production, this is something that I have previously considered but reading this source helped me to conclude that this is a problem for the art community, and could inevitably hinder the development of the art world.

George, A. 2015. The curator’s handbook: Museums, commercial galleries, independent spaces. United Kingdom: Thames & Hudson.

It was a very pivotal moment when I began to read from Adrian George’s handbook. Unfortunately I discovered it quite late, which meant that I had already cemented a skeptical and critical stance against the curator. This was based on Greenberg’s collection of essays as well as my own opinions that I brought to the dissertation even before I had started. Therefore George became my go to source for the curatorial perspective, as well as forcing me to re-evaluate much of my discussions in order to produce a more rounded evaluation of the relationship between the curator, artist and audience.

Greenberg, R. et al. 1996. Thinking about exhibitions. New York: Routledge.

Greenberg was one of the first books that I picked up when I began this journey, and has remained an important source as it includes multiple essays that explore different aspects of my topic. The essays were crucial to the forming of my position as they write positively of the position of the curator. However, there are aspects of scepticism such as Ramirez’s fear of the art world leading down a “blind alley”. It is now my opinion that this massively influenced how I first approached the dissertation, feeling that, as an artist, I should be defending artists. It was only upon further reading that I began to consider that there were problems with the artistic communities that affected everyone negatively. The key issue being the continuation of the exclusivity of the art world, despite hundreds of years of attempts to be more inclusive.

Honour, H. and Fleming, J.V. 2009. A world history of art. 7th ed. London: Laurence King Publishing.

McClellan, A. ed. 2003. Art and its publics: Museum studies at the millennium. Malden, MA: Blackwell Publishing.

Art and its Public, coupled with The Social Production of art were very important in giving an audience perspective for the dissertation.

Smith, T. 2012. Thinking contemporary curating. 2nd ed. New York, NY: Independent Curators International

Wolff, J. 1993. The social production of art. 2nd ed. Basingstoke: Macmillan Press Ltd.

As another of the first sources that I found for this dissertation it has naturally got significance in the development of my position. However it was more useful when writing the dissertation proposal rather that the final dissertation.


A MANIFESTO FOR MUSEUMS building outstanding museums for the 21st century. (s.l.): (s.n.). Available at: [Accessed: 1 January 2017].

The manifesto is the first hand source to emphasise the core museum agenda, which has – and always should be – the improved education of the general public in order to surpass the society that the museum is placed amongst.

 BBC. 2015. Britain has a ‘hidden’ art collection worth £3.5bn. BBC Entertainment & Arts 4 September 2015. Available at: [Accessed: 12 January 2017]

Grant, D. 2010. Is an artist only appreciated after he dies? Huffington Post 25 May 2010. Available at: [Accessed: 14 December 2016].

I had wanted to try and rely mostly on reliable sources. Huffington Post, in my experience can be a little hit and miss in this respect but when I found this article it was just what I was looking for to help the discussion of the posthumous fame of many artists.

Miller, M.H. 2011. The straight story of the matter of Rothko [Online] Observer. Available at: [Accessed: 23 February 2017].

I had known of this lawsuit previous to writing this dissertation, but this gave me the opportunity to read up on specific events. I only required this reference once but Rothko has played a major part in my contextualization for Subject this year and so it was useful to be able to utilise this information in the dissertation as well.

Museum and Galleries monthly visits. 2017. Available at: [Accessed: 14 January 2017]

An absolutely fassinating source! A very insightful set of data that highlighted something that I had previously only suspected. It is startling, as an artist, to see evidence that the audience for the art world is decreasing. I speculated that this was a result of political and worsening socioeconomic conditions but it could equally be a result of technology making art so easily available.

Музей одной картины им. Г.В. Мясникова. 2002. Available at: [Accessed: 9 January 2017].

A different method of curating from the familiar museums. Means that audiences have to engage with singular artworks rather than being bombarded by hugh numbers of pieces without fully appreciating any of them.

Schuessler, J. 2014. Shock me if you can. Arts 25 August 2014. Available at: [Accessed: 23 February 2017]

S.G. 2014. Why artists make good curators [Online]. Available at: [Accessed: 1 January 2017]

The story. 2017 The 100 Years Show. Available at: [Accessed: 22 February 2017].

I would like to include this documentary as both a source and a recommendation for anyone who has not seen it. Carmen Herrera is a delightful lady whose work, in my opinion, is inspiring. I will also be referring to her in my Subject work but her experiences within the elitist art world were also useful to reference in the dissertation. I do not think I will ever not be shocked that she was excluded from exhibitions by women, because of the fact that she was a woman! It is also reassuring that Herrera was able to find success at 94, therefore I am in no rush to becoming a major artistic influencer… but of course I will continue working towards the dream.


Published by

Jessy Plant

A Brighton born artist, now studying a Fine Art Degree at Cardiff Met Uni.

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