Избранная литература
Введение
• Big as Life: An American History of 8mm Films / Ed. A. Kilchesty. San Francisco: Museum of Modern Art, 1998.
• Braun M. Picturing Time. Chicago: University of Chicago Press, 1992.
• Danto A. After the End of Art. Princeton: Princeton University Press, 1997.
• In the Spirit of Fluxus / Ed. J. Jenkins. Minneapolis: Walker Art Center, 1993.
• Jeffrey Shaw: A User's Manual from Expanded Cinema to Virtual Reality/Ed. M. Abel. Karlsruhe: ZKM, 1997.
• Kaufman S. Living Images. New York: Harper and Row, 1973.
• Lovejoy M. Postmodern Currents: Art and Artists in the Age of Electronic Media. Ann-Arbor: UMI Research Press, 1989.
• Marcel Duchamp / Ed. P. Hulten. Milan: Bompiani, 1993.
• Parkinson D. History of Film. London: Thames & Hudson, 1995.
• Sitney P. A. Visionary Film: The American Avant-Garde 1943–1978. New York: Oxford University Press, 1974.
• Youngblood G. Expanded Cinema. New York: P. Dutton & Co, 1970.
• Бергсон А. Материя и память. Опыт о непосредственных данных сознания. Собр. соч. в 4 т. М.: Московский клуб, 1992. Т. 1. С. 159–317.
• Джеймс Д. Аллегория кино: американский кинематограф шестидесятых: фрагм. из кн. // Киноведческие записки. 2002. № 60. С. 47–72.
Глава 1
• Avalanche magazine. Winter 1971; Winter 1972.
• Birringer J. Media and Performance: Along the Border. Baltimore: Johns Hopkins University Press, 1998.
• Bruce Nauman / Ed. J. Simon. Minneapolis: Walker Art Center, 1994.
• Clicking In: Hot Links To a Digital Culture/Ed. L. H. Leeson. Seattle: Bay Press, 1996.
• Fogle D. The Last Picture Show: Artists Using Photography 1960–1982. Minneapolis: Walker Art Center, 2003.
• Goldstein A., Diederichsen D. A Minimal Future? Art as Object. 1958–1968. Los Angeles: The Museum of Contemporary Art, 2004.
• Hopps W., Davidson S. Robert Rauschenberg: A Retrospective. New York: Guggenheim Museum, 1997.
• Kirby M. The Art of Time: Essays on the Avant-Garde. New York: E. P. Dutton, 1969.
• McLuhan M., Fiore Q. The Medium Is the Message: An Inventory of Effects. New York: Bantam Books, 1967.
• Rush M. Still Moving: Video Art in Scholl Collection. Baltimore, 2003.
• Schimmel P. Out of Actions: Between Performance and the Object 1949–1979. Los Angeles: The Museum of Contemporary Art, 1998.
• Simon J. Scenes and Variations: An Interview with Joan Jonas // Art in America. July 1995.
• Голдберг Р. Искусство перформанса: от футуризма до наших дней. М.: Ад Маргинем Пресс, 2017.
• Дебор Г. Общество спектакля. М.: Логос, 2000.
• Джеймисон Ф. Постмодернизм и общество потребления // Логос. 2000. № 4. С. 63–77.
Глава 2
• Artists’ Video: An International Guide, Electronic Arts Intermix/Ed. L. Zippay. New York: Abbeville Press, 1991.
• Goldstein A., Rorimer A. Reconsidering the Object of Art. Los Angeles: Museum of Contemporary Art, 1995.
• Hall D., Fifer S. J. Illuminating Video. New York: Aperture in association with the Bay Area Video Coalition, 1990.
• Hill Ch. Surveying the First Decade: Video Art and Alternative Media in the United States/Exhibition notes. San Francisco Museum of Modern Art. October, 23 — November, 23. 1997
• Iles Ch. Into the Light: The Projected Image in American Art 1964–1977. New York: Whitney Museum of American Art, 2001.
• Popper F. Art of the Electronic Age. London: Thames & Hudson, 1993.
• Resolutions: Contemporary Video Practices/Eds. M. Renov, E. Suderburg. Minneapolis: University of Minnesota Press, 1996.
• Sichel B. Monocanal. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2002.
• Third Biennale de Lyon, 1995 (CD-ROM).
• Van Assche Ch. Vidéo et après. Paris: Centre Georges Pompidou, 1992.
Глава 3
• Art Journal. Vol. 4. No. 54. Winter 1995.
• Bill Viola: A Twenty-Five-Year Survey. Exhibition catalogue. New York: Whitney Museum, 1997.
• CTRL SPACE: Rhetorics of Surveillance from Bentham to Big Brother/Eds. Th. Y. Levin, U. Frohne, P. Weibel. Karlsruhe: Center for Art and Media, 2001.
• Herzogenrath W. Nam Jun Paik: Video Work 1963–88. London: Hayward Gallery, 1988.
• Liminal Performance: Gary Hill in conversation with George Quasha and Charles Stein // Performing Arts Joumal (PAJ). Vol. 20. No. 58. January 1998.
• Oliveira N. de, Oxley N., Petry M. Installation Art. London: Smithsonian Institution Press, 1994.
• Rush M. Video Art. London: Thames & Hudson, 2003.
• О’Догерти Б. Внутри белого куба. Идеология галерейного пространства. М.: Ад Маргинем Пресс, 2015.
Глава 4
• Baruchello G., Martin H. Why Duchamp. New York: McPherson, 1985.
• Berger J. About Looking. New York: Vintage, 1980.
• Coleman A. D. The Digital Evolution: Visual Communication in the Electronic Age. Tucson: Nazraeli Press, 1998.
• Culture, Technology and Creativity in the Late Twentieth Century/Ed. Ph. Hayward. London: Art Council and Libbey Press, 1990.
• Electronic Culture / Ed. T. Druckrey. New York: Aperture, 1996.
• Fifield G. The Digital Atelier // Art New England. October/November 1997.
• Goodman C. Digital Visions: Computers and Art. New York: Harry N. Abrams, 1987.
• Internet Art / Ed. R. Greene. London: Thames & Hudson, 2004.
• Iterations: The New Image / Ed. T. Druckrey. Massachusetts: MIT Press, 1993.
• Leonardo: Journal of International Society for the Arts, Sciences and Technology. Vol. 31. № 5. October 1998.
• Negroponte N. Being Digital. New York: Alfred A. Knopf, 1995.
• Noll A. M. The Beginnings of Computer Art in the United States: A Memoir// Leonardo. Vol. 27. No. 1. September 1994. P. 39–44.
• Shaw J., Weibel P. Future Cinema: The Cinematic Imaginary After Film. Karlsruhe: Center for Art and Media, 2003.
• Sommerer Ch., Mignonneau L. Art @ Science. New York; Wien: Springer Verlag, 1998.
• Бёрджер Дж. Фотография и ее предназначения. М.: Ад Маргинем Пресс, 2017.
• Пол К. Цифровое искусство [2003]. М.: Ад Маргинем Пресс, 2017.
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