Webfolio Bibliography


Artificial Hells, Claire Bishop 2012


I and Thou, Martin Buber Artificial Hells

Nicolas Bourriaud, Relational Aesthetics, 1998



Merlin Coverley, 2010


Thomas Nail, A Tale of Two Crises: Migration and Terrorism after the Paris Attacks 2016


Grégoire Chamayou A Theory of the Drone


Hyperrobjects: Hyperobjects: Philosophy and Ecology After the End of the World (Posthumanities)

Vibrant Matter: A Political Ecology of Things Rebecca Jane Bennett 


Sol Lewitt

Structures 1965-2006




Paul Farley & Michael Symmons Roberts 2012


Sculpture and Touch by Peter Dent


The Art of Living 

Edwina FitzPatrick 2009


Space Place and Gender

Doreen Massey, 1994




The end is not nigh Books and Arts  -  American Power

An article in the Economist March 7th

Is the American Century Over ?

by Joseph Nye 


The Tomb of the Unknown Craftsman, 

Grayson Perry 2011


Film and video


London Babylon : Julien Temple


Landscapes for Art

Contemporary Sculpture Parks

Edited by Glenn Harper and Twylene Moyer

Isc Press 2008 Hamilton NJ USA




Sol Lewitt

Structures 1965-2006


2011 Yale University Press New Haven and London ISBN 978-0-30017861-6

P 110

Jonathan Flatley : I’m really interested in the rhetoric of the machine, and in particular the sentence about « the idea becomes the machine that makes the art . » In a way that’s become the slogan fro conceptual art. It was interesting to notice that it was actually written over the typewritten text.

So Lewitt: “like an afterthought.”

JF: Right, like an afterthought. So I wonder if you had other thoughts about that notion, or where that rhetoric came from for you. For example, Warhol a few years earlier had that famous interview where he said, “I want to be a machine, I think everybody should be a machine and the reason I make art the way that I do is because I want to be machine-like.”


Pop art came out of the strand that originated with Duchamp and the readymade, where anything can be art if it’s thought of as art. But what I was doing-and other people-came from a different set of ideas that related more to classical art, through Russian constructivists and De Stijl, which had nothing to do with objects in the world the way pop art had.


…discussion continues to mention Norbert Wiener

SL: I think basically there was an ideological difference. On the other hand, I didn’t dislike pop art as much, especially Warhol or Oldenburg. They made very good art. It was just a different kind of idea; it came from a different source.


Rosalind Krauss once said that Lewitt’s work represents an “absurdist nominalism” while drawing an analogy with Samuel Beckett’s Molloy.


“Conceptual artists are mystics rather than rationalists. They leap to conclusions that logic cannot reach.”

-Sol Lewitt 1978


“The artist cannot imagine his art, 

and cannot perceive it until it is complete.


Sol LeWitt, “Sentences on Conceptual Art”


Invisible Vision Could Science learn from the Arts?

Sabine E. Wildefvuur

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