V – Bibliografia
O universo da Arte tem uma bibliografia vastíssima e, dadas as características do programa das cadeiras de Pintura III e IV, cada aluno deverá procurar a sua bibliografia, já que esta fica em grande medida condicionada às opções individuais, às necessidades específicas do seu trabalho concreto. É tempo de cada um começar a escrever a “sua” história de arte, elegendo artistas e quadros teóricos de referência.
Inclui-se aqui apenas a bibliografia livresca considerada útil para o entendimento da Pintura como área de projecto artístico contemporâneo, que será completada, para cada caso individual, com as referências mais adequadas a cada projecto e fase de trabalho.
Sugere-se, para além disto, a consulta regular de periódicos internacionais e de sites noticiosos de bienais, exposições, debates e publicações de obras pessoais de artistas e teóricos diversos.
A.A.V.V., An Anthology of Writings by Contemporary Artists. Massachusetts: MIT Press, 1990
A.A.V.V., Art After Modernism – Rethinking Representation. New York: The New Museum of Contemporary Art, 1984
A.A.V.V., Art and the Tectonic. London: Art & Design/Academy Editions, 1990
A.A.V.V., Art & Cultural Difference – Hybrids and Clusters. London: Art & Design/Academy Editions, 1995
A.A.V.V. (Edit. S. Frascina and J. Harris), Art in Modern Culture [1992]. London: Phaidon, 1999
A.A.V.V. (Dir. HARRISON and WOOD), Art in Theory 1900 - 1990 – An Anthology of Changing Ideas. London: Blackwell, 1995
A.A.V.V. Cher Peintre : Peintures figuratives depuis l’ultime Picabia. Paris : Centre Pompidou, 2002.
A.A.V.V., Didáctica da Educação Visual. Lisboa: Universidade Aberta, 1995
A.A.V.V., Où est passée la Peinture?. Paris: Art Press / Ed Spécial Hors Série, 1995
A. A V.V., Painting in the Age of Artificial Intelligence. London: Art & Design - Academy Editions, 1996
A.A.V.V., Postmodernism /ICA Documents 4. London: Institute of Contemporary Arts, 1986
A.A.V.V. (Ed STILES and STELZ),Theories and Documents of Contemporary Art – A Sourcebook of Artists’ Writings. Berkeley, Los Angeles : Univ California Press, 1996
A.A.V.V. Vitamin P: New Perspectives in Painting. London, New York: Phaidon Press, 2003
ARDENNE, Paul, L’Art Contemporain. Paris : Editions du Regard, 1997
ARGAN, Giulio Carlo, L’ Arte Moderna. Firenze: Sansoni, 1986
ARMSTRONG, Philip, LISBON, Laura, MELVILLE, Stephen, As Painting: Division and Displacement. Cambridge; London: The MIT Press, 2001
BENJAMIM, Andrew, Object · Painting. London: Academy Editions, 1994
BELL, Julian, What is Painting? London: Thames and Hudson, 1999
BERGER, René, Découverte de la Peinture. Verviers : Marabout Université, 1969
BOIS, Yves-Alain; Rosalind Krauss. Formless: A User’s Guide. New York: Zone Books, 1997
BOIS, Yves-Alain, Painting as Model. Cambridge/Massachusetts: MIT Press, 1990
BOTELHO, Manuel, Guston em contexto. Até ao regresso da figura. Lisboa: Vendaval, 2007
BOURRIAUD, Nicolas, Relational Aesthetics. Paris: Les Presses du Réel, 2002
BRYSON, Norman, Vision and Painting. The Logic of the Gaze. London: Mc Millan, 1983
Looking at the Overlooked - Four Essays on Still-life Painting. Cambridge/Massachusetts: MIT Press
BUCHLOH, Benjamin H. D., Allegorical Procedures: Appropriation and Montage in Contemporary Art. em Artforum, September 1982
‘Ready made, Photography and Painting’[1977], em Neo-Avantgarde and the Culture of Industry: Essays on European and American Art from 1955 to 1975. Cambridge and London: Mit Press, 2000
BURGER, Peter (1983), Teoria da Vanguarda. Lisboa: Vega, 1993
BUSKIRK, Martha, The Contingent Object of Contemporary Art. Cambridge, London: The MIT Press, 2003
CALVINO, Ítalo, Seis propostas para o próximo milénio. Lisboa: Teorema, 1990
CHASTEL, André, Fables, Formes, Figures. Paris: Flammarion, 1978
CHIPP, Herschel B, Teorias da Arte Moderna [1988]. S Paulo: Martins Fontes, 1999
CROW, Thomas, Modern Art in the Common Culture. New Haven and London: Yale University Press, 1996
CRIMP, Douglas, ‘The End of Painting’. October, nº 16, 1981
On the Museums’ Ruins. Cambridge, London: MIT Press, 2000
DANTO, Arthur, After the End of Art. Princeton : Princeton University Press, 1997
DAIX, Pierre, L’Aveuglement devant la Peinture. Paris : Gallimard, 1971
DAMISCH, Hubert, Théorie du Nuage. Paris : Le Seuil, 1972
Fenêtre Jaune Cadmium ou les Dessous de la Peinture. Paris : Le Seuil, 1984
DELEUZE, Gilles, Francis Bacon. Logique de la Sensation. Paris : Différence, 1984
L’Image-Mouvement. Paris: Minuit, 1983
L’Image-Temps Paris: Minuit, 1985
DUVE, Thierry de, Nominalisme pictural. Paris: Les Éditions de Minuit, 1984
Kant after Duchamp. Cambridge, Massachusetts: Mit Press, 1996
ECO, Humberto, A Definição da Arte. Lisboa: Edições 70, 1981
EDWARDS, Betty. Drawing on the Right Side of the Brain (1979). London: Souvenir Press, 1992.
FERRIER, Jean Louis, La Forme et le Sens. Paris : Denoël-Gauthier, 1969
FORMAGGIO, Dino, Arte. Lisboa: Presença, 1985
FOSTER, Hal, The Return of the Real. Cambridge/Massachusetts: MIT Press, 1996
FRASCINA, F, and HARRIS, J, Art in the Modern Culture – An Anthology of Critical Texts. London: Phaidon Press, 1992
GARDNER, Howard. Art, Mind, Brain; a cognitive approach to creativity. Basic Books, a division of Harper Collins Publishers, 1982.
GEDO, John E.. The Artist and the Emotional World. New York: Columbia University Press, 1996.
GIDDENS, Anthony, Modernidade e Identidade Pessoal. Oeiras: Celta Editora, 2001
GILL, Perry; WOOD, Paul. Themes in Contemporary Art. New Haven; London: Yale University Press; The Open University, 2004.
GOMBRICH, Ernest, Arte e Ilusão. S.Paulo: Martins Fontes, 1986
The Sense of Order. London: Phaidon Press, 1984
Imágenes Simbólicas. Madrid: Alianza Editorial, 1990
GREENBERG, Clement, “Modernist Painting”, “The Collected Essays and Criticism”, vol.4: Modernism with a Vangeance, 1957-1969, ed. John O’Brien. Chicago: University of Chicago Press, 1993
HARRIS, Jonathan (Editor). Critical Perspectives on Contemporary Painting: Hybridity, Hegemony, Historicism. Liverpool: Liverpool University Press / Tate Liverpool, 2003.
JOACHIMEDES, C.M., ROSENTHAL, N., SEROTA, N., (Edit), A New Spirit in Painting. Catálogo da Exposição na Royal Academy of Arts, London, 1981
KESTER, Grant H., Conversation Pieces. Community+Communication in Modern Art. Berkeley, Los Angeles, London: University of California Press, 2004
KOKUR, Zoya and LEUNG, Simon, Theory in Contemporary Art. London: Blackwell Publishing, 2005
KRAUSS, Rosalind, The Optical Unconscious. Cambridge Mass., London: The MIT Press, 1994.
The Originality of the Avant-Garde and Other Modernist Myths. Cambridge/Massachusetts: MIT Press 1994
A Voyage on the North Sea: Art in the Age of the Post-Medium Condition. London, Thames and Hudson, 2000.
KUSPIT, Donald, The Cult of the Avant-Garde Artist. Cambridge: Cambridge University Press, 1994
Signs of Psyque in Modern and Post-modern Art. Cambridge: Cambridge University Press, 1995
The Rebirth of Painting in the Late Twentieth Century. Cambridge University Press, 2000.
KWON, Miwon, One Place After Another. Site-specific Art and Locational Identity. Cambridge, London: The MIT Press, 2004
LICHTENSTEIN, Jacqueline (Dir), La Peinture [19959. Paris : Larousse-Bordas, 1997
LIPPARD, Lucy, Six Years, The dematerialization of the art object from 1966 to 1972 (1973). Belkeley, Los Angeles, London: The MIT Press, 2001
LYOTARD, Jean François, Discurso, Figura. Barcelona : Gustavo Gilli, 1979
MARIN, Louis, Opacité de la Peinture. Paris: Usher, 1986
MC EVILLEY, Thomas, The Exile’s Return: Toward a Redefinition of Painting for the Post- Modern Era. Cambridge: Cambridge University Press, 1993
NOCHLIN, Linda. The Body in Pieces: The Fragment as Metaphor of Modernity. London, Thames and Hudson, 2001.
OLIVEIRA, N., OXLEY, A., PETRY, M., Installation Art. London: Thames & Hudson, 1994
OWENS, Graig, Beyond Recognition. Representation, Power and Culture. Berkeley, Los Angeles, London: University of California Press, 1994
PASOLINI, Pier Paolo, Écrits sur la Peinture. Editions Carré, 1997
PASSERON, R., L’Oeuvre Picturale et les Fonctions de L’Apparence. Paris, 1980
PANOFSKY, Erwin, Estudos de Iconologia. Lisboa: Estampa, 1986
La Camera di San Paolo du Corrège à Parme. Paris: Hazan, 1996
Le Codex Huygens et la Théorie de l’Art de Léonard de Vinci. Paris: Flammarion, 1996
PERRY, Gill, e WOOD, Paul, (Edit), Themes in Contemporary Art. New Haven and London: Yale University Press, 2004
RICHTER, Gerhard, The Daily Practice of Painting - Writings and Interviews 1962-1993. London: Thames & Hudson / Anthony d’Offay Gallery, 1995
SABINO, Isabel, A Pintura Depois da Pintura. Lisboa: FBAUL, 2000
SARDO, Delfim, Pintura Redux. Desenvolvimentos da última década. Lisboa. Público ; Fundação de Serralves,
2006.
SCHEFER, Jean Louis, Scenographie d’un Tableau. Paris: Le Seuil, 1969
STOICHITA, Victor I., L’Instauration du Tableau. Paris: Meridiens/Klincksieck, 1992
STORR, Robert. Modern Art despite Modernism. New York: The Museum of Modern Art, 2000.
TAYLOR, Brandon, The Art of Today. London: The Everyman Art Library, 1995
TURKLE, Sherry, Life on the Screen - Identity in the Age of Internet. Cambridge/Massachusetts: MIT Press 1987
VARNDOE, Kirk and GOPNIK, Adam, High and Low: Modern Art and Popular Culture. New York: The Museum of Modern Art, 1991
VAN LIER, Henri, Les Arts de l’Espace. Paris: Casterman, 1971
VIHERT, J.G., La Science de la Peinture. Paris: Sociétés d’Editions Littéraires et Artistiques, s/data
WINNICOTT, D. W.. Playing and Reality (1971). London, New York: Routlege, 1997.
WOOD, FRASCINA, HARRIS and HARRISON, Modernism in Dispute, Art Since The Forties. New Haven and London: Yale University Press / Open University, 1993
O universo da Arte tem uma bibliografia vastíssima e, dadas as características do programa das cadeiras de Pintura III e IV, cada aluno deverá procurar a sua bibliografia, já que esta fica em grande medida condicionada às opções individuais, às necessidades específicas do seu trabalho concreto. É tempo de cada um começar a escrever a “sua” história de arte, elegendo artistas e quadros teóricos de referência.
Inclui-se aqui apenas a bibliografia livresca considerada útil para o entendimento da Pintura como área de projecto artístico contemporâneo, que será completada, para cada caso individual, com as referências mais adequadas a cada projecto e fase de trabalho.
Sugere-se, para além disto, a consulta regular de periódicos internacionais e de sites noticiosos de bienais, exposições, debates e publicações de obras pessoais de artistas e teóricos diversos.
A.A.V.V., An Anthology of Writings by Contemporary Artists. Massachusetts: MIT Press, 1990
A.A.V.V., Art After Modernism – Rethinking Representation. New York: The New Museum of Contemporary Art, 1984
A.A.V.V., Art and the Tectonic. London: Art & Design/Academy Editions, 1990
A.A.V.V., Art & Cultural Difference – Hybrids and Clusters. London: Art & Design/Academy Editions, 1995
A.A.V.V. (Edit. S. Frascina and J. Harris), Art in Modern Culture [1992]. London: Phaidon, 1999
A.A.V.V. (Dir. HARRISON and WOOD), Art in Theory 1900 - 1990 – An Anthology of Changing Ideas. London: Blackwell, 1995
A.A.V.V. Cher Peintre : Peintures figuratives depuis l’ultime Picabia. Paris : Centre Pompidou, 2002.
A.A.V.V., Didáctica da Educação Visual. Lisboa: Universidade Aberta, 1995
A.A.V.V., Où est passée la Peinture?. Paris: Art Press / Ed Spécial Hors Série, 1995
A. A V.V., Painting in the Age of Artificial Intelligence. London: Art & Design - Academy Editions, 1996
A.A.V.V., Postmodernism /ICA Documents 4. London: Institute of Contemporary Arts, 1986
A.A.V.V. (Ed STILES and STELZ),Theories and Documents of Contemporary Art – A Sourcebook of Artists’ Writings. Berkeley, Los Angeles : Univ California Press, 1996
A.A.V.V. Vitamin P: New Perspectives in Painting. London, New York: Phaidon Press, 2003
ARDENNE, Paul, L’Art Contemporain. Paris : Editions du Regard, 1997
ARGAN, Giulio Carlo, L’ Arte Moderna. Firenze: Sansoni, 1986
ARMSTRONG, Philip, LISBON, Laura, MELVILLE, Stephen, As Painting: Division and Displacement. Cambridge; London: The MIT Press, 2001
BENJAMIM, Andrew, Object · Painting. London: Academy Editions, 1994
BELL, Julian, What is Painting? London: Thames and Hudson, 1999
BERGER, René, Découverte de la Peinture. Verviers : Marabout Université, 1969
BOIS, Yves-Alain; Rosalind Krauss. Formless: A User’s Guide. New York: Zone Books, 1997
BOIS, Yves-Alain, Painting as Model. Cambridge/Massachusetts: MIT Press, 1990
BOTELHO, Manuel, Guston em contexto. Até ao regresso da figura. Lisboa: Vendaval, 2007
BOURRIAUD, Nicolas, Relational Aesthetics. Paris: Les Presses du Réel, 2002
BRYSON, Norman, Vision and Painting. The Logic of the Gaze. London: Mc Millan, 1983
Looking at the Overlooked - Four Essays on Still-life Painting. Cambridge/Massachusetts: MIT Press
BUCHLOH, Benjamin H. D., Allegorical Procedures: Appropriation and Montage in Contemporary Art. em Artforum, September 1982
‘Ready made, Photography and Painting’[1977], em Neo-Avantgarde and the Culture of Industry: Essays on European and American Art from 1955 to 1975. Cambridge and London: Mit Press, 2000
BURGER, Peter (1983), Teoria da Vanguarda. Lisboa: Vega, 1993
BUSKIRK, Martha, The Contingent Object of Contemporary Art. Cambridge, London: The MIT Press, 2003
CALVINO, Ítalo, Seis propostas para o próximo milénio. Lisboa: Teorema, 1990
CHASTEL, André, Fables, Formes, Figures. Paris: Flammarion, 1978
CHIPP, Herschel B, Teorias da Arte Moderna [1988]. S Paulo: Martins Fontes, 1999
CROW, Thomas, Modern Art in the Common Culture. New Haven and London: Yale University Press, 1996
CRIMP, Douglas, ‘The End of Painting’. October, nº 16, 1981
On the Museums’ Ruins. Cambridge, London: MIT Press, 2000
DANTO, Arthur, After the End of Art. Princeton : Princeton University Press, 1997
DAIX, Pierre, L’Aveuglement devant la Peinture. Paris : Gallimard, 1971
DAMISCH, Hubert, Théorie du Nuage. Paris : Le Seuil, 1972
Fenêtre Jaune Cadmium ou les Dessous de la Peinture. Paris : Le Seuil, 1984
DELEUZE, Gilles, Francis Bacon. Logique de la Sensation. Paris : Différence, 1984
L’Image-Mouvement. Paris: Minuit, 1983
L’Image-Temps Paris: Minuit, 1985
DUVE, Thierry de, Nominalisme pictural. Paris: Les Éditions de Minuit, 1984
Kant after Duchamp. Cambridge, Massachusetts: Mit Press, 1996
ECO, Humberto, A Definição da Arte. Lisboa: Edições 70, 1981
EDWARDS, Betty. Drawing on the Right Side of the Brain (1979). London: Souvenir Press, 1992.
FERRIER, Jean Louis, La Forme et le Sens. Paris : Denoël-Gauthier, 1969
FORMAGGIO, Dino, Arte. Lisboa: Presença, 1985
FOSTER, Hal, The Return of the Real. Cambridge/Massachusetts: MIT Press, 1996
FRASCINA, F, and HARRIS, J, Art in the Modern Culture – An Anthology of Critical Texts. London: Phaidon Press, 1992
GARDNER, Howard. Art, Mind, Brain; a cognitive approach to creativity. Basic Books, a division of Harper Collins Publishers, 1982.
GEDO, John E.. The Artist and the Emotional World. New York: Columbia University Press, 1996.
GIDDENS, Anthony, Modernidade e Identidade Pessoal. Oeiras: Celta Editora, 2001
GILL, Perry; WOOD, Paul. Themes in Contemporary Art. New Haven; London: Yale University Press; The Open University, 2004.
GOMBRICH, Ernest, Arte e Ilusão. S.Paulo: Martins Fontes, 1986
The Sense of Order. London: Phaidon Press, 1984
Imágenes Simbólicas. Madrid: Alianza Editorial, 1990
GREENBERG, Clement, “Modernist Painting”, “The Collected Essays and Criticism”, vol.4: Modernism with a Vangeance, 1957-1969, ed. John O’Brien. Chicago: University of Chicago Press, 1993
HARRIS, Jonathan (Editor). Critical Perspectives on Contemporary Painting: Hybridity, Hegemony, Historicism. Liverpool: Liverpool University Press / Tate Liverpool, 2003.
JOACHIMEDES, C.M., ROSENTHAL, N., SEROTA, N., (Edit), A New Spirit in Painting. Catálogo da Exposição na Royal Academy of Arts, London, 1981
KESTER, Grant H., Conversation Pieces. Community+Communication in Modern Art. Berkeley, Los Angeles, London: University of California Press, 2004
KOKUR, Zoya and LEUNG, Simon, Theory in Contemporary Art. London: Blackwell Publishing, 2005
KRAUSS, Rosalind, The Optical Unconscious. Cambridge Mass., London: The MIT Press, 1994.
The Originality of the Avant-Garde and Other Modernist Myths. Cambridge/Massachusetts: MIT Press 1994
A Voyage on the North Sea: Art in the Age of the Post-Medium Condition. London, Thames and Hudson, 2000.
KUSPIT, Donald, The Cult of the Avant-Garde Artist. Cambridge: Cambridge University Press, 1994
Signs of Psyque in Modern and Post-modern Art. Cambridge: Cambridge University Press, 1995
The Rebirth of Painting in the Late Twentieth Century. Cambridge University Press, 2000.
KWON, Miwon, One Place After Another. Site-specific Art and Locational Identity. Cambridge, London: The MIT Press, 2004
LICHTENSTEIN, Jacqueline (Dir), La Peinture [19959. Paris : Larousse-Bordas, 1997
LIPPARD, Lucy, Six Years, The dematerialization of the art object from 1966 to 1972 (1973). Belkeley, Los Angeles, London: The MIT Press, 2001
LYOTARD, Jean François, Discurso, Figura. Barcelona : Gustavo Gilli, 1979
MARIN, Louis, Opacité de la Peinture. Paris: Usher, 1986
MC EVILLEY, Thomas, The Exile’s Return: Toward a Redefinition of Painting for the Post- Modern Era. Cambridge: Cambridge University Press, 1993
NOCHLIN, Linda. The Body in Pieces: The Fragment as Metaphor of Modernity. London, Thames and Hudson, 2001.
OLIVEIRA, N., OXLEY, A., PETRY, M., Installation Art. London: Thames & Hudson, 1994
OWENS, Graig, Beyond Recognition. Representation, Power and Culture. Berkeley, Los Angeles, London: University of California Press, 1994
PASOLINI, Pier Paolo, Écrits sur la Peinture. Editions Carré, 1997
PASSERON, R., L’Oeuvre Picturale et les Fonctions de L’Apparence. Paris, 1980
PANOFSKY, Erwin, Estudos de Iconologia. Lisboa: Estampa, 1986
La Camera di San Paolo du Corrège à Parme. Paris: Hazan, 1996
Le Codex Huygens et la Théorie de l’Art de Léonard de Vinci. Paris: Flammarion, 1996
PERRY, Gill, e WOOD, Paul, (Edit), Themes in Contemporary Art. New Haven and London: Yale University Press, 2004
RICHTER, Gerhard, The Daily Practice of Painting - Writings and Interviews 1962-1993. London: Thames & Hudson / Anthony d’Offay Gallery, 1995
SABINO, Isabel, A Pintura Depois da Pintura. Lisboa: FBAUL, 2000
SARDO, Delfim, Pintura Redux. Desenvolvimentos da última década. Lisboa. Público ; Fundação de Serralves,
2006.
SCHEFER, Jean Louis, Scenographie d’un Tableau. Paris: Le Seuil, 1969
STOICHITA, Victor I., L’Instauration du Tableau. Paris: Meridiens/Klincksieck, 1992
STORR, Robert. Modern Art despite Modernism. New York: The Museum of Modern Art, 2000.
TAYLOR, Brandon, The Art of Today. London: The Everyman Art Library, 1995
TURKLE, Sherry, Life on the Screen - Identity in the Age of Internet. Cambridge/Massachusetts: MIT Press 1987
VARNDOE, Kirk and GOPNIK, Adam, High and Low: Modern Art and Popular Culture. New York: The Museum of Modern Art, 1991
VAN LIER, Henri, Les Arts de l’Espace. Paris: Casterman, 1971
VIHERT, J.G., La Science de la Peinture. Paris: Sociétés d’Editions Littéraires et Artistiques, s/data
WINNICOTT, D. W.. Playing and Reality (1971). London, New York: Routlege, 1997.
WOOD, FRASCINA, HARRIS and HARRISON, Modernism in Dispute, Art Since The Forties. New Haven and London: Yale University Press / Open University, 1993
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