33 Artists in 3 Acts (50 page)

Geertz, Clifford.
The Interpretation of Cultures.
New York: Perseus, 1973.

Gether, Christian, and Marie Laurberg, eds.
Damien Hirst
. Skovvej, Denmark: ARKEN Museum of Modern Art, 2009.

Gilot, Françoise.
Life with Picasso.
London: Virago, 1990.

Gingeras, Alison. “Lives of the Artists.”
Tate Etc.
1 (Summer 2004).

Gioni, Massimiliano. “No man is an island.” In Maurizio Cattelan, ed.,
Maurizio Cattelan: The Taste of Others
. Paris: Three Star Books, 2011.

Gladwell, Malcolm.
Outliers: The Story of Success.
New York: Little, Brown, 2008.

Godelier, Maurice.
The Metamorphoses of Kinship.
Translated by Nora Scott. London: Verso, 2011.

Goffman, Erving.
The Presentation of Self in Everyday Life.
London: Penguin, 1969.

Goldberg, RoseLee.
Performance Art: From Futurism to the Present.
London: Thames and Hudson, 2011.

Graham-Dixon, Andrew.
Caravaggio: A Life Sacred and Profane
. New York: Norton, 2010.

Gregory, Jarrett, and Sarah Valdez.
Skin Fruit: Selections from the Dakis Joannou Collection
. New York: New Museum, 2010.

Grenier, Catherine.
Le saut dans le vide.
Paris: Editions du Seuil, 2011.

Haynes, Deborah J.
The Vocation of the Artist.
Cambridge, UK: Cambridge University Press, 1997.

Heinich, Nathalie. “Artists as an elite—a solution or a problem for democracy? The aristocratism of artists.” In Sabine Fastert et al., eds.,
Die Wiederkehr des Künstlers.
Cologne: Böhlau Verlag, 2011.

_______.
Le Paradigme de l’Art Contemporain: Structures d’une révolution artistique.
Paris: Gallimard, 2014.

Heller, Margot.
Shelter
. London: South London Gallery, 2012.

Herkenhoff, Paulo.
Beatriz Milhazes: Color and Volupté
. Rio de Janeiro: Francisco Alves, 2007.

Hirst, Damien.
Beautiful Inside My Head Forever
. Vols.1–3. London: Sotheby’s, 2008.

_______, and Jason Beard.
The Death of God: Towards a Better Understanding of a Life Without God Aboard the Ship of Fools.
London: Other Criteria, 2006.

_______, and Takashi Murakami. “A Conversation.” In Victor Pinchuk et al.,
Requiem
. London: Other Criteria/Pinchuk Art Centre, 2009.

Hoff, James.
Toilet Paper
. Bologna: Freedman/Damiani, 2012.

Holzwarth, Hans Werner.
Jeff Koons
. New York: Taschen, 2009.

Hoptman, Laura, et al.
Yayoi Kusama
. London: Phaidon, 2000.

Jacob, Mary Jane, and Michelle Grabner.
The Studio Reader: On the Space of Artists
. Chicago: University of Chicago Press, 2010.

Jelinek, Alana.
This is Not Art: Activism and Other “Non-Art.”
London: Tauris, 2013.

Jones, Amelia. “Survey.” In Tracey Warr, ed.,
The Artist’s Body.
London: Phaidon, 2012.

Jones, Caroline A.
The Machine in the Studio: Constructing the Post-War American Artist.
Chicago: University of Chicago Press, 1996.

Julien, Isaac, with Cynthia Rose, et al.
Riot.
New York: Museum of Modern Art, 2013.

Kaprow, Allan. “The Artist as a Man of the World.” In Jeff Kelley, ed.
Essays
on the Blurring of Art and Life
. Los Angeles: University of California Press, 1993.

Kippenberger, Susanne.
Kippenberger: The Artist and His Families
. Translated by Damion Searls. New York: J & L Books, 2011.

Klein, Jacky.
Grayson Perry
. London: Thames and Hudson, 2009.

Kosuth, Joseph. “The Artist as Anthropologist.”
Art After Philosophy and After: Collected Writings, 1966–1990
. Edited by Gabriele Guercio. Cambridge, MA: MIT Press, 1991.

Kusama, Yayoi.
Infinity Net: The Autobiography of Yayoi Kusama
. Translated by Ralph McCarthy. London: Tate, 2011.

Lange, Christy. “Bringin’ it All Back Home: Interview with Martha Rosler.”
Frieze
14 (November 2005).

Linker, Kate.
Carroll Dunham: Painting and Sculpture 2004
–
2008
. Zurich: JRP–Ringier, 2008.

_______.
Laurie Simmons: Walking, Talking, Lying
. New York: Aperture Foundation, 2005.

Liu, Jenny. “Trouble in Paradise.”
Frieze
51 (March–April 2000).

MacCabe, Colin, with Mark Francis and Peter Wollen, eds.
Who is Andy Warhol?
London: British Film Institute and Andy Warhol Museum, 1997.

McRobbie, Angela. “The Artist as Human Capital.”
Be Creative: Making a Living in the New Cultural Industries.
London: Polity, 2014.

Mercer, Kobena, and Chris Darke.
Isaac Julien.
London: Ellipsis, 2001.

Michelson, Annette, ed.
Andy Warhol (October Files 2).
London: MIT Press, 2001.

Morris, Frances.
Yayoi Kusama
. London: Tate, 2012.

Nicholl, Charles.
Leonardo da Vinci: Flights of the Mind.
London: Penguin, 2004.

Noland, Cady.
Towards a Metalanguage of Evil.
New York: Balcon, 1989.

Panamericano: Beatriz Milhazes Pinturas 1999
–
2012
. Buenos Aires: Malba, 2012.

Parrino, Steven. “Americans: The New Work of Cady Noland.”
Afterall
, Spring/Summer 2005.

Peppiatt, Michael.
Interviews with Artists 1966
–
2012.
New Haven: Yale University Press, 2012.

Perlman, Hirsch. “A Wastrel’s Progress and the Worm’s Retreat.”
Art Journal
64, no. 4 (2005).

Perry, Grayson.
The Tomb of the Unknown Craftsman.
London: British Museum, 2011.

Phillips, Lisa, and Dan Cameron.
Carroll Dunham Paintings
. New York: New Museum of Contemporary Art/Hatje Cantz, 2002.

Pratt, Alan R., ed.
The Critical Response to Andy Warhol
. London: Greenwood, 1997.

Prose, Francine.
The Lives of the Muses: Nine Women and the Artists They Inspired
. London: Aurum, 2004.

Rattee, Kathryn, and Melissa Larner.
Jeff Koons: Popeye Series
. London: Serpentine Gallery/Koenig Books, 2009.

Ray, Man.
Self Portrait
. London: Penguin, 2012.

Relyea, Lane.
Your Everyday Art World
. Cambridge, MA: MIT Press, 2013.

Rosler, Martha.
Decoys and Disruptions: Selected Writings 1975–2001.
London: MIT Press, 2004.

_______. “Money, Power, Contemporary Art—Money, Power and the History of Art.”
Art Bulletin
, March 1997.

_______.
3 Works.
Halifax: Nova Scotia College of Art and Design, 2006.

Sanouillet, Michel, and Elmer Peterson, eds.
The Writings of Marcel Duchamp
. New York: Da Capo, 1973.

Schorr, Collier.
Laurie Simmons: Photographs 1978/79: Interiors and The Big Figures
. New York: Skarstedt Fine Art, 2002.

Schwarz, Arturo.
The Complete Works of Marcel Duchamp
. New York: Delano Greenidge, 2000.

Sennett, Richard.
The Craftsman.
London: Penguin, 2008.

Sherman, Cindy.
A Play of Selves
. London: Hatje Cantz, 2007.

Sholis, Brian. “Why we should talk about Cady Noland?” Blog post. www.briansholis.com, January 20, 2004.

Silverman, Debora. “Marketing Thanatos: Damien Hirst’s Heart of Darkness.”
American Imago
68, no. 3 (2011).

Simmons, Laurie. “Guys and Dolls: The Art of Morton Bartlett.”
Artforum,
September 2003.

_______.
The Love Doll.
2011.

_______, and Peter Jensen.
Laurie: Spring Summer 2010
.

Smith, Karen, et al.
Ai Weiwei.
London: Phaidon, 2009.

_______.
Nine Lives: The Birth of Avant-Garde Art in New China
. Beijing: Timezone 8 Limited, 2011.

Smith, Zadie. “Killing Orson Welles at Midnight.”
New York Review of Books
, April 28, 2011.

Spector, Nancy.
Maurizio Cattelan: All.
New York: Solomon R. Guggenheim Foundation, 2012.

Squiers, Carol, and Laurie Simmons.
Laurie Simmons
—
In and Around the House: Photographs 1976–78.
New York: Hatje Cantz, 2003.

Stevens, Mark, and Annalyn Swan.
De Kooning: An American Master.
New York: Knopf, 2004.

Stiglitz, Joseph E. “Of the 1%, by the 1%, for the 1%.”
Vanity Fair
, May 2011.

Stüler, Ann, ed.
Elmgreen & Dragset: This is the First Day of My Life.
Berlin: Hatje Cantz, 2008.

Sylvester, David.
Looking Back at Francis Bacon
. London: Thames and Hudson, 2000.

Taschen, Angelika, ed.
Kippenberger
. Cologne: Taschen, 2003.

Temkin, Ann.
Gabriel Orozco
. New York: Museum of Modern Art, 2009.

ten-Doesschate Chu, Petra.
The Most Arrogant Man in France: Gustave Courbet and the Nineteenth-Century Media Culture
. Princeton, NJ: Princeton University Press, 2007.

Tomkins, Calvin.
The Bride and The Bachelors: The Heretical Courtship in Modern Art
. London: Weidenfeld and Nicolson, 1965.

_______.
Duchamp: A Biography.
London: Random House, 1997.

_______.
Lives of the Artists.
New York: Henry Holt, 2008.

_______.
Marcel Duchamp: The Afternoon Interviews.
Brooklyn: Badlands, 2013.

_______.
The Scene: Reports on Post-Modern Art.
New York: Viking, 1970.

Triple Candie, ed.
Maurizio Cattelan is Dead: Life and Work, 1960
–
2009
. New York: Triple Candie, 2012.

Ulrich, Matthias, et al., eds.
Jeff Koons: The Painter
. Frankfurt: Hatje Cantz, 2012.

_______.
Jeff Koons: The Sculptor
. Frankfurt: Hatje Cantz, 2012.

Vasari, Giorgio.
Lives of the Artists.
Vol. 1. London: Penguin, 1987.

Vischer, Theodora, and Sam Keller.
Jeff Koons
. Basel: Fondation Beyeler, 2012.

Warhol, Andy.
The Philosophy of Andy Warhol: From A to B and Back Again
. London: Verso, 1977.

Watson, Scott.
Exhibition: Andrea Fraser
. Vancouver: Morris and Helen Belkin Art Gallery, 2002.

Weibel, Peter, and Andreas F. Beitin.
Elmgreen & Dragset: Trilogy
. Karlsruhe, Germany: ZMK/ Walther König, 2011.

Westcott, James.
When Marina Abramovi
Dies: A Biography
. London: MIT Press, 2010.

Widholm, Julie Rodrigues.
Rashid Johnson: Messages to Our Folks
. Chicago: Museum of Contemporary Art, 2012.

CREDITS

Almost all the artists featured in these pages waived their copyright fees. I am grateful for their generosity. Damien Hirst’s illustrations were kindly donated by Sotheby’s Department of Contemporary Art.

Introduction

Gabriel Orozco
, Horses Running Endlessly
(detail), 1995, wood, each knight: 3 × 3 × 9 cm, chessboard: 8.7 × 87.5 × 87.5 cm. Courtesy of the artist and Marian Goodman Gallery.

Act I, Scene 1

Jeff Koons,
Made in Heaven
, 1989, lithograph billboard, 125 × 272 inches. © Jeff Koons.

Act I, Scene 2

Ai Weiwei,
Dropping a Han Dynasty Urn
, 1995, three black-and-white photographic prints, 148 × 121 cm each. Courtesy of the artist.

Act I, Scene 3

Jeff Koons
, Landscape (Cherry Tree),
2009, oil on canvas, 108 × 84 inches.
©
Jeff Koons.

Act I, Scene 4

Ai Weiwei,
Sunflower Seeds
, 2010, 100 million seed-sized painted porcelain sculptures. Photo: Ai Weiwei. Courtesy of the artist.

Act I, Scene 5

Gabriel Orozco
, Black Kites
, 1997, graphite on skull, 8-1/2 × 5 × 6-1/4 inches. Courtesy of the artist, Marian Goodman Gallery, and Philadelphia Museum of Art.

Act I, Scene 6

Eugenio Dittborn
, To Hang (Airmail Painting No. 05)
, 1984, paint, monotype, wool, and photo-silkscreen on wrapping paper, 69 × 57 inches. Courtesy of the artist and Alexander and Bonin Gallery.

Act I, Scene 7

Ai Weiwei
, June 1994
, 1994, black-and-white photographic print, dimensions variable. Courtesy of the artist.

Act I, Scene 8

Zeng Fanzhi
, Self Portrait
, 2009, oil on canvas, 1200 × 200 cm. Courtesy of the artist.

Act I, Scene 9

Wangechi Mutu
, Me.I,
2012, mixed media on Mylar, 42-1/4 × 69 × 3/4 inches. Courtesy of the artist and Gladstone Gallery.

Act I, Scene 10

Kutlu
Ataman,
JARSE
(detail), 2011, two sheets of A4 paper, each 21 × 29.7 cm. Courtesy of the artist.