[1]
S. Stapleton and E. Booth-Clibborn, Eds., Edge of Arabia: contemporary art from the kingdom of Saudi Arabia. [London]: Booth-Clibborn Editions, 2012.
[2]
W. Ali, Modern Islamic art: development and continuity. Gainesville, FL: University Press of Florida, 1997.
[3]
W. Ali, Contemporary art from the Islamic world. London: Scorpion Pub., on behalf of the Royal Society of Fine Arts, Amman, 1989.
[4]
H. Amirsadeghi, Ed., Different sames: new perspectives in contemporary Iranian art. London: Thames & Hudson, 2009.
[5]
Hossein Amirsadeghi ed., Art & patronage: the Middle East. .
[6]
H. Amirsadeghi, S. Mikdadi, and N. M. Shabout, Eds., New vision: Arab contemporary art in the 21st century. London: Thames & Hudson in association with TransGlobe, 2009.
[7]
M. L. Buffington and M. Bedoyan, ‘Museum and art education as a response to place in Doha, Qatar’, Journal of Cultural Research in Art Education, vol. 31, 2014 [Online]. Available: http://www.jcrae.org/journal/index.php/jcrae/article/view/33
[8]
S. Eigner, I. Caussé, and C. Masters, Art of the Middle East: modern and contemporary art of the Arab world and Iran. London: Merrell, 2010.
[9]
Saatchi Gallery, Unveiled: new art from the Middle East. London: Booth-Clibborn, 2009.
[10]
T. Karafotias, ‘Modern art in the Gulf region: the case of Mathaf: Arab Museum of Modern Art’, International Journal of the Inclusive Museum, vol. 10, no. 1, pp. 9–39, 2017 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=asu&AN=118579425&site=ehost-live&scope=site
[11]
O. Kholeif and C. Stobbs, Eds., Imperfect chronology: Arab art from the modern to the contemporary : works from the Barjeel Art Foundation. London: Whitechapel Gallery, 2015.
[12]
P. Sloman, Ed., Contemporary art in the Middle East. London: Black Dog, 2009.
[13]
L. H. Schwartz, D. D. Kaye, and J. Martini, Artists and the Arab Uprisings. RAND Corporation, 2013 [Online]. Available: http://www.rand.org/pubs/research_reports/RR271.html
[14]
N. M. Shabout, Modern Arab art: formation of Arab aesthetics. Gainesville: University Press of Florida, 2007.
[15]
‘Gulf art guide’. [Online]. Available: https://cubexic.com/gulfartguide/
[16]
Al Mahha Art, ‘The blog’. [Online]. Available: http://almahhart.com/the-blog/
[17]
B. Altshuler, Ed., Biennials and beyond: exhibitions that made art history: 1962-2002. London: Phaidon, 2013.
[18]
A.-L. Barabási, Linked: how everything is connected to everything else and what it means for business, science, and everyday life. New York: Plume, 2009.
[19]
Hans Belting ... [et al.], Ed., Global studies: mapping contemporary art and culture, vol. GAM : global art and the museum. Ostfildern: Hatje Cantz, 2011.
[20]
H. Belting, A. Buddensieg, and P. Weibel, Eds., The global contemporary and the rise of new art worlds. Karlsruhe: ZKM/Center for Art and Media, 2013.
[21]
M. Chiu and B. Genocchio, Eds., Contemporary art in Asia: a critical reader. Cambridge, Mass: MIT Press, 2011.
[22]
A. C. Danto, The Madonna of the future: essays in a pluralistic art world. Berkeley, Calif: University of California Press, 2001.
[23]
J. Elkins, Z. Valiavicharska, and A. Kim, Eds., Art and globalization. Pennsylvania: Pennsylvania State University Press, 2010 [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=nlebk&AN=1050480&site=ehost-live&scope=site
[24]
S. Von Bennigsen, I. Gludowacz, and S. van Hagen, Global art. Ostfildern: Hatje Cantz, 2009.
[25]
J. Harris, Ed., Globalization and contemporary art. Chichester: Wiley-Blackwell, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/ucl/detail.action?docID=700607
[26]
P. M. Lee, Forgetting the art world. Cambridge, Mass: MIT Press, 2012.
[27]
L. Philipsen, Globalizing contemporary art: the art world’s new internationalism. Santa Barbara: Aarhus University Press, 2010 [Online]. Available: http://ebookcentral.proquest.com/lib/ucl/detail.action?docID=1050746
[28]
T. Smith, O. Enwezor, and N. Condee, Eds., Antinomies of art and culture: modernity, postmodernity, contemporaneity. Durham NC: Duke University Press, 2008 [Online]. Available: http://read.dukeupress.edu.libproxy.ucl.ac.uk/content/antinomies-of-art-and-culture
[29]
M. C. Taylor, The moment of complexity: emerging network culture. Chicago: University of Chicago Press, 2001.
[30]
P. Weibel and A. Buddensieg, Eds., Contemporary art and the museum: a global perspective. Ostfildern: Hatje Cantz, 2007.
[31]
‘Journal of global studies and contemporary art’ [Online]. Available: http://artglobalizationinterculturality.com/publications/academic-journal/
[32]
‘Global art and the museum (GAM)’. [Online]. Available: http://www.globalartmuseum.de/site/home/
[33]
C. Duncan, Civilizing rituals: inside public art museums, vol. Re visions (London, England). London: Routledge, 1995 [Online]. Available: http://www.tandfebooks.com.libproxy.ucl.ac.uk/ISBN/9780203978719
[34]
J. Cuno, Ed., Whose muse? : art museums and the public trust. Princeton, N.J.: Princeton University Press, 2004.
[35]
B. O’Doherty, Inside the white cube: the ideology of the gallery space, Expanded ed. Berkeley, Calif: University of California Press, 1999.
[36]
C. Klonk, Spaces of experience: art gallery interiors from 1800 to 2000. New Haven, CT: Yale University Press, 2009.
[37]
V. Magnano Lampugnani and A. Sachs, Museums for a new millennium: concepts projects buildings. Munich: Prestel, 1999.
[38]
D. Libeskind, Daniel Libeskind: the space of encounter. London: Thames & Hudson, 2001.
[39]
V. Newhouse, Art and the power of placement. New York: Monacelli Press, 2005.
[40]
S. Oberhardt, Frames within frames: the art museum as cultural artifact, vol. Counterpoints. New York: P. Lang, 2001.
[41]
A. Oddey and C. A. White, Eds., Modes of spectating. Bristol: Intellect, 2009 [Online]. Available: https://www-dawsonera-com.libproxy.ucl.ac.uk/abstract/9781841502960
[42]
D. Preziosi, ‘Art history and museology: rendering the visible legible’, in A companion to museum studies, S. Macdonald, Ed. Malden, MA: Blackwell, 2006, pp. 50–63.
[43]
N. Prior, Museums and modernity: art galleries and the making of modern culture, vol. Leisure, consumption, and culture. Oxford: Berg, 2002.
[44]
S. Psarra, Architecture and narrative: the formation of space and cultural meaning. London: Routledge, 2009 [Online]. Available: https://www-dawsonera-com.libproxy.ucl.ac.uk/abstract/9780203639672
[45]
J. Putnam, Art and artifact: the museum as medium. London: Thames & Hudson, 2009.
[46]
N. Serota, Experience or interpretation: the dilemma of museums of modern art, vol. Walter Neurath Memorial Lecture. London: Thames & Hudson, 1996.
[47]
I. A. Steffensen-Bruce, Marble palaces, temples of art: art museums, architecture, and American culture, 1890-1930. Lewisburg: Bucknell University Press, 1998.
[48]
G. Tipton, Space: architecture for art : including a directory of art spaces in Ireland. Dublin: CIRCA, 2005.
[49]
J. Applin and Y. Kusama, Yayoi Kusama: Infinity mirror room--Phalli’s feld, vol. One work. London: Afterall Books, 2012.
[50]
H. H. Arnason and E. Mansfield, History of modern art: painting, sculpture, architecture, photography, 6th ed. Upper Saddle River, N.J.: Pearson Prentice Hall, 2010.
[51]
P. Bourdieu, The field of cultural production: essays on art and literature. Cambridge: Polity Press in association with Blackwell, 1993.
[52]
D. Campany, Art and photography, vol. Themes and movements. London: Phaidon, 2003.
[53]
T. Cowen, In praise of commercial culture. Cambridge, Mass: Harvard University Press, 1998.
[54]
R. Debray, Media manifestos: on the technological transmission of cultural forms. London: Verso, 1996.
[55]
A. C. Danto and National Gallery of Art (U.S.), After the end of art: contemporary art and the pale of history, vol. Bollingen series. Princeton, N.J: Princeton University Press, 1997.
[56]
J. Burton, Vitamin D: new perspectives in drawing. London: Phaidon, 2005.
[57]
J.-P. Doguet, L’art comme communication: pour une re-définition de l’art. Paris: A. Colin, 2007.
[58]
M. Evans, Artwash: big oil and the arts. London: PlutoPress, 2015 [Online]. Available: http://www.jstor.org.libproxy.ucl.ac.uk/stable/j.ctt183p6f4
[59]
Hal Foster ... [et al.], Art since 1900: modernism, antimodernism, postmodernism, 2nd, ed ed. London: Thames & Hudson, 2011.
[60]
P. Gladston, Contemporary Chinese art: a critical history. London: Reaktion Books, 2014.
[61]
U. Grosenick, Ed., Art now: the new directory to 136 international contemporary artists. Köln: Taschen, 2005.
[62]
C. Harrison and P. Wood, Eds., Art in theory 1900-2000: an anthology of changing ideas, New ed. Malden, Mass: Blackwell, 2003.
[63]
B. Hess, Abstract expressionism. Cologne: Taschen.
[64]
K. Honnef, Andy Warhol, 1928-1987: commerce into art. Köln: Taschen, 2005.
[65]
K. Honnef, Pop art. Köln: Taschen, 2004.
[66]
D. Hopkins, After modern art 1945-2000, vol. Oxford history of art. Oxford: Oxford University Press, 2000.
[67]
A. Lindemann, Collecting contemporary art. Köln: Taschen.
[68]
D. Marzona, Minimal art. Taschen: Köln, 2004.
[69]
Kevin F. McCarthy ... [et al.], A portrait of the visual arts: meeting the challenges of a new era. Santa Monica, CA: RAND Corp, 2005.
[70]
Paul D. Miller aka DJ Spooky That Subliminal Kid, Rhythm science. Cambridge, Mass.: MIT Press, 2004.
[71]
A. Clarke and G. Mitchell, Eds., Videogames and art. Bristol: Intellect, 2007.
[72]
C. Morris, The essential Cindy Sherman. New York: Harry N. Abrams, 1999.
[73]
A. Poshyananda, Contemporary art in Asia: traditions, tensions. New York: Asia Society Galleries, 1996.
[74]
J. Rugg and M. Sedgwick, Eds., Issues in curating contemporary art and performance. Bristol: Intellect, 2007.
[75]
Ruhrberg ... [et al.], Art of the 20th century. Köln: Taschen, 2012.
[76]
I. Sandler, Art of the postmodern era: from the late 1960s to the early 1990s. New York: IconEditions, 1996.
[77]
B. Schwabsky, Vitamin P: new perspectives in painting. London: Phaidon, 2002.
[78]
K. Stiles and P. Selz, Eds., Theories and documents of contemporary art: a sourcebook of artists’ writings, 2nd ed., rev.Expanded. Berkeley [Calif.]: University of California Press, 2012.
[79]
H. Belting, ‘From world art to global art: view on a new panorama’, in The global contemporary and the rise of new art worlds, H. Belting, A. Buddensieg, and P. Weibel, Eds. Karlsruhe: ZKM/Center for Art and Media, 2013, pp. 178–185.
[80]
Arthur Danto, ‘The Artworld’, The Journal of Philosophy, vol. 61, no. 19, pp. 571–584, 1964 [Online]. Available: http://www.jstor.org.libproxy.ucl.ac.uk/stable/2022937?seq=1#page_scan_tab_contents
[81]
H. Belting and A. Buddensieg, ‘From art world to art worlds’, in The global contemporary and the rise of new art worlds, H. Belting, A. Buddensieg, and P. Weibel, Eds. Karlsruhe: ZKM/Center for Art and Media, 2013.
[82]
T. Smith, ‘Introduction: contemporary art inside out’, in What is contemporary art?, Chicago: University of Chicago Press, 2009, pp. 1–11.
[83]
A. C. Danto, ‘The end of art: a philosophical defense’, History and Theory, vol. 37, no. 4, pp. 127–143, 1998, doi: 10.1111/0018-2656.721998072.
[84]
C. Duncan, ‘The art museum as a ritual’, in The art of art history: a critical anthology, New ed., vol. Oxford history of art, Oxford: Oxford University Press, 2009, pp. 424–434 [Online]. Available: http://www.ucl.eblib.com/patron/FullRecord.aspx?p=453635
[85]
M. L. Anderson, ‘Prescriptions for art museums in the decade ahead’, Curator: The Museum Journal, vol. 50, no. 1, pp. 9–17, 2007, doi: 10.1111/j.2151-6952.2007.tb00245.x.
[86]
D. Preziosi, ‘Epilogue: the art of art history’, in The art of art history: a critical anthology, New ed., vol. Oxford history of art, Oxford: Oxford University Press, 2009, pp. 488–503 [Online]. Available: http://www.ucl.eblib.com/patron/FullRecord.aspx?p=453635
[87]
T. Smith, ‘What is contemporary art?’, in What is contemporary art?, Chicago: University of Chicago Press, 2009, pp. 241–271.
[88]
H. Belting, ‘Contemporary art and the museum in the global age’, in Contemporary art and the museum : a global perspective, P. Weibel and A. Buddensieg, Eds. Ostfildern: Hatje Cantz, 2007, pp. 16–38.
[89]
S. Price, ‘Others art ‐our art’, Third Text, vol. 3, no. 6, pp. 65–72, 1989, doi: 10.1080/09528828908576216.
[90]
R. Araeen, ‘Our Bauhaus others’ Mudhouse’, Third Text, vol. 3, no. 6, pp. 3–14, 1989, doi: 10.1080/09528828908576208.
[91]
A. R. Petersen, ‘Identity politics, institutional multiculturalism, and the global artworld’, Third Text, vol. 26, no. 2, pp. 195–204, 2012, doi: 10.1080/09528822.2012.663977.
[92]
J. Fisher, ‘The other story and the past imperfect’, Tate Papers, no. 12, 2009 [Online]. Available: http://www.tate.org.uk/research/publications/tate-papers/other-story-and-past-imperfect
[93]
J. Clifford, ‘The others: Beyond the “salvage” paradigm’, Third Text, vol. 3, no. 6, pp. 73–78, 1989, doi: 10.1080/09528828908576217.
[94]
S. Price, Primitive art in civilized places, 2nd ed., with A new afterword. Chicago: University of Chicago Press, 2001.
[95]
S. Price, Paris primitive: Jacques Chirac’s Museum on the Quai Branly. Chicago: University of Chicago Press, 2007.
[96]
V. Porter, ‘Collecting and exhibiting Arab art at the British Museum’, in New vision: Arab contemporary art in the 21st century, H. Amirsadeghi, S. Mikdadi, and N. M. Shabout, Eds. London: Thames & Hudson in association with TransGlobe, 2012, pp. 30–35.
[97]
S. S. Al Qassemi, ‘The Arab world: a sum of Its parts’, in Imperfect chronology: Arab art from the modern to the contemporary: works from the Barjeel Art Foundation, O. Kholeif and C. Stobbs, Eds. London: Whitechapel Gallery, 2015, pp. 13–15.
[98]
O. Kholeif, ‘Tracing routes: debating modernism, mapping the contemporary’, in Imperfect chronology: Arab art from the modern to the contemporary: works from the Barjeel Art Foundation, O. Kholeif and C. Stobbs, Eds. London: Whitechapel Gallery, 2015, pp. 17–24.
[99]
S. Mikdadi, ‘New trends in Arab art: NGOs and the public sphere’, in New vision: Arab contemporary art in the 21st century, H. Amirsadeghi, S. Mikdadi, and N. M. Shabout, Eds. London: Thames & Hudson in association with TransGlobe, 2009, pp. 22–29.
[100]
N. M. Shabout and S. Mikdadi, ‘Introduction [New vision: Arab contemporary art in the 21st century]’, in New vision: Arab contemporary art in the 21st century, H. Amirsadeghi, S. Mikdadi, and N. M. Shabout, Eds. London: Thames & Hudson in association with TransGlobe, 2009, pp. 8–13.
[101]
R. Kluijver, Contemporary art in the Gulf: context and perspectives. 2013 [Online]. Available: http://gulfartguide.eu/wp-content/uploads/2013/11/Contemporary-Art-in-the-Gulf-for-print.pdf
[102]
L. Buck, ‘Artist interview, Walid Raad: a mediator between worlds’, The Art Newspaper, no. 242, 2013 [Online]. Available: http://www.theartnewspaper.com/articles/Artist-interview-Walid-Raad-a-mediator-between-worlds/28352
[103]
N. Muller, ‘Contemporary art in the Middle East’, in Contemporary art in the Middle East, P. Sloman, Ed. London: Black Dog, 2009, pp. 12–25.
[104]
N. M. Shabout, ‘Introduction: the polemics of modern Arab art’, in Modern Arab art: formation of Arab aesthetics, Gainesville: University Press of Florida, 2007, pp. 1–10.
[105]
N. M. Shabout, ‘Contemporaneity and the Arab world’, in New vision: Arab contemporary art in the 21st century, H. Amirsadeghi, S. Mikdadi, and N. M. Shabout, Eds. London: Thames & Hudson in association with TransGlobe, 2009, pp. 14–21.
[106]
S. Nashashibi, ‘Elements of empowerment: support systems in women’s art practice’, in Contemporary Arab women’s art: dialogues of the present, S. H. Keelan and F. Lloyd, Eds. London: WAL, 1999, pp. 70–100.
[107]
Saatchi Gallery, Unveiled: new art from the Middle East. London: Booth-Clibborn, 2009.
[108]
Qatar Museums, ‘Dia Al-Azzawi: a retrospective (from 1963 until tomorrow)’. [Online]. Available: http://www.qm.org.qa/en/dia-al-azzawi-retrospective-i-am-cry-who-will-give-voice-me-1963-until-tomorrow-title-poem-fadhil
[109]
C. McAndrew, ‘The art market: Hans Belting in conversation with Clare McAndrew’, in The global contemporary and the rise of new art worlds, H. Belting, A. Buddensieg, and P. Weibel, Eds. Karlsruhe: ZKM/Center for Art and Media, 2013, pp. 261–265.
[110]
‘Sheikha Al Mayassa: globalizing the local, localizing the global’, 2010. [Online]. Available: http://www.ted.com/talks/sheikha_al_mayassa_globalizing_the_local_localizing_the_global
[111]
B. Shannon, ‘The “Dubai effect”: the Gulf, the art world and globalization’, in The emerging Asian city: concomitant urbanities and urbanisms, V. Bharne, Ed. London: Routledge, 2013, pp. 254–266 [Online]. Available: https://www-dawsonera-com.libproxy.ucl.ac.uk/readonline/9780203094655/startPage/254
[112]
P. Weibel, ‘Globalization and contemporary art’, in The global contemporary and the rise of new art worlds, H. Belting, A. Buddensieg, and P. Weibel, Eds. Karlsruhe: ZKM/Center for Art and Media, 2013, pp. 20–27.
[113]
J. T. S. Binter, ‘Globalization, representation, and postcolonial critique’, in Global studies : mapping contemporary art and culture, vol. GAM : global art and the museum, Hans Belting [et al.], Ed. Ostfildern: Hatje Cantz, 2011, pp. 158–170.
[114]
J. Elkins, Z. Valiavicharska, and A. Kim, Eds., Art and globalization. Pennsylvania: Pennsylvania State University Press [Online]. Available: http://search.ebscohost.com/login.aspx?direct=true&AuthType=ip,shib&db=nlebk&AN=1050480&site=ehost-live&scope=site
[115]
J. Harris, ‘Introduction. Globalization and contemporary art: a convergence of peoples and ideas’, in Globalization and contemporary art, Chichester: Wiley-Blackwell, 2011, pp. 1–15 [Online]. Available: https://ebookcentral.proquest.com/lib/ucl/reader.action?docID=700607&ppg=21
[116]
Mathur, Saloni, ‘Museums and globalization’, Anthropological Quarterly, no. 3, pp. 697–708 [Online]. Available: http://search.proquest.com.libproxy.ucl.ac.uk/docview/216477884?OpenUrlRefId=info:xri/sid:primo&accountid=14511
[117]
S. Von Bennigsen, I. Gludowacz, and S. van Hagen, Global art. Ostfildern: Hatje Cantz, 2009.
[118]
S. Cook, ‘Immateriality and its discontents: an overview of main models and issues for curating new media’, in New media in the white cube and beyond: curatorial models for digital art, C. Paul, Ed. Berkeley: University of California Press, 2008, pp. 26–49.
[119]
E. K. Levy, ‘Bioart and nanoart in a museum context: terms of engagement’, in Routledge companion to museum ethics: redefining ethics for the twenty-first-century museum, J. Marstine, Ed. London: Routledge, 2011, pp. 445–463 [Online]. Available: https://www-dawsonera-com.libproxy.ucl.ac.uk/readonline/9780203815465/startPage/439
[120]
S. Diamond, ‘Silicon to Carbon’, in Beyond the box : diverging curatorial practices, M. Townsend, Ed. Banff, Alta.: Banff Centre Press, 2003.
[121]
‘Paola Antonelli: why I brought Pac-Man to MoMA’, 2013. [Online]. Available: https://www.ted.com/talks/paola_antonelli_why_i_brought_pacman_to_moma?language=en
[122]
S. Cook, ‘Toward a theory of the practice of curating new media art’, in Beyond the box : diverging curatorial practices, M. Townsend, Ed. Banff, Alta.: Banff Centre Press, 2003.
[123]
C. Gere, ‘New media art and the gallery in the digital age’, in New media in the white cube and beyond: curatorial models for digital art, C. Paul, Ed. Berkeley: University of California Press, 2008, pp. 13–25.
[124]
J. Krysa, ‘Curating immateriality: the work of the curator in the age of network systems’, in Curating immateriality: the work of the curator in the age of network systems, vol. DATA browser, J. Krysa, Ed. New York: Autonomedia, 2006, pp. 7–25.
[125]
Laïdi-Hanieh et al., Suha Shoman. Darat Al Funun – The Khalid Shoman Foundation, 2009 [Online]. Available: http://www.daratalfunun.org/main/resourc/exhibit/shoman/Suha_Shoman.pdf
[126]
C. Paul, ‘Flexible contexts, democratic filtering and computer-aided curating: models for on-line curatorial practice’, in Curating immateriality: the work of the curator in the age of network systems, vol. DATA browser, J. Krysa, Ed. New York: Autonomedia, 2006, pp. 81–101.
[127]
C. Becker, ‘The Brooklyn controversy: a view from the bridge’, in Unsettling ‘Sensation’: arts-policy lessons from the Brooklyn Museum of Art controversy, L. Rothfield, Ed. New Brunswick, N.J.: Rutgers University Press, 2001.
[128]
E. Belfiore and O. Bennett, The social impact of the arts : an intellectual history. New York: Palgrave Macmillan, 2008.
[129]
R. Bolton, ‘Introduction [Culture Wars: documents from the recent controversies in the arts]’, in Culture Wars: documents from the recent controversies in the arts, R. Bolton, Ed. New York: New Press, 1992.
[130]
E. Koepfinger, ‘Kuwaiti artist Shurooq Amin speaks on shutdown of “It’s a Man’s World” show’, Sampsonia Way, 2012 [Online]. Available: http://www.sampsoniaway.org/blog/2012/04/02/kuwaiti-artist-shurooq-amin-speaks-on-shutdown-of-%e2%80%9cit%e2%80%99s-a-man%e2%80%99s-world%e2%80%9d-exhibition/
[131]
L. Muñoz-Alonso, ‘MACBA Director Bartomeu Marí sacks curators and resigns following sodomy sculpture scandal’, artnet News, 2015 [Online]. Available: https://news.artnet.com/art-world/macba-director-bartomeu-mari-resigns-280692
[132]
S. S. Khatri, ‘Art depicting chickens on fire at Mathaf ruffles feathers in Qatar’, Doha News, 2013 [Online]. Available: http://dohanews.co/art-depicting-chickens-on-fire-at-mathaf-ruffles-feathers-in-qatar/
[133]
‘Stop Adel Abdessemed and Mathaf’s animal cruelty [Facebook]’. [Online]. Available: https://www.facebook.com/pages/Stop-Adel-Abdessemed-and-Mathafs-Animal-Cruelty/468175103298693
[134]
R. Bolton, Ed., Culture Wars: documents from the recent controversies in the arts. New York: New Press, 1992.
[135]
ARTICLE 19, Unveiled: Art and Censorship in Iran. London: ARTICLE 19, 2006 [Online]. Available: http://www.article19.org/data/files/pdfs/publications/iran-art-censorship.pdf
[136]
J. Harold, ‘Infected by evil’, Philosophical Explorations, vol. 8, no. 2, pp. 173–187, 2005, doi: 10.1080/13869790500095962.
[137]
James William Pattison, ‘Public censorship of art’, Fine Arts Journal, vol. 28, no. 4, pp. 243–246, 1913 [Online]. Available: http://www.jstor.org.libproxy.ucl.ac.uk/stable/25587172?origin=crossref&seq=1#page_scan_tab_contents
[138]
L. Rothfield, Ed., Unsettling ‘Sensation’: arts-policy lessons from the Brooklyn Museum of Art controversy. New Brunswick, N.J.: Rutgers University Press, 2001.
[139]
C. B. Steiner, ‘Museum censorship’, in The Routledge companion to museum ethics: redefining ethics for the twenty-first-century museum, J. Marstine, Ed. Abingdon: Routledge, 2011 [Online]. Available: https://www-dawsonera-com.libproxy.ucl.ac.uk/readonline/9780203815465/startPage/387
[140]
G. Wharton, ‘The challenges in conserving contemporary art’, in Collecting the new: museums and contemporary art, B. Altshuler, Ed. Princeton, N.J.: Princeton University Press, 2005, pp. 163–178 [Online]. Available: http://www.inside-installations.org/OCMT/mydocs/WHARTON%20The%20Challenges%20of%20Conserving%20Contemporary%20Art_1.pdf
[141]
G. Wharton and H. Molotch, ‘The challenge of installation art’, in Conservation : principles, dilemmas and uncomfortable truths / edited by Alison Richmond and Alison Bracker., A. Richmond and A. L. Bracker, Eds. London: Butterworth-Heinemann in association with the Victoria and Albert Museum, 2009, pp. 210–222 [Online]. Available: https://www-dawsonera-com.libproxy.ucl.ac.uk/readonline/9780080941714/startPage/229
[142]
William A. Real, ‘Toward Guidelines for Practice in the Preservation and Documentation of Technology-Based Installation Art’, Journal of the American Institute for Conservation, vol. 40, no. 3, pp. 211–231, 2001 [Online]. Available: http://www.jstor.org.libproxy.ucl.ac.uk/stable/3179880?origin=crossref&seq=1#page_scan_tab_contents
[143]
‘Inside Installations Project’. [Online]. Available: http://www.inside-installations.org/home/index.php
[144]
‘Inside Installations glossary’. [Online]. Available: http://glossary.inside-installations.org/category.php?category_id=52&ct=1
[145]
‘International Network for the Conservation of Contemporary Art (INCCA)’. [Online]. Available: http://incca.org/
[146]
L. Beerkens, Ed., The artist interview : for conservation and presentation of contemporary art, guidelines and practice. Heyningen: Jap Sam Books, 2012.
[147]
Mitchell Hearns Bishop, ‘Evolving exemplary pluralism: Steve McQueen’s “Deadpan” and Eija-Liisa Ahtila’s “Anne, Aki and God”-two case studies for conserving technology-based installation art’, Journal of the American Institute for Conservation, vol. 40, no. 3, pp. 179–191, 2001 [Online]. Available: http://www.jstor.org.libproxy.ucl.ac.uk/stable/3179878?origin=crossref&seq=1#page_scan_tab_contents
[148]
C. Cartiere, ‘Coming in from the cold: a public art history’, in The practice of public art, vol. Routledge research in cultural and media studies, C. Cartiere and S. Willis, Eds. New York: Routledge, 2008, pp. 7–17 [Online]. Available: http://www.tandfebooks.com.libproxy.ucl.ac.uk/ISBN/9780203926673
[149]
A. Grichting, S. Al Sada, A. Caccam, and U. Khan, ‘Public art and public space in an emerging knowledge economy: the case of Doha’, World Academy of Science, Engineering and Technology, International Journal of Social, Behavioral, Educational, Economic, Business and Industrial Engineering, vol. 9, no. 2, pp. 582–588, 2015 [Online]. Available: http://waset.org/Publication/public-art-and-public-space-in-an-emerging-knowledge-economy-the-case-of-doha/10000658
[150]
H. S. Hein, Public art: thinking museums differently. Lanham: AltaMira Press, 2006 [Online]. Available: https://www-dawsonera-com.libproxy.ucl.ac.uk/abstract/9780759114173
[151]
L. Vernet, ‘The social life of artworks in public spaces: a study of the publics in the Quartier International de Montréal’, in The uses of art in public space, vol. Routledge advances in art and visual studies, J. Lossau and Q. Stevens, Eds. New York: Routledge, 2015, pp. 149–166.
[152]
C. Cartiere and S. Willis, The practice of public art, vol. Routledge research in cultural and media studies. New York: Routledge, 2008 [Online]. Available: http://www.tandfebooks.com.libproxy.ucl.ac.uk/ISBN/9780203926673
[153]
H. S. Hein, Public art: thinking museums differently. Lanham: AltaMira Press, 2006 [Online]. Available: https://www-dawsonera-com.libproxy.ucl.ac.uk/abstract/9780759114173
[154]
J. Lossau and Q. Stevens, Eds., The uses of art in public space, vol. Routledge advances in art and visual studies. New York: Routledge, 2015.
[155]
M. Miles, Art, space and the city: public art and urban futures. London: Routledge, 1997 [Online]. Available: http://www.tandfebooks.com.libproxy.ucl.ac.uk/ISBN/9780203973110
[156]
N. Whybrow, Art and the city. London: I.B. Tauris, 2011 [Online]. Available: https://ebookcentral.proquest.com/lib/ucl/detail.action?docID=688316
[157]
‘Art for Tomorrow’. [Online]. Available: http://artfortomorrow.com/
[158]
‘Sharjah Biennial 13, Tamawuj’. [Online]. Available: http://sharjahart.org/biennial-13
[159]
‘Sharjah Biennial 13: Tamawuj - Announcements - e-flux’. [Online]. Available: http://www.e-flux.com/announcements/76901/sharjah-biennial-13tamawuj/
[160]
‘Sharjah Art Foundation announces structure and dates of Sharjah Biennial 13, Tamawuj’. [Online]. Available: http://sharjahart.org/press/sharjah-art-foundation-announces-structure-and-dates-of-sharjah-biennial-13
[161]
ArtReview, ‘What to expect: Sharjah Biennial 13’. [Online]. Available: https://artreview.com/previews/preview_2016_sharjah_biennial_13/
[162]
H. G. Masters, ‘Sharjah Biennial 13 to expand far beyond the UAE’. [Online]. Available: http://artasiapacific.com/News/SharjahBiennial13ToExpandFarBeyondTheUAE
[163]
Sharjah Art Foundation, ‘Sharjah Biennial’, in Art & patronage: the Middle East, H. Amirsadeghi, Ed. London: TransGlobe, 2010, pp. 146–147.
[164]
H. Belting, ‘Mapping: the Biennials and New Art Regions’, in The global contemporary and the rise of new art world, London: MIT Press, ZKM/Center for Art and Media., 2013, pp. 100–127.
[165]
I. Mesquita, ‘Biennials Biennials Biennials Biennials Biennials Biennials Biennials’, in Beyond the box : diverging curatorial practices, M. Townsend, Ed. Banff, Alta.: Banff Centre Press, 2003, pp. 63–67.
[166]
R. Weiss, Making art global: part 1: the third Havana Biennial 1989. London: Afterall in association with the Academy of Fine Arts Vienna and Van Abbemuseum, Eindhoven, 2011.
[167]
J. Bradley, ‘International exhibitions’, in Beyond the box : diverging curatorial practices, M. Townsend, Ed. Banff, Alta: Banff Centre Press, 2003.
[168]
T. Fillitz, ‘Worldmaking: The cosmopolitanization of Dak’Art, the Biennial of Dakar’, in Global studies : mapping contemporary art and culture, vol. GAM : global art and the museum, Hans Belting [et al.], Ed. Ostfildern: Hatje Cantz, 2011, pp. 382–416.
[169]
E. Filipovic, M. van Hal, and S. Øvstebø, Eds., The biennial reader. Bergen: Bergen Kunsthall, 2010.
[170]
A. Gardner and C. Green, ‘Mega-exhibitions, new publics, and Asian art biennials’, in Art in the Asia-Pacific: intimate publics, vol. Routledge advances in art and visual studies, L. Hjorth, N. King, and M. Kataoka, Eds. New York: Routledge, Taylor & Francis Group, 2014 [Online]. Available: http://dx.doi.org/10.4324/9781315858104
[171]
C. Medina, ‘Another hysterical attempt to theorize about defeat’, in Beyond the box : diverging curatorial practices, M. Townsend, Ed. Banff, Alta.: Banff Centre Press, 2003, pp. 69–85.
[172]
N. Siegert, ‘(Re)mapping Luanda. Post-war utopias of the Angola contemporary art scene’, in Global studies: mapping contemporary art and culture, vol. GAM : global art and the museum, Hans Belting [et al.], Ed. Ostfildern: Hatje Cantz, 2011, pp. 402–416.
