Aldrich, M., & Hackforth-Jones, J. (Eds.). (2012). Art and authenticity. Farnham, England: Lund Humphries.

Akel, J. (2013). Drawing from memory. Frieze. 159, 120 -121.

Arthur C. Clarke Foundation. (2014). Sir Arthur’s quotations. Retrieved from

Barthes, R. (1975). The pleasure of the text. New York, NY: Hill & Wang. [Translated by Miller, R.]

Barthes, R. (1980). Camera lucida. London, England: Vintage.

Badger, G. (2007). The genius of photography: How photography has changed our lives. London, England: Quadrille.

Batchen, G. (2013). Human nature: Joan Fontcuberta and the truthiness of the photograph. In J. Fontcuberta The nature of photography: The photography of nature. (pp. 3 – 27). London, England: Mack.

Berger, J. (1960). Permanent red. London, England: Writers and Readers.

Berger, J., & Mohr, J. (1982). Another way of telling. Cambridge, England: Granta  Books.

Berger, J. (2008). On drawing (third ed.). Cork, Ireland: Occasional Press.

Biennale of Sydney. (2016). 20th Biennale of Sydney – guide. Sydney, NSW, Australia: Biennale of Sydney

Boltanski, C. (2006). Research and presentation of All that Remains of My Childhood 1944 -1950//1969. In. C. Merewether (Ed.), The Archive: Documents of contemporary art. Cambridge, MA: MIT Press.

Bolte Taylor, J. (2008). TED Talks: Stroke of Insight [Video file]. Retrieved from

Bradley, F., Hilty, G., & Loock, U. (2005). Louise Hopkins: Freedom of information [Exhibition catalogue]. Edinburgh, Scotland: The Fruitmarket Gallery.

Brooker, C. (Producer), & Welsh, B. (Director). (2011). The entire history of you [Television series episode]. In Black Mirror. London, England: Zeppotron.

Buchanan, A. (2013). Robert Willis: The founder of architectural history. Woodbridge, England: Boydell Press.

Calvino, I. (1997). Invisible cities. London, England: Vintage. [First published in 1972].

Cameron, D. (Ed.). (1999). William Kentridge. London, England: Phaidon.

Cavendish, R. (Ed.). (1974). The encyclopaedia of the unexplained: Magic, Occultism and Parapsychology. London, England: Routledge.

Clancy, J. (2012). Passing the buck: Perception, reality, and authenticity in late nineteenth-century American painting.  In M. Aldrich & J. Hackforth-Jones (Eds.). Art and Authenticity. Farnham, England: Lund Humphries.

Clemens, J., Leonard, R., & Gillespie, R. (2013). Simon Starling: In speculum [Exhibition catalogue]. Melbourne, VIC, Australia: Monash University Museum of Art.

Corballis, M. (2014). The wandering mind: What the brain does when you’re not looking. Auckland, New Zealand: Auckland University Press.

Davis, C. (2005). Etat Present: Hauntology, spectres and phantoms. French Studies, 59/3, 373 – 379.

Derrida, J. (1993). Memoirs of the blind: The self portrait and other ruins. Chicago, IL: University of Chicago Press. [Translated by Brault, P., & Naas, M].

Derrida, J. (1994). Specters of Marx: The state of debt, the work of mourning, & the new international. New York, NY: Routledge.

Dillon, B. (2009). The end of the line: Attitudes in drawing [Exhibition catalogue]. London, England: Hayward.

Downey, A. (2012). Authenticity, originality and contemporary art: Will the real Elaine Sturtevant please stand up? In M. Aldrich & J. Hackforth-Jones (Eds.). Art and Authenticity. Farnham, England: Lund Humphries.

Edwards, B. (1979). Drawing on the right side of the brain: How to unlock your hidden artistic talent. London, England: Fontana/Collins.

Ellwood, T. (2013). Melbourne now: Exhibition guide. Melbourne, VIC, Australia: National Gallery of Victoria.

Farquharson, A. & Wilson-Goldie, K. (2012). Get together. Frieze, September 2012.

Feinstein, L. (Producer/Director). (2004). Inhaling the spore: A journey through the Museum of Jurassic Technology [Film]. The International Documentary Association, 3470 Wilshire Blvd., Suite 980, Los Angeles, CA 90010 USA.

Foster, J. (2009). Memory: A very short introduction. Oxford, England: Oxford University Press.

Fox, M. (2014, May 16). Elaine Sturtevant, who borrowed others’ work artfully, is dead at 89. The New York Times. Retrieved from

Gallix, A. (2001). Hauntology: A not-so-new critical manifestation. Retrieved from

Gidley, M. (2000, June-August). Georges Perec: A user’s manual. Frieze, 53 

Heiferman, M. (2012, Spring-Summer). Get back to where you once belonged.                                Photoworks, 18, 76-77.

Hoffie, P. (2009). William Kentridge: Between chance and a programme. Artlink. 29 (3), 46 – 51.

Holland, N. (2001). The death of the other/father: A feminist reading of Derrida’s Hauntology. Hypathia, 16/1, 64 – 71.

Holtzschue, L. (2011). Understanding color: An introduction for designers (fourth ed.). New Jersey, NY: John Wiley & Sons.

Houston, K. (2013). Shady characters: The secret life of punctuation, symbols & other typographical marks. New York, NY: W. W. Norton & Company.

Ingold, T. (2007). Lines: A brief history. Abingdon, England: Routledge.

Kaplan, L. (Fall 2003). Where the paranoid meets the paranormal: Speculations on spirit photography. Art Journal 63/3, 18 – 29.

Kentridge, W. (1994). Felix in exile [Video file]. Retrieved from

Kerr, S. & Porter, G. (Ed). (2010). Bruce is in the garden; so someone is in the garden. Auckland, New Zealand: Clouds.

Kunzru, H. (2013). Memory Palace. London, England: V & A.

Marias, J. (1988). Dark back of time. London, England: Penguin [Translation Esther Allen, 2001].

Maslen, M., & Southern, J. (2011). Drawing projects: An exploration of the language of drawing. London, England: Black Dog.

Mendelsund, P. (2014). What we see when we read. New York, NY: Vintage.

Merewether, C. (1999). A Lasting Impression. In A. Bond (Ed.) Trace: The international exhibition. Liverpool, England: Tate Liverpool. pp. 164 – 171.

Meyer, R. (2013, March 16). Inbetween analogue and digital: Growing up in the digital revolution [Web log message]. Retrieved from

Millar, W., & Ravich, N. (2010). Art21 William Kentridge: Pain and sympathy. [Video file]. Retrieved from

Newman, M. (2003). The marks, traces and gestures of drawing. In A. Lehner (Ed.), The stage of drawing: Gesture and act. London, England: Tate.

Pallasmaa, J. (2009). The thinking hand: Existential and embodied wisdom in architecture. Chichester, England: Wiley.

Paton, J. (2005). How to look at a painting. Wellington, New Zealand: Awa Press.

Peck, A. (2011). Colter Jacobsen. Artforum. Retrieved from

Peim, N. (2005). Spectral bodies: Derrida and the philosophy of the photograph as historical document. Journal of philosophy of education. 39 (1), 67-84.

Petherbridge, D. (2010). The primacy of drawing. New Haven, CT: Yale University Press.

Rappolt, M. (2013, March). Simon Starling. Art Review 66, 70 – 75.

Raspe, R. E. (1960). Singular travels, campaigns and adventures of Baron Munchausen. New York, NY: Dover.

Rekade, C. (2013, June). Clever objects – Tell tale objects. Art History 36 (3), 640 – 651.

Rutherford, A. (2013). Spending time with William Kentridge. Eyeline: Contemporary visual arts. 78/79, 20 – 23.

Sacks, O. (1986). The man who mistook his wife for a hat. London, England: Picador.

Schlain, L. (1998). The alphabet versus the goddess: The conflict between word and image. New York, NY: Penguin.

Schwabsky, B. (2011). Everyday Painting. In Vitamin P2: New perspectives in painting. London, England: Phaidon.

Schwartz, H. (1996). The culture of the copy: Striking likenesses, unreasonable facsimiles. New York, NY: Zone Books.

Science Museum. (2014). Babbage. Retrieved from

Setterfield, D. (2013). Bellman & Black: A ghost story. London, England: Orion.

Smith, A. (2009). Dust to dust: Musings on cyclical forgetting. Dimensions. 22, 67 – 74.

Solnit, R. (1998). Once Removed: J. John Priola. Santa Fe, NM: Arena.

Solnit, R. (2006). A field guide to getting lost. Edinburgh, Scotland: Canongate.

Solnit, R. (2013). The faraway nearby. New York, NY: Penguin.

Solnit, R. (2015). Men explain Lolita to me. Retrieved from

Somers, A. (2010/2011). Sight Unseen. ArtUS, 30, 74 – 79.

Sontag, S. (1971). On photography. London, England: Penguin.

Standage, T. (2004). Monster in a box. Wired. Retrieved from

Starling, S. (2010). Never the same river (Possible futures, probable pasts). In A. Groom (Ed.). (2013). Time: Documents of contemporary art. Cambridge MA: MIT Press.

Taussig, M., Storer, R., & Morgan, J. (2008). Simryn Gill. Sydney, NSW, Australia: Museum of Contemporary Art.

Tavin, K. (2005). Hauntological shifts: Fear and loathing of popular (visual) culture. Studies in art education, 46/2, 101 – 117.

Turkle, S. (2007). Evocative objects: Things we think with. Cambridge, MA: MIT Press.

Warner, M. (2008). Phantasmagoria. Oxford, England: Oxford University Press.

Weschler, L. (1995). Mr. Wilson’s cabinet of wonder: Pronged ants, horned humans, mice on toast, and other marvels of jurassic technology. New York, NY: Pantheon Books.

Williams, G. (2014). How to write about contemporary art. London, England: Thames & Hudson.

Wilson, D. (2009). The Museum of Jurassic Technology. Retrieved from

Young, R. (2003). Postcolonialism: A very short introduction. Oxford, England: Oxford University Press.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s