Research Paper Bibliography

My Research Paper Bibliography

During the research that I undertook for my paper I read a lot of books and articles, saw art at galleries, and drank far too much coffee.

The research paper contains works cited. Below is the bibliography of all the works that I consulted during my research:

  1. František Kupka (no date). Available at:
  2. “HILMA AF KLINT: PAINTING THE UNSEEN. 3 March - 15 May 2016, Serpentine Gallery” (no date).
  3. The Great utopia: The Russian and Soviet avant-garde, 1915-1932 (1992). New York: Guggenheim Museum.
  4. Ashcroft, B., Griffiths, G. and Tiffin, H. (eds.) (1995) The Post-Colonial Studies Reader. Routeledge.
  5. Albers, J. (2013) Interaction of Color. 50th Anniversary; 4th. Yale University Press.
  6. Andriesse, J., Denby, E., Dumas, M., Godfrey, J., James, M., OHara, F., Rowland, I. D., Schuyler, J. and Verwoert, J. (2016) Alex Katz: Quick Light. Edited by L. Carey-Thomas, M. Blanchflower, and J. Constable. London: Koenig Book and the Serpentine Galleries.
  7. Anfam, D. (1990) Abstract Expressionism. London: Thames & Hudson.
  8. Appignanesi, R., Garratt, C., Sardar, Z. and Curry, P. (2007) Introducing Postmodernism. Icon Books (A graphic guide to cutting-edge thinking).
  9. Archer, M. (2015) Art Since 1960. Third. Thames & Hudson.
  10. Ashcroft, B., Griffiths, G. and Tiffin, H. (2007) Post-Colonial Studies: The Key Concepts. 2nd ed. Routeledge.
  11. Baal-Teshuva, J. (2015) Mark Rothko, 1903-1970: pictures as drama. Köln: Taschen.
  12. Bailey, G. A., Rider, A. and McKelway, M. (2014) Art in Time: A World History of Styles and Movements. Phaidon.
  13. Bhabha, H. K. (1984) “Of Mimicry and Man: The Ambivalence of Colonial Discourse,” 28, p. 125.
  14. Bhabha, H. K. (1992) “Freedom’s Basis in the Indeterminate,” 61, p. 46.
  15. Bhabha, H. K. (2003) “Democracy De-realized,” Diogenes, 50(1), pp. 27–35.
  16. Bhabha, H. K. (2013) “In Between Cultures,” New Perspectives Quarterly, 30(4), pp. 107–109.
  17. Birnbaum, D. and Enderby, E. (2016) “Painting the Unseen,” in Enderby, E. and Blanchflower, M. (eds.) Hilma af Klint: Painting the Unseen. London: Koenig Books and the Serpentine Galleries, pp. 9–12.
  18. Birnbaum, D., Enderby, E., Higgie, J. and Voss, J. (2016) Hilma af Klint: Painting the Unseen. Edited by E. Enderby and M. Blanchflower. London: Koenig Books and the Serpentine Galleries.
  19. Blazwick, I. and Petersens, M. af (2015) Adventures of the Black Square. Presetel.
  20. Bois, Y.-A. (1990) “Strzmiński and Kobro: In Search of Motivation,” in Painting as Model. Cambridge, MA: MIT Press, pp. 123–156.
  21. Bois, Y.-A. (1990) Painting as Model. Cambridge, MA: MIT Press.
  22. Bois, Y.-A. (2004) “On Two Paintings by Barnett Newman*,” October, 108(6), pp. 3–27.
  23. Bois, Y.-A. (2004) “Galaxy,” October, 108, pp. 28–34.
  24. Bois, Y.-A. (2007) “Klein’s Relevance for Today,” October, 119(10), pp. 75–93.
  25. Bois, Y.-A. (2016) “Kobro and Strzemiński Revisited,” October, 156, pp. 3–11.
  26. Bois, Y.-A., Chlenova, M., Cox, C., Dickerman, L., Foster, H., Franko, M., Galison, P., Michaud, P.-A. and Quaytman, R. H. (2013) “Abstraction, 1910–1925: Eight Statements,” October, 143, pp. 3–51.
  27. Borchardt-Hume, A. (2014) Malevich. London: Tate Publishing.
  28. Buchloh, B. H. D., Gidal, P. and Pelzer, B. (2008) Gerhard Richter: 4900 Colours. Serpentine Gallery and Hatje Cantz.
  29. Bull, M. (1992) “Reviewed Work(s): Painting as Model by Yve-Alain Bois,” The Burlington Magazine, 134(1066), pp. 41–42.
  30. Chevreul, M. E. (1839) De la loi du contraste simultané des couleurs. Paris: Pitois-Levrault et ce.
  31. Claverio, J. J. (2010) Fundació Joan Miró : Guide of the Foundation. Barcelona: Ediciones Poligrafa.
  32. Collings, M. (1999) This is Modern Art. London: Weidenfeld & Nicolson.
  33. Cottington, D. (1998) Cubism. London: Tate Publishing.
  34. Dickerman, L. and Affron, M. (2012) Inventing Abstraction, 1910-1925: How a Radical Idea Changed Modern Art. New York: The Museum of Modern Art.
  35. Dorin, A., McCabe, J., McCormack, J., Monro, G. and Whitelaw, M. (2012) “A framework for understanding generative art,” Digital Creativity, 23(3-4), pp. 239–259.
  36. Drichel, S. (2008) “The time of hybridity,” Philosophy & Social Criticism, 34(6), pp. 587–615.
  37. Drutt, M. (2003) Kazimir Malevich: suprematism. New York: Guggenheim Museum.
  38. Düchting, H. (2015) Wassily Kandinsky, 1866-1944: a revolution in painting. Köln: Taschen.
  39. Elger, D. (2008) Abstract art. Köln: Taschen.
  40. Ford, A. and Roberts, A. (1998) Colour Space Conversions. Available at:
  41. Frenkel, M. (2006) “THE MNC AS A THIRD SPACE: RETHINKING IHRM KNOWLEDGE THROUGH HOMI BHABHA.,” Academy of Management Proceedings.
  42. Gaensheimer, S., Lunghi, E. and Ley, S. van der (2015) Fiona Tan, Geography of Time. London: Koenig Books.
  43. Gage, J. (2007) “Color in Art.” London: Thames & Hudson.
  44. Gall, D. A. (2014) “Fragments of what? Postmodernism, Hybridity and Collage ,” Journal of Art for Life, 5(1).
  45. Garland, P. S. (1983) “Josef Albers: His Paintings, Their Materials, Technique, and Treatment,” Journal of the American Institute for Conservation, 22(2), p. 62.
  46. Goldsworthy, K. and Paine, H. (2014) “Laser Welding of Textiles: A creative approach to technology through a reflective craft practice,” in All Makers Now.
  47. Gompertz, W. (2012) What Are You Looking At?: 150 Years of Modern Art in the Blink of an Eye. Viking.
  48. Gray, C. and Malins, J. (2004) Visualizing Research. Ashgate (A Guide to the Research Process in Art and Design).
  49. Gray, S. (1999) “Celebrating hybridity: David McDiarmid’s textile designs,” Art Australia, 37(1), pp. 96–101.
  50. Greeley, R. A. (2015) “The Color of Experience: Postwar Chromatic Abstraction in Venezuela and Brazil,” October, 152, pp. 53–59.
  51. Hargrove, E. T. (1896) “Progress of Theosophy in the United States,” The North American Review, 162(475), pp. 698–704.
  52. Harrison, C. and Wood, P. (2003) Art In Theory, 1900-2000: An Anthology of Changing Ideas. 2nd [New Edition]. Edited by C. Harrison and P. Wood. Blackwell.
  53. Harrison, H. A. (2004) “Jackson Pollock and Lee Krasner: The Artists and their World.” East Hampton, NY: Pollock-Krasner House and Study Center.
  54. Harrod, T. (2015) Real Thing. London: Hyphen Press.
  55. Head, T. (2014) Fictions. Eindhoven: Lecturis.
  56. Hegel, G. W. F. (1821) Grundlinien der Philosophie des Rechts [Elements of the Philosophy of Right].
  57. Higgie, J. (2016) “Longing for Light: The Art of Jilma af Klint,” in Enderby, E. and Blanchflower, M. (eds.) Hilma af Klint: Painting the Unseen. London: Koenig Books and the Serpentine Galleries, pp. 13–20.
  58. Higgins, C. (2012) “Bridget Riley presented with Sikkens prize for her work in colour,” The Guardian.
  59. Hornung, D. (2012) Colour: A Workshop For Artists and Designers. Second. Laurence King.
  60. Hughes, G. (2007) “Envisioning Abstraction: The Simultaneity of Robert Delaunay’s ‘First Disk,’” The Art Bulletin, 89(2), pp. 306–332.
  61. Hughes, R. (1991) The Shock of the New: Art and the Century of Change. Updated and Enlarged. London: Thames & Hudson.
  62. Israel, M. (2015) How Mondrian Went Abstract. Available at:
  63. Kandinsky, W. (1910) “First abstract watercolor.”
  64. Kandinsky, W. (1946) On the spiritual in art. Edited by H. Rebay. New York: Solomon R. Guggenheim Foundation (First complete English translation, with four full colour page reproductions, woodcuts and half tones).
  65. Kandinsky, W. (1947) Point and line to plane. Edited by W. Gropius and L. Moholy-Nagy. New York: Solomon R. Guggenheim Foundation (Contribution to the analysis of the pictorial elements).
  66. Kandinsky, W. (2003) “Concerning the Spirituality in Art,” in Harrison, C. and Wood, P. (eds.) Art In Theory, 1900-2000: An Anthology of Changing Ideas. Blackwell.
  67. Kindel, E. (2002) “When 1+1=3,”, 43(11).
  68. King, S. B. (1988) “Two Epistemological Models for the Interpretation of Mysticism,” Journal of the American Academy of Religion, 56(2), pp. 257–279.
  69. Kobro, K. and Strzemiński, W. (2016) “Composing Space/Calculating Space-Time Rhythms *,” October, 156, pp. 12–74.
  70. Kudielka, R. and Moorhouse, P. (2015) Bridget Riley: The Curve Paintings 1961-2014. Ridinghouse.
  71. Kuspit, D. B. (1970) “Utopian Protest in Early Abstract Art,” Art Journal, 29(4), p. 430.
  72. Lippit, A. M. (1991) “Reviewed Work: Painting as Model by Yve-Alain Bois,” MLN, 106(5), pp. 1074–1078.
  73. Lokko, L. (2014) “Cut and paste,” Technoetic Arts, 12(2), pp. 219–236.
  74. Lomas, D., Rousseau, P. and Zander, H. (2013) Hilma af Klint - A Pioneer of Abstraction. Edited by J. Widoff and I. Müller-Westermann. Stockholm: Moderna Museet.
  75. MacRitchie, L., Hartley, C. and Riley, B. (2012) Bridget Riley: Complete Prints 1962-2012. 4th Revised Edition. Edited by K. Schubert. London: Ridinghouse.
  76. Macey, D. (2001) Dictionary of Critical Theory. Penguin.
  77. Malet, R. M. (2003) Joan Miró : apunts d’una col\textperiodcenteredlecció : obres de la Gallery K. AG [Notes on a Collection : Paintings from the Gallery K. AG]. Foundació Joan Miró.
  78. Malet, R. M. (2011) Joan Miró : obres de la collecció Gallery K. AG a la Fundació Joan Miró [Works from the Gallery K. AG at the Fundació Joan Miró]. Barcelona: Fundació Jean Miró.
  79. Malevich, M. (2003) Suprematism. New York: Guggenheim Museum.
  80. Montfort, A. and Godefroy, C. (2014) Sonia Delaunay. Tata Gallery Publishing.
  81. Moorhouse, P., Shiff, R. and Kudielka, R. (2014) Bridget Riley: The Stripe Paintings 1961-2014. New York: David Zwirner.
  82. Moszynska, A. (1990) Abstract Art. London: Thames & Hudson.
  83. Munari, B. (2008) Design as Art. Penguin UK.
  84. Obrist, H. U., Wilson-Goldie, K., Grenier, R. and Fattal, S. (2016) Etel Adnan: The Weight of The World. Edited by R. Lewin, M. Larner, and A. Gryczkowska. London: Koenig Books and the Serpentine Galleries.
  85. Onfray, M., Bouratsis, S. E., Trémeau, T. and Lunghi, E. (2016) Wim Delvoye [rétrospective]. Luxembourg: Mudam Luxembourg and Somogy éditions d’Art.
  86. Paul, C. (2015) “Digital Art.” London: Thames & Hudson.
  87. Pearson, M. (2011) Generative art: A practical guide using processing. New York: Manning.
  88. Peyton-Jones, J. and Obrist, H. U. (2016) “Directors’ Foreward,” in Enderby, E. and Blanchflower, M. (eds.) Hilma af Klint: Painting the Unseen. London: Koenig Books and the Serpentine Galleries, pp. 5–8.
  89. Poynton, C. (no date) Frequently Asked Questions about Color. Available at:
  90. Rahman, S. (2005) “Please, no more flock wallpaper,” New Statesman, (856), p. 28.
  91. Robinette, N. (2006) “Postcolonial Studies: A Materialist Critique,” Cultural Critique, 62, pp. 207–209.
  92. Rodrigues, C. and Garratt, C. (2010) Introducing Modernism. Icon Books (A Graphic Guide).
  93. Root, O. (1879) Modern Chromatics, with Applications to Art and Industry. New York: D. Appleton and Company.
  94. Schreyach, M. (2013) “BARNETT NEWMAN’S ‘SENSE OF SPACE’: A Noncontextualist Account of Its Perception and Meaning,” Common Knowledge, 19(2), pp. 351–379.
  95. Seymour, A. (2011) “Digital Materiality: Digital Fabrication and Hybridity in Graphic Design,” Design Principles & Practice: An International \ldots, 5(3), pp. 527–533.
  96. Shanken, E. A. (2015) Systems. Whitechapel Gallery and MIT Press.
  97. Sieglohr, U. (2007) “Sonic Hybridity and Visual Dualism in the Work of Sussan Deyhim and Shirin Neshat,” Music, Sound, and the Moving Image, 1(1), pp. 73–93.
  98. Sim, S. (2009) Introducing Critical Theory. Revised Edition. Icon Books (A Graphic Guide).
  99. Sim, S. and Van Loon, B. (2009) Introducing Critical Theory. Revised edition. Icon Books.
  100. Spielmann, Y. and Bolter, J. D. (2006) “Hybridity: Arts, Sciences and Cultural Effects,” Leonardo, 39(2), pp. 106–107.
  101. Sullivan, M. (2015) “Alejandro Otero’s Polychrome: Color between Nature and Abstraction,” October, 152(104), pp. 60–81.
  102. Temkin, A. (2008) Colour Chart: Reinventing Colour, 1950 to Today. New York: Museum of Modern Art.
  103. Temkin, A., Rosenberg, S. and Taylor, M. (2000) Twentieth-Century Painting and Sculpture in the Philadelphia Museum of Art.
  104. Voss, J. (2016) “Hilma af Klint and the Evolution of Art,” in Enderby, E. and Blanchflower, M. (eds.) Hilma af Klint: Painting the Unseen. London: Koenig Books and the Serpentine Galleries, pp. 21–35.