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:
- František Kupka (no date). Available at: https://www.guggenheim.org/artwork/artist/frantisek-kupka.
- “HILMA AF KLINT: PAINTING THE UNSEEN. 3 March - 15 May 2016, Serpentine Gallery” (no date).
- The Great utopia: The Russian and Soviet avant-garde, 1915-1932 (1992). New York: Guggenheim Museum.
- Ashcroft, B., Griffiths, G. and Tiffin, H. (eds.) (1995) The Post-Colonial Studies Reader. Routeledge.
- Albers, J. (2013) Interaction of Color. 50th Anniversary; 4th. Yale University Press.
- 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.
- Anfam, D. (1990) Abstract Expressionism. London: Thames & Hudson.
- Appignanesi, R., Garratt, C., Sardar, Z. and Curry, P. (2007) Introducing Postmodernism. Icon Books (A graphic guide to cutting-edge thinking).
- Archer, M. (2015) Art Since 1960. Third. Thames & Hudson.
- Ashcroft, B., Griffiths, G. and Tiffin, H. (2007) Post-Colonial Studies: The Key Concepts. 2nd ed. Routeledge.
- Baal-Teshuva, J. (2015) Mark Rothko, 1903-1970: pictures as drama. Köln: Taschen.
- Bailey, G. A., Rider, A. and McKelway, M. (2014) Art in Time: A World History of Styles and Movements. Phaidon.
- Bhabha, H. K. (1984) “Of Mimicry and Man: The Ambivalence of Colonial Discourse,” 28, p. 125.
- Bhabha, H. K. (1992) “Freedom’s Basis in the Indeterminate,” 61, p. 46.
- Bhabha, H. K. (2003) “Democracy De-realized,” Diogenes, 50(1), pp. 27–35.
- Bhabha, H. K. (2013) “In Between Cultures,” New Perspectives Quarterly, 30(4), pp. 107–109.
- 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.
- 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.
- Blazwick, I. and Petersens, M. af (2015) Adventures of the Black Square. Presetel.
- Bois, Y.-A. (1990) “Strzmiński and Kobro: In Search of Motivation,” in Painting as Model. Cambridge, MA: MIT Press, pp. 123–156.
- Bois, Y.-A. (1990) Painting as Model. Cambridge, MA: MIT Press.
- Bois, Y.-A. (2004) “On Two Paintings by Barnett Newman*,” October, 108(6), pp. 3–27.
- Bois, Y.-A. (2004) “Galaxy,” October, 108, pp. 28–34.
- Bois, Y.-A. (2007) “Klein’s Relevance for Today,” October, 119(10), pp. 75–93.
- Bois, Y.-A. (2016) “Kobro and Strzemiński Revisited,” October, 156, pp. 3–11.
- 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.
- Borchardt-Hume, A. (2014) Malevich. London: Tate Publishing.
- Buchloh, B. H. D., Gidal, P. and Pelzer, B. (2008) Gerhard Richter: 4900 Colours. Serpentine Gallery and Hatje Cantz.
- Bull, M. (1992) “Reviewed Work(s): Painting as Model by Yve-Alain Bois,” The Burlington Magazine, 134(1066), pp. 41–42.
- Chevreul, M. E. (1839) De la loi du contraste simultané des couleurs. Paris: Pitois-Levrault et ce.
- Claverio, J. J. (2010) Fundació Joan Miró : Guide of the Foundation. Barcelona: Ediciones Poligrafa.
- Collings, M. (1999) This is Modern Art. London: Weidenfeld & Nicolson.
- Cottington, D. (1998) Cubism. London: Tate Publishing.
- Dickerman, L. and Affron, M. (2012) Inventing Abstraction, 1910-1925: How a Radical Idea Changed Modern Art. New York: The Museum of Modern Art.
- 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.
- Drichel, S. (2008) “The time of hybridity,” Philosophy & Social Criticism, 34(6), pp. 587–615.
- Drutt, M. (2003) Kazimir Malevich: suprematism. New York: Guggenheim Museum.
- Düchting, H. (2015) Wassily Kandinsky, 1866-1944: a revolution in painting. Köln: Taschen.
- Elger, D. (2008) Abstract art. Köln: Taschen.
- Ford, A. and Roberts, A. (1998) Colour Space Conversions. Available at: http://www.poynton.com/PDFs/coloureq.pdf.
- Frenkel, M. (2006) “THE MNC AS A THIRD SPACE: RETHINKING IHRM KNOWLEDGE THROUGH HOMI BHABHA.,” Academy of Management Proceedings.
- Gaensheimer, S., Lunghi, E. and Ley, S. van der (2015) Fiona Tan, Geography of Time. London: Koenig Books.
- Gage, J. (2007) “Color in Art.” London: Thames & Hudson.
- Gall, D. A. (2014) “Fragments of what? Postmodernism, Hybridity and Collage ,” Journal of Art for Life, 5(1).
- Garland, P. S. (1983) “Josef Albers: His Paintings, Their Materials, Technique, and Treatment,” Journal of the American Institute for Conservation, 22(2), p. 62.
- Goldsworthy, K. and Paine, H. (2014) “Laser Welding of Textiles: A creative approach to technology through a reflective craft practice,” in All Makers Now.
- Gompertz, W. (2012) What Are You Looking At?: 150 Years of Modern Art in the Blink of an Eye. Viking.
- Gray, C. and Malins, J. (2004) Visualizing Research. Ashgate (A Guide to the Research Process in Art and Design).
- Gray, S. (1999) “Celebrating hybridity: David McDiarmid’s textile designs,” Art Australia, 37(1), pp. 96–101.
- Greeley, R. A. (2015) “The Color of Experience: Postwar Chromatic Abstraction in Venezuela and Brazil,” October, 152, pp. 53–59.
- Hargrove, E. T. (1896) “Progress of Theosophy in the United States,” The North American Review, 162(475), pp. 698–704.
- 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.
- Harrison, H. A. (2004) “Jackson Pollock and Lee Krasner: The Artists and their World.” East Hampton, NY: Pollock-Krasner House and Study Center.
- Harrod, T. (2015) Real Thing. London: Hyphen Press.
- Head, T. (2014) Fictions. Eindhoven: Lecturis.
- Hegel, G. W. F. (1821) Grundlinien der Philosophie des Rechts [Elements of the Philosophy of Right].
- 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.
- Higgins, C. (2012) “Bridget Riley presented with Sikkens prize for her work in colour,” The Guardian.
- Hornung, D. (2012) Colour: A Workshop For Artists and Designers. Second. Laurence King.
- Hughes, G. (2007) “Envisioning Abstraction: The Simultaneity of Robert Delaunay’s ‘First Disk,’” The Art Bulletin, 89(2), pp. 306–332.
- Hughes, R. (1991) The Shock of the New: Art and the Century of Change. Updated and Enlarged. London: Thames & Hudson.
- Israel, M. (2015) How Mondrian Went Abstract. Available at: https://www.artsy.net/article/matthew-how-mondrian-went-abstract.
- Kandinsky, W. (1910) “First abstract watercolor.”
- 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).
- 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).
- 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.
- Kindel, E. (2002) “When 1+1=3,” eyemagazine.com, 43(11).
- King, S. B. (1988) “Two Epistemological Models for the Interpretation of Mysticism,” Journal of the American Academy of Religion, 56(2), pp. 257–279.
- Kobro, K. and Strzemiński, W. (2016) “Composing Space/Calculating Space-Time Rhythms *,” October, 156, pp. 12–74.
- Kudielka, R. and Moorhouse, P. (2015) Bridget Riley: The Curve Paintings 1961-2014. Ridinghouse.
- Kuspit, D. B. (1970) “Utopian Protest in Early Abstract Art,” Art Journal, 29(4), p. 430.
- Lippit, A. M. (1991) “Reviewed Work: Painting as Model by Yve-Alain Bois,” MLN, 106(5), pp. 1074–1078.
- Lokko, L. (2014) “Cut and paste,” Technoetic Arts, 12(2), pp. 219–236.
- 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.
- MacRitchie, L., Hartley, C. and Riley, B. (2012) Bridget Riley: Complete Prints 1962-2012. 4th Revised Edition. Edited by K. Schubert. London: Ridinghouse.
- Macey, D. (2001) Dictionary of Critical Theory. Penguin.
- 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.
- 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.
- Malevich, M. (2003) Suprematism. New York: Guggenheim Museum.
- Montfort, A. and Godefroy, C. (2014) Sonia Delaunay. Tata Gallery Publishing.
- Moorhouse, P., Shiff, R. and Kudielka, R. (2014) Bridget Riley: The Stripe Paintings 1961-2014. New York: David Zwirner.
- Moszynska, A. (1990) Abstract Art. London: Thames & Hudson.
- Munari, B. (2008) Design as Art. Penguin UK.
- 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.
- Onfray, M., Bouratsis, S. E., Trémeau, T. and Lunghi, E. (2016) Wim Delvoye [rétrospective]. Luxembourg: Mudam Luxembourg and Somogy éditions d’Art.
- Paul, C. (2015) “Digital Art.” London: Thames & Hudson.
- Pearson, M. (2011) Generative art: A practical guide using processing. New York: Manning.
- 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.
- Poynton, C. (no date) Frequently Asked Questions about Color. Available at: http://www.poynton.com/PDFs/ColorFAQ.pdf.
- Rahman, S. (2005) “Please, no more flock wallpaper,” New Statesman, (856), p. 28.
- Robinette, N. (2006) “Postcolonial Studies: A Materialist Critique,” Cultural Critique, 62, pp. 207–209.
- Rodrigues, C. and Garratt, C. (2010) Introducing Modernism. Icon Books (A Graphic Guide).
- Root, O. (1879) Modern Chromatics, with Applications to Art and Industry. New York: D. Appleton and Company.
- Schreyach, M. (2013) “BARNETT NEWMAN’S ‘SENSE OF SPACE’: A Noncontextualist Account of Its Perception and Meaning,” Common Knowledge, 19(2), pp. 351–379.
- Seymour, A. (2011) “Digital Materiality: Digital Fabrication and Hybridity in Graphic Design,” Design Principles & Practice: An International \ldots, 5(3), pp. 527–533.
- Shanken, E. A. (2015) Systems. Whitechapel Gallery and MIT Press.
- 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.
- Sim, S. (2009) Introducing Critical Theory. Revised Edition. Icon Books (A Graphic Guide).
- Sim, S. and Van Loon, B. (2009) Introducing Critical Theory. Revised edition. Icon Books.
- Spielmann, Y. and Bolter, J. D. (2006) “Hybridity: Arts, Sciences and Cultural Effects,” Leonardo, 39(2), pp. 106–107.
- Sullivan, M. (2015) “Alejandro Otero’s Polychrome: Color between Nature and Abstraction,” October, 152(104), pp. 60–81.
- Temkin, A. (2008) Colour Chart: Reinventing Colour, 1950 to Today. New York: Museum of Modern Art.
- Temkin, A., Rosenberg, S. and Taylor, M. (2000) Twentieth-Century Painting and Sculpture in the Philadelphia Museum of Art.
- 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.