Between paint and ink: Cy Twombly, Steve McCaffery and textual illegibility in North American art and poetry 1950s–1970s

References

• Alberro, Alexander. 1999. “Reconsidering Conceptual Art, 1966–1977.” In Conceptual Art: A Critical Anthology, edited by Alexander Alberro and Blake Stimson, xvi–xxxvii. Cambridge, Mass: MIT Press.
   Google Scholar
• Armand, Louis. 2004. Introduction to Cy Twombly: Fifty Years of Works on Paper, exh. cat. Munich: Pinakothek der Moderne, n.p.
   Google Scholar
• Bakhtin, Mikhail. 1984. Rabelais and his World, translated by Hélène Iswolsky. First edition: Cambridge (MIT Press), 1968.
   Google Scholar
• Barthes, Roland. 1982a. “Cy Twombly ou Non multa sed multum.” In L’Obvie et l’obtus: Essais critiques III, 145–162. Paris: Éditions du Seuil. Originally published in Lambert, Yvon, ed. 1979. Cy Twombly: Catalogue raisonné des oeuvres sur papier. Milan: Multiphla Edizioni, n.p.
   Google Scholar
• Barthes, Roland. 1982b. “Sagesse de l’art.” In L’Obvie et l’obtus: Essais critiques III, 163–178. Paris: Éditions du Seuil. Originally published in Twombly, Cy. 1979. Cy Twombly. Paintings and Drawings, exh. cat., 54–77. New York: Whitney Museum of American Art.
   Google Scholar
• Bliven Jr., Bruce. 1954. The Wonderful Writing Machine. New York: Random House.
   Google Scholar
• Buchloh, Benjamin H.D. [2000] 2003. “Spero’s Other Traditions.” In Neo-Avant-Garde and Culture Industry: Essays on European and American Art from 1955 to 1975, 429–442. Cambridge, Mass: MIT Press.
   Google Scholar
• DeJean, Joan. 1989. Fictions of Sappho: 1546–1937. Chicago, IL: University of Chicago Press.
   Google Scholar
• Derrida, Jacques. 1967. De la grammatologie. Les Éditions de Minuit.
   Google Scholar
• Drucker, Johanna. 1994. The Visible Word: Experimental Typography and Modern Art, 1909–1923. Chicago, IL: University of Chicago Press.
   Google Scholar
• Dworkin, Craig. 2011. “The Fate of Echo.” In Against Expression: An Anthology of Conceptual Writing, edited by Craig Dworkin, and Kenneth Goldsmith, xxiii–xxlix. Evanston, IL: Northwestern University Press.
   Google Scholar
• Emerson, Lori. Fall 2011. “A Brief History of Dirty Concrete by Way of Steve McCaffery’s Carnival and Digital D.I.Y.” In Open Letter, Fourteenth Series, No. 7, 120–129.
   Google Scholar
• Fraenkel, Béatrice. 1992. La Signature: Genèse d’un signe. Paris: Gallimard.
   Google Scholar
• Gibson, James. J. 1950. The Perception of the Visual World. Boston: Houghton-Mifflin.
   Google Scholar
• Gomringer, Eugen. 1978. “From Line to Constellation.” Trans. Mike Weaver. Reproduced in Concrete Poetry: A World View, edited by Mary Ellen Solt. Bloomington: Indiana University Press, 67. Originally published in Augenblick, No.2 (1954).
   Google Scholar
• Greenberg, Clement. 1986. “Toward a Newer Laocoon.” In The Collected Essays and Criticisms, Vol. 1: Perceptions and Judgments. Chicago, IL: The University of Chicago Press, 23–38. Originally published in Partisan Review (1940).
   Google Scholar
• Harris, Roy. 2001. Rethinking Writing. London: Continuum.
   Google Scholar
• Harris, Roy. 2010. The Great Debate About Art. Chicago, IL: Prickly Paradigm Press.
   Google Scholar
• Higgins, Dick. 1978. A Dialectic of Centuries: Notes Towards a Theory of the New Arts. New York: Printed Editions.
   Google Scholar
• Houédard, Dom Sylvester. 2012. “Concrete Poetry & Ian Hamilton Finlay,” In Notes from the Cosmic Typewriter: The Life and Work of Dom Sylvester Houédard, edited by Nicola Simpson. London: Occasional Papers. First published in designer Herbert Spencer’s magazine Typographica, No. 8 (1963), 47–62.
   Google Scholar
• Kosuth, Joseph. 1991. “Art After Philosophy.” In Art After Philosophy and After: Collected Writings 1966–1990, edited by Gabriele Guercio, 13–32. Cambridge: MIT Press. Originally published in Studio International (1969).
   Google Scholar
• Krauss, Rosalind. 1993. The Optical Unconscious. Cambridge: MIT Press.
   Google Scholar
• Krauss, Rosalind, and Yve-Alain Bois. 1996. L’informe: mode d’emploi, exh. cat. Paris: Editions du Centre Pompidou.
   Google Scholar
• Lattimore, Richmond. trans. 1955. Greek Lyrics. Chicago, IL: University of Chicago Press.
   Google Scholar
• Leeman, Richard. 2005. Cy Twombly: A Monograph. Translated Mary Whittall. Paris: Flammarion.
   Google Scholar
• Lessing, G. E. 2013. Laokoon oder Über die Grenzen der Malerei und Poesie. Mit beiläufigen Erläuterungen verschiedener Punkte der Alten Kunstgeschichte. Berlin: Holzinger. First edition: Berlin (Voss), 1766.
   Google Scholar
• McCaffery, Steve. 1977. Carnival: The Second Panel 1970–1975. Toronto: Coach House Press.
   Google Scholar
• McCaffery, Steve. 1986. “Bill Bisset: A Writing Outside Writing.” In North of Intention: Critical Writings 1973–1986, 93–106. New York: Roof Books.
   Google Scholar
• McCaffery, Steve, and bp Nichol. 1992. Rational Geomancy – The Kids of the Book Machine: The Collected Research Reports of the Toronto Research Group 1973–1982. Vancouver: Talonbooks.
   Google Scholar
• Mcluhan, Marshall. 1964. Understanding Media. New York: McGraw-Hill.
   Google Scholar
• McMahon, Fiona. 2007. “Iconicity and Typography in Steve McCaffery’s Panel-Poems.” Revue LISA/LISA e-Journal. Littératures, Histoire des Idées, Images, Sociétés du Monde Anglophone–Literature, History of Ideas, Images and Societies of the English-speaking World 5 (2): 133–152. doi: 10.4000/lisa.1237
   Google Scholar
• Mitchell, W. J. T. 1994a. “Visible Language: Blake’s Art of Writing.” In Picture Theory: Essays on Verbal and Visual Representation, 111–150. Chicago, IL: The University of Chicago Press.
   Google Scholar
• Mitchell, W. J. T. 1994b. “Ekphrasis and the Other.” In Picture Theory: Essays on Verbal and Visual Representation, 151–182. Chicago, IL: The University of Chicago Press.
   Google Scholar
• Nichol, bp. Fall 1987. “The Annotated, Anecdoted, Beginnings of a Critical Checkliust of the Published Works of Steve McCaffery.” In Open Letter, Sixth Series, No. 9, 67–92.
   Google Scholar
• Olson, Charles. 1967. “Projective Verse.” In Selected Writings, edited by Robert Creeley, 15–26. New York: New Directions.
   Google Scholar
• Prins, Yopie. 1999. Victorian Sappho. Princeton, NJ: Princeton University Press.
   Google Scholar
• Rosenberg, Harold. 1983. “Art and Words.” In De-Definition of Art, 55–68. Chicago, IL: University of Chicago Press.
   Google Scholar
• Sanders, Jay and Charles Bernstein, eds. and curators. 2001. Poetry Plastique. New York: Marianne Boesky Gallery and Granary Books, Inc.
   Google Scholar
• Schwartz, Robert. 2006. Visual Versions. Cambridge: MIT Press.
   Google Scholar
• Serota, Nicholas, ed. and curators. 2008. Cy Twombly: Cycles and Seasons. London: Tate/D.A.P.
   Google Scholar
• Staff, Graig G. 2011. “A Poetics of Becoming: The Mythography of Cy Twombly.” In Contemporary Art and Classical Myth, edited by Jennie Hirsh and Isabelle D. Wallace, 43–56. Farnham: Ashgate.
   Google Scholar
• Thornton, Tamara Plakins. 1998. Handwriting in America: A Cultural History. New Haven, CT: Yale University Press.
   Google Scholar
• Tullet, Barrie, ed. 2014. Typewriter Art: A Modern Anthology. London: Laurence King Publishing.
   Google Scholar
• Twombly, Cy. 2012. Drawings: Cat. Rais. Vol. 2 1956–1960, edited by Nicola Del Roscio. Munich and New York: Schirmer/Mosel and Gagosian Gallery.
   Google Scholar