References
- Balsom, Erica. 2020. ‘Shoreline Movements’ e-flux Journal, Issue #114 December 2020, https://www.e-flux.com/journal/114/366065/shoreline-movements/.
- Barad, Karen. 2007. Meeting the Universe Halfway. Durham, UC: Duke University Press.
- Beardsworth, Richard. 1996. Derrida & the Political. London/New York: Routledge.
- Bennett, Jane. 2010a. “The Force of Thing.” In Vibrant Matter: A Political Ecology of Things, 1–19. Durham/London: Duke University Press.
- Bennett, Jane. 2010b. “The Agency of Assemblages.” In Vibrant Matter: A Political Ecology of Things, 20–38. Durham/London: Duke University Press.
- Borderlands. 2015. Gallery North, University of Northumbria, 23 Apr 2015–08 May 2015.
- Buchi, Victor, and Gavin Lucas. 2001. “The Absent Present’.” In Archaeologies of Contemporary Past, edited by V. Buchli, and G. Lucas. London/New York: Routledge.
- Buskirk, Martha 2005. The Contingent Object of Contemporary Art, 186–198. Cambridge, MA/London: The MIT Press.
- Cowan, Leah. 2021. Border Nation: A Story of Migration. London: Pluto Press.
- Crimp, Douglas. 1997. On the Museum’s Ruins. Cambridge: The MIT Press.
- Davies King, William. 2008. Collections of Nothing. London/Chicago: The University of Chicago Press.
- Greenblatt, Stephen. 1990. “Resonance and Wonder.” Bulletin of the American Academy of Arts and Sciences 43 (4): 11–34.
- Greenblatt, Stephen. 1991. “Resonance and Wonder.” In Exhibiting Cultures: The Poetics and Politics of Museum Display, Smithsonian, edited by Ivan Karp. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/northumbria/detail.action?docID = 5337767.
- Hao, Sophia Yadong, and Matthew Hearn2010. NOTES on a Return. Sunderland: Art Editions North.
- Haraway, Donna. 2003. The Companion Species Manifesto, Dogs, People and Significant Otherness. Chicago: Prickly Paradigm Press.
- Hoffman, Jens. 2012. “The Artist’s Studio in an Expanded Field.” In The Studio: Documents of Contemporary Art, edited by Jens Hoffman, 12–17. London/Cambridge: Whitechapel Gallery & MIT Press.
- Holt, Ysanne. 2013. “A hut on Holy Island.” Visual Studies 12 (3): 218–227.
- Holt, Ysanne. 2015. “Performing the Anglo-Scottish Border: Cultural Landscapes, Heritage and Borderland Identities.” Journal of Borderland Studies 33 (1): 53–69.
- Interarchive: Archival Practices and Sites in the Contemporary Art Field. 2002. von Bismark, B., Feldman, H-P., Obrist, H., Stoller, D. and Wuggenig, U. (eds.) eds. Lüneburg/Köln: Verlag der Buchhandlung Walther König.
- Patrizio, Andrew. 2019. The Ecological Eye; Assembling an Ecocritical Art History. Manchester: Manchester University Press.
- Ramos, Filipa. 2022. ‘Ecological Turns’ ART/AGENDA, January 25, 2022: https://www.art-agenda.com/criticism/444883/ecological-turns.
- Robin, Libby. 2018. “Anthropocene Cabinets of Curiosity: Objects of Change.” In Future Remains: A Cabinet of Curiosities for the Anthropocene, edited by Gregg Mitman, Marco Armiero, and Robert S. Emmett, 205–218. London and Chicago: The University of Chicago Press.
- Rogoff, Irit. 2008. ‘Turning’ e-flux journal, Issue #00. https://www.e-flux.com/journal/00/68470/turning/.
- Sally Madge: Acts of Reclamation. 2021. Gallery North, University of Northumbria.
- Sally Madge: http://www.sallymadge.com/work/shelter.html
- Sjöholm, Jenny. 2014. “The art Studio as Archive: Tracing the Geography of Artistic Potentiality, Progress and Production.” cultural Geographies 21 (3): 505–514. doi:10.1177/1474474012473060.
- Stallabrass, Julian. 2000. “Memories of Art Unseen.” In Locus Solus: Technology, Identity and Site in Contemporary Art, edited by Julian Stallabrass, and Duncan McCorquodale, 14–29. London: Black Dog Publishing.
- von Bismarck, Beatrice. 2002. “Artistic Self-Archiving: Processes and Spaces.” In Interarchive: Archival Practices and Sites in the Contemporary Art Field, edited by B. von Bismark, H.-P. Feldman, H. Obrist, D. Stoller, and U. Wuggenig, 456–460. Lüneburg/Köln: Verlag der Buchhandlung Walther König.