REFERENCES
- Agamben, G. (2009), What is an Apparatus and Other Essays, Stanford, Calif: Stanford University Press.
- Armstrong, P., Lisbon, L. and Melville, S. (2001), As Painting: Division and Displacement, Cambridge, Mass: MIT Press.
- Benjamin, W. ([1917] 1996), ‘Painting and the graphic arts’ (unpublished in Benjamin's lifetime), in Marcus Bullock and Michael W. Jennings, (eds), Walter Benjamin Selected Writings, Volume 1, 1913–1926, Cambridge: The Belknap Press. pp 84–86.
- Berkeley, G. (1709), An Essay Towards a New Theory of Vision (section XLV). Dublin: Aaron Rhames.
- Bonnefoi, C. ([1996] 2001), ‘The objection that the obscure makes to painting’, in P. Armstrong, L. Lisbon and S. Melville (eds), As Painting: Division and Displacement, Wexner Centre for the Arts, Cambridge, Mass: MIT Press, pp. 205–208.
- Crary, J. (1990), Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, Cambridge, Mass: Mitt Press.
- Crary, J. (2001), Suspensions of Perception: Attention, Spectacle and Modern Culture, Cambridge, Mass: Mitt Press.
- Derrida, J. ([1972] 1982), Positions (trans. A. Bass), Chicago: University of Chicago Press.
- Foucoult, M. ([1977] 1980), ‘Confessions of the flesh’, in M. Foucoult (ed.), Power/Knowledge: Selected Interviews & Other Writings 1972–1977, London: The Harvester Press. pp 194–228.
- Fried, M. (1980), Absorption and Theatricality: Painting and the Beholder in the Age of Diderot, Chicago: University of Chicago Press.
- Fried, M. (1996), Manet's Modernsim: Or the Face Painting in the 1860's, Chicago: University of Chicago Press.
- Fried, M. (2008), Why Photography Matters as Art as Never Before Yale, New Haven and London: Yale University Press.
- Greenberg, C. ([1955] 1965), ‘American type painting’, in C. Greenberg (ed.), Art and Culture, Boston: Beacon Press, pp. 208–229.
- Harris, J. (2005), Writing Back to Modern Art: after Greenberg, Fried and Clark, London: Routledge.
- Joselit, D. (2000), ‘Notes on surface: Towards a genealogy of flatness’, Art History, 23, Issue 1, March 2000, pp. 19–34.
- Krauss, R (1972), ‘Leger, Le Corbusier and Purism’, Art Forum, April 1972, pp. 50–53.
- Krauss, R (1997), ‘Horizontality’, in Y. Bois and R. Krauss (eds), Formless: A Users Guide, New York: Zone Books.
- Marin, L. (1994), To Destroy Painting, Chicago: University of Chicago Press.
- Merleau-Ponty, M. (1945), ‘Part II, The World as Perceived, “Space”’, Phenomenology of Perception, chapter 2, London and New York: Routledge, pp. 281–347.
- Steinberg, L. (1972), ‘Other criteria: The flatbed picture plane’, in L. Steinberg (ed.), Other Criteria: Confrontations with Twentieth-Century Art, New York: Oxford University Press, pp. 82–91.
- Virilio, P. (1994), Vision Machine, Bloomington, Ind: Indiana University Press.
- Virilio, P. (1995), Open Sky, London and New York: Verso Press.
- Wölfflin, H. ([1929] 1932), Principles of Art History (trans. M. D. Hottinger), New York: Dover Publications.