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Original Articles

Notes on the Tableau

Pages 77-86 | Published online: 06 Jan 2014

REFERENCES

  • Armstrong, Philip, Lisbon, Laura and Melville, Stephen (2001), As Painting: Division and Displacement, Boston and Columbus: MIT Press and Wexner Center for the Arts.
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  • Bois, Yve-Alain (2008), ‘Martin Barré and the logic of deviations’, in Yve-Alain Bois (ed.), Martin Barré, New York: Andrew Kreps Gallery, pp. 23–71.
  • Bonnefoi, Christian (2001), ‘The Objection that the Obscure Makes to Painting’, trans. Philip Armstrong in Philip Armstrong, Laura Lisbon and Stephen Melville (eds), As Painting: Division and Displacement, Boston and Columbus: MIT Press and Wexner Center for the Arts, pp. 205–08.
  • Bonnefoi, Christian (1997), Écrits sur l'art [Writings on Art]: 1974–1984, Brussels: La Part de l'Oeil.
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  • Clay, Jean (2008), ‘Questions for Martin Barré, trans. Charles Penwarden in Yve-Alain Bois (eds), Martin Barré, New York: Andrew Kreps Gallery, pp. 267–70. ‘Questions for Martin Barré’, trans. Stephen Melville and Ellen Bethany Napier in Philip Armstrong, Laura Lisbon and Stephen Melville (eds), As Painting: Division and Displacement, Boston and Columbus: MIT Press and Wexner Center for the Arts, pp. 195–97.
  • Clay, Jean (1979), ‘La peinture en séton [Painting under the Skin]’, in Martin Barré, Paris: ARC/Musée d'Art Moderne de la Ville de Paris, pp. 8–17.
  • Foucault, Michel (1969), L'archéologie du savoir [The Archaeology of Knowledge], Paris: Gallimard.
  • Fried, Michael (1980), Absorption and Theatricality: Painting and Beholder in the Age of Diderot, Berkeley: University of California Press.
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  • Heath, Stephen (1974), ‘Lessons from Brecht’, Screen, 15:2, pp. 103–28.
  • Melville, Stephen (1996), ‘Notes on the reemergence of allegory, the forgetting of modernism, the necessity of rhetoric and the conditions of publicity in art and criticism’, in Seams: Art as Philosophical Context, Amsterdam: G&B Arts, pp. 147–86.

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