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Bibliography/ Contextual References

Unit 1:

  • Armstrong C, 2004, Ocean Flowers: Impressions from Nature, Princeton University Press, New York, U.S

 

  • Carson, R 1962, Silent Spring, Houghton Mifflin, Massachusetts, U.S

 

  • Dion, M 1961, The Greenhouse Effect, Serpentine Gallery, London

 

  • Evans G, 2020, Painting in the Expanded Field, viewed 9 December 2020, Camberwell, London

 

 

 

 

  • Fowler A, 2018, How Piet Oudolf's Gardens Tame the Wild, The Guardian, London

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  • Halm Schudel, A 2019, Blossom, Scheidegger & Spiess, Switzerland

 

  • Holwood S, 2020, Perspectives Talk, viewed 10 November 2020, Camberwell London

 

  • Krčma E, 2017, Eva Hesse’s Wanton Duality: Liquidity and Compression in the Mechanical Drawings of 1965, Hauser & Wirth, London

 

  • Lippard L, 1971, Eccentric Abstraction, E.P.Dutton, New York, U.S

 

  • Merchant, C 1980, The Death of Nature, Bravo Ltd, London

 

  • Plumwood, V 1996, Feminism and the Mastery of Nature, Routledge, London

 

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Unit 2:

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  • Dion, M 1961, The Greenhouse Effect, Serpentine Gallery, London 

-useful in defining the relationship between the artifice of art and its connection to the natural world. With reference to environmental artist Beuys and installantionists Hirst and Quinn

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  • Farthing, S, 2006, 1001 Paintings You Must See Before You Die, Orion Publishing Group, Limited, London

-useful in gaining better understanding of the evolution and painterly techniques of Abstract Expressionism (and its distinction and position within the art world) with reference to Diebenkorn, Frankenthaler, Jules Olitski

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  • Farthing, S, 2018, Art The Whole Story, Thames & Hudson, London

-discussing NeoExpressionism, Digital Art and Land Art, of the 1960s, demonstrates the shift towards art and its importance to/ strengthened integration with the natural world - relevant to botanical art

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  • Jaray, T, 2012, Painting: Mysteries & Confessions, Royal Academy of Arts, London

-useful in discussing the relationship between the two disciplines, sculpture and painting, in reference to Rauschenberg, Diebenkorn and this understanding of generated and removed space within a painting/ its compositional & pictorial construction

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  • Olitski, J, 2011, Revelation: Major Paintings By Jules Olitski, Kemper Museum of Contemporary Art, U.S.

-useful in discussing the materiality of paint, its iridescence, processes, surfaces and edges

(discussing works of Russian born artist over nearly fifty years of productivity)

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  • Parker, A, 2021, Naturally Brilliant Colour, Kew Publishing, London

-useful source in better understanding the natural phenomenon 'Pure Structural Colour' and its link to artificiality/synthetic concepts

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  • Reckitt, H, 2001, Art and Feminism, Phaidon Press, London

- useful in understanding art and its relationship to the female/ gender roles and how this has evolved. Relevant to floral sensuality with reference to O'Keeffe and Schudel, as well as symbolism of flora, its connection to biblical goddesses - collaborative zine

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Unit 3:

  • Baker,(2016), The Art of Ana Mendieta through an Ecofeminist Lens, US, University of Central Florida, Vol 3

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  • Becker, (1999), Patriarchy and Inequality: Towards a Substantive Feminism, US, Univerity of Chicago, Issue1

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  • Carson,(1962), Silent Spring, Boston, Houghton Mifflin Harcourt

 

  • Deborah, (2001), What is Ecofeminist Art?, Women & Environments International Magazine, Fall

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  • Ellis-Petersen, (2016), Flowers or vaginas? Georgia O’Keeffe Tate show to challenge sexual clichés, The Guardian, 9/12/19

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  • George, (2007), Botany, Sexuality, and Women’s Writing 1760-1830: From Modest Shoot to Forward Plant, Manchester, Manchester UP, Vol 60

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  • Halm Schudel, (2019), Blossom, Switzerland, scheidegger & spiess

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  • Lippard L, 1971, Eccentric Abstraction, E.P.Dutton, New York, U.S

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  • McKie,(2012), Rachel Carson and the legacy of Silent Spring, The Guardian, 7/12/19

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  • McLeod, (2015), From Feminized Flora to Floral Feminism: Gender Representation and Botany, New Minds Eye, 27/10/19

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  • Merchant, (1980), The Death of Nature, London, Bravo Ltd

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  • Mintz Messinger,(2001), Georgia O’Keeffe, London, Thames and Hudson

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  • Nielsen, (2019), Climate Change is not Gender Neutral, Youtube, 8/10/19, Spring

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  • Nimptsch, (2018), Judy Chicagos Birth Project: Born Again, Riot Material, July 3

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  • Plumwood, (1996), Feminism and the Mastery of Nature, London, Routledge

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  • Salleh,(1997), Ecofeminism as Politics: Nature, Marx, and the Post Modern, London, Zed Books Lt

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  • Sivananda, (1999), Brahma Sutras, THE DIVINE LIFE SOCIETY, Sri Vyasa Purnima July 28

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  • Warren, (2009), The Power and Promise of Ecological Feminism, Belgium, Multitudes, Vol 36

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  • Wright, (2009), Georgia okeeffe- An Eternal Spirit, New York, New Line Books

Helen Frankenthaler, 'Vessel' 1961, oil paint on canvas, 2540 x 2390 mm, Tate Modern (2020)

Ian McKeever,'Temple Painting', oil/ acrylic on linen, 270 x420cm,(2005–6)

  • A useful reference to painterly processes and concepts I am interested in. Focused on the organic, painting technique and materiality, McKeever's paintings are of a monumental scale that is immersive and imposting. He considers quality of light, and its interaction with body concepts and cellular structures that are soft and amorphous, reminiscent of skin tissue/cells. 

  • Reference to Painterly Processes and Colour Field Painting techniques 

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