* Imagining Science *



Exhibitions
(upcoming Nov 2008)
Imagining Science, University of Alberta

Imaging Science is a unique exhibition project built on a series of conversations and collaborations between internationally recognized artists, scientists, bio-ethicists, lawyers and contemporary philosophers. The exhibition addresses the impact of the rapidly changing world of genetics, bio-technologies and human engineering, and the many significant breakthroughs, challenges and controversies that have arisen in the last decade with advancements made in new life science technologies: stem cell research, cloning, genetic testing.

Shawn Bailey visual artist and a founding member of BIOTEKNICA
Fiona Annis interdisciplinary artist based in Montreal
Christine Borland one of Scotland's most successful and internationally recognized artists
Sean Caulfield Canadian Research Chair in Printmaking at the University of Alberta
Royden Mills Canadian-born sculptor and instructor
Christine Davis
Liz Ingram Art & Design professor at the University of Alberta
Bernd Hildebrand
Eduardo Kac, Chicago-based artist recognized for his interactive net installations and bio art
Lyndal Osborne, Edmonton based artist who uses the natural world as her canvas
Catherine Richards, visual artist working in old and new media art
Adam Zaretsky, "bioartist" who also works as a research affiliate in Arnold Demain's Laboratory for Industrial Microbiology and Fermentation in the MIT's Department of Biology

Gaps


'Witness' - Susan Hiller, Audio Sculpture, 2000

Susan Hiller Recall: Selected Works 1969-2004
DVD - Directed by Gary Malkin, Produced by the Baltic Library

This new insight to Susan Miller's work leaves me thinking about collecting, in her case often collecting accounts of social phenomena. In collecting there is a curation, a framing of accounts, which is then ciphered through the mind and hands of the artist, and with the aid of various media, and then returned to the public.

I enjoyed the way she spoke of subject matter vs. content. Iterating that they are not the same thing - and that confusion often limited people in reading contemporary art. A still life often contains metaphors (the moralistic content of las vanitas for example) How to read between the lines becomes crucial.

Also, another analogy in the presentation of work: the physical space between objects, the gaps, if systematically leveled the gaps between the works can read like the black spaces between frames of film, putting stills in motion creating a unified whole.

Meeting Minutes 03/ 02.20.08

Present:
Jess (JF)
Fiona (FA)
Libby (LW)
Tekla (T)
Jim (JH)

1. JH. Next Wednesday gallery tour - 9:45 Edinborough departure Queen St. Station to visit gardens, Fruitmarket, etc.
2. JH Boring task: forms GSA trip form
3. Review last weeks progress. Professor Barfield’s feedback.
Supports project
design…
submit timetable, detailed costs. etc.
4. Guests – accommodation… subsistence funds
5. JF anticipate that a is travelling, food, hotel, make a package request.
6. JH traintable.. York to Glasgow 80 or 150 pounds
7. Christine Borland lives in Helensburough - one hour travel time
8. Question for speakers: do they need fees?
9. T. everything is unconfirmed.
10. JH. Design… how to deal - is it important? Do we need to address it?
11. L. Switch Ross Burell for a designer?
12. JH. Flesh out aims – what is the concept?
13. FA. Is he saying that design is necessary for inclusion to represent research in fine art or just because we cited it?
14. Designer maybe marginalized - Lets just take design out, we are going to focus on fine art
15. JF as our interest is curatorial, practice, theory
16. JH send proposal back to Narren with explanation.
17. JH. Title? Subtitle: research in practice or practice-led?
18. JF research in practice – curatorial
19. FA what’s the difference. Practice-led
20. All Title: Practice-Led Research
21. All Subtitle: Multiple Perspectives in a Contemporary Art Context
22. JH – how to propose : ask : or submit? Covering email outlining our decision to focus on fine art. Present a
reworked proposal. Submit as soon as possible.
23. JH – proposal - to rework wording:
Insert title
As we are working within the Fine Arts Pathway, specifically within the framework of the course, Excavation of the Contemporary Art Context. We have chosen to focus on art specifically and omit design, as we feel including such an expansive topic may sacrifice. We would however suggest that perhaps another pg forum take up that focus.
LW. We will draft and forward you the proposal.
JH home email: send direct just this once.
JH. Proposed speakers – insert detailed costs:
Promotion
Invitations pr
A3 - 20 copies posters + 100 hand bills
Symposium:
A5 100 deligates pack (timetable, abstract, speakers).
Suggest in house printing through VisCom or EMA or commercial
Quote – 60
JH – propose: the actual cost for hosting the symposium will be.
Travel costs for proposed speakers:
Ross Birrell: n/a
Katrina Brown: n/a
Christine Borland: millage: 150 miles. 20
Judit Bodor: Train York to Glasgow return 100 Hotel accomadation - 90
JH. Professional element, we are proposing to host professional people, in a professional manner.
Structured Timetable:
20 minutes
10 Q and A
order: connecting – chaos. TB
L part of our role in introduction to draw connections?
J connection will surface organically
JH the meat – you chose speakers from orientation. Parameters for each speaker, look at each individual. What would it be about Katrina (tate, guild, etc) what is it that you want about that. Is there a particular question, or a general survey. With Christine Borland, is there a particular work? How do you weave together threads.
JH Detail flesh out hub theme which indicates the speakers (exemplary in their disciplines).
JH Why is this special?
JH How best to approach speakers? Students, would they contribute.
Stimulating evening. On a shoestring. Audience.
FA Mention that we intend a publication.
LW pleading tone.
JF There is a difference between saying who we are, and saying that we are doing this b/c we have to. Swing it to our advantage.
LW Documentation, archive. Program with reflection. Ask speakers for consent.
Dialogue extended through on-line presence.
LW Would Studio 55 be interested in partnership, on-line presence, or dissemination?
JH Low key, talk to Tramway people.
JH Fall back name.

the seed - origins



The origins of ideas (seed of a work) are bridges of thought -
often the very private underpinnings of a piece are not spoken, but somehow present nonetheless. I recognize that my work develops with dialogue, weaving together dissonant ideas, contributions, collaborations. Follows are pieces of conversations that have informed my present work, The Garden of Earthly Delights.


wait there is more, i forgot about satan.
he told me he thought i wore my soul on the out side.
and i think he is right.
i think my soul has been worn out and torn and stained.
(in conversation with Ember Erebus)


what if our spirit communicated like a spider that spins it's silk out of its own body?

(in conversation with Lynn Hudson)

what do we do when our third order is threadbare and stained?

plant a garden.
seed it with orchids.
(in conversation with Jason Knight)


bioart makes the surreal real
(in conversation with adam zaretsky)

The Garden of Earthly Delights

Independent Research Project


exterior panels of The Garden of Earthly Delights, Bosch, 1504

The Garden of Earthly Delights is conceived of by FA + JPC/K | Corps Cellule, a collaborative art and research initiative, investigating relational aesthetics of biological technologies through the articulation of experiments in seri-culture (silk-worm cultivation) and orchid micro-propagation. The project proposes to install a lab environment within the gallery in which interspecies life-forms are co-cultured, with the coupling of awareness, technology and participant body(ies). The scattered puzzle pieces of Hieronymus Bosch’s Garden of Earthly Delights, contextualizes the work as a living biological metaphor and initiates discourse on the sacred and the profane.

Over the course of the exhibition, a slow but steady transformation occurs within a contained environment as silkworms and orchids intermingle. Performing daily horticulture techniques, the chrysalis (silk cocoons produced by the silkworms) will be woven into scaffolds suitable for seeding with orchid tissue cultures, to realize the co-culturing of a worm and a flower. As the growth in variability and reproduction occurs, development slowly unfurls, revealing an unforeseen and emerging hybrid, further investigating “the fluidity of the concept of species in an ever increasingly transgenic social context.”(Eduardo Kac)

The daily gallery activities include the culturing and care of these living entities, experiments in micro-propagation, and finally the fusing of these two symbolic life-forms, co-habitating, cross-cultured, and modified at essential levels.

For more on this project please see the on-line research log: http://bombyx-imago.blogspot.com/
which documents the conceptual development of the proposed co-culture, contextualized by personal poetics and narratives.

Meeting Minutes 04/ 05.03.08

Meeting Minutes 05/03/08

Present:
Jess (JF)
Fiona (FA)
Libby (LW)
Tekla (T)
Jim (JH)

FA- Heard that Chistine Bourland is interested in doing the symposium
JH- Spoke with Kristina Brown who also voiced interest and availability. We must think about moving symposium back one hour.
FA-Haven’t heard back from research office about revised proposal, Barfield might be out of town this week.
JH- I want to check a few things… next week you are independent research and planning…
JF-Did we want to spend this time composing rough drafts of the letters.
All: Ok
JH- I don’t know whether you could take the TBD panel members…let me read this…(working on letter wording)…
FA- So that’s the letter, if they respond in the positive, we can write back with questions of structure.
T- How should we respond? Should we respond together? Have something formal?
FA-Maybe we should abstract, technique, thank you for participating?
L-A brief outline of what you think your presentation will be?
FA_ is there anything you want us to include in your bio/? Should we write a bio on them and send them to ask for confirmation?
JH- Right, that might be a way, and if they don’t like it, you can change it
L- Response letter, a thank you, a brief outline request, technical needs, stateing an intro and if there is anything they want to be included to please let us know
JH- Obviously the bio you can use in the sort of print, the brochure thing at the symposium, that’s something else in place. Fine. Next week you can work on that you might even have got 4 responses back and we can do what we need in relation to planning.
FA- We have a break, it might be worthwhile to do a brainstorm for all the things we need to do before symposium.
JH- May be we have to have some discussion the week before, April 9th, the actual day.
FA-I would propose we have a super clear idea of everything that needs to happen and allocate tasks.
L-For printing and publicity esp.
FA-I’ve started making post-it notes, if we could all bring a list, we will know everything that needs to happen.
JH-I’ve got all your email address, or if could be another day of that week. Could always do it in a coffee shop.
Actually, yeah, so next week we should get the timetable done, the following week I mean.
FA-So right before Easter break.
JH-Main thing, if worst comes to worst and ross can’t do it you’ve still got three potential speakers. Doesn’t always work out that way, obviously somebody is looking down on you. Sue brought this in, I forgot why its been put together, a list of whats on right now in Glasgow, mainly for the other group….but they are not hovering around, they have to go hunting.
FA- I book four places for tomorrow night at common guild.
JF- Great. Thanks.
LW- Not sure what was on the list of what else we were supposed to speak about today.
JH-Confirmation of speakers, and we’ve done that….
JF-I wouldn’t mind to check my draft for Katrina Brown with you all
All-Yes
FA-Also, to check the introduction to the speaker in draft before we say it at the symposium
JH-Also, this show that Katrina has done might be an interesting point of discussion…
LW-Right.
JH: that book sounds like it might be a useful resource
Barrett, E. et al. (2007) Introduction. Practice as Research.Approaches to Creative Arts Enquiry. Published by I.B.Tauris and Co. Ltd. London and New York.
This should be in the research log with quotes. What writings do they have that exposes research methodologies.
Listen to the speakers and reference in your log.
You need to sharpen up your thoughts n why you have included particular issues
All of that thinking can go in the log. Course you will draw on it from the essay. Simple essay, not too may large words. Heheh
L:No Jargon.

Meeting Minutes 05/ 19.03.08

EXACAVTION OF CONTEMPORARY ART CONTEXT
MRes Meeting Minutes 19/03/08

Present:
Jess (JF)
Libby (LW)
Tekla (T)
Jim (JH)
Fiona (FA)

Earlier today we had a brief meeting of 4 x MRes students to discuss the planning required for the upcoming Symposium.

1. In light of the Mac theatre being booked out on the day of the Symposium, 4 other choices were suggested. The top two we decided were the Monkey and the Barnes. Both have positives and negatives. The Monkey is better for the reception, more casual but is not great for projector work due to facilities and daylight. The Barnes is great for presentation but we may lose people on the trip from the Barnes to the Monkey for drinks.
2. It was agreed that Fin would send an email to Lisa requesting the Barnes and Monkey as a priority and we would discuss specifics when it was finally decided what venue it would be. See point 6.
3. Budget. It was agreed that we need to make a meeting with Lisa to discuss how to release the 150 pounds promised. We need to discuss how to best use this as it gets difficult with the Easter break and the fact that we ill need the money to print prior to Laura being able to approve it.
4. Speakers: All four speakers have been contacted but we have only one positive confirmation from Christine Borland.
5. We went through each of the main tasks to be done. Posters, promotional material for the day, how to document the day and what tasks were to be done on the day. We set critical dates to be met, and briefly discussed who would do what: See attached sheets for outcomes as of today.
6. Libby visited Ross today and he apologised that he cannot actually agree.
7. The Mac Room – can we have this? Followed by reception in the Mac Museum / Gallery space. Fin to follow up in an email to Lisa.
8. The food needs to be agreed on based on the estimated numbers.
Notes from Meeting at 2pm
9. Update on Bodot: Tekla received confirmation that Judit can come and will be here on Thursday a as she is teaching on Wednesday
10. Talked about trying to get onto the mailing list for the mail out to tutors to get included on the timetable. Basically that you need the basics, ‘save the date’ style. Note that ‘if its of interest to block out the timetable if you think its worth it’
11. Jim suggests / John Calcott? We also thought of Tanya Eccleston, Francis McKee or Sarah Smith. Each need to be discussed….if we decided that we want 4 speakers rather than 3.
12. JH mentions that Tanya is away in south East Asia and might be a little too difficult to get.
13. Francis McKee – bad timing as GI on at that time.
14. JF – Could we include John Calcott from a critical writing point of view.
15. JH suggests Lee French - Variant / Glasgow based art magazine? Might be abit annoying…Check online.
16. JH three is ok but if you want a fourth then he might be ok. DCA in Dundee, archive of artists books there may be an interesting person there…notion of publishing, artists books
17. TW this may provide us with a greater audience. Hugh Pizey? He teaches at GSA, projects with artists
18. Make sure you end something out so you get time to promote it….check venue, check food. What about the documentation?
19. TW: Will take care of audio stuff, inline with a guy from the MFA. We need to conform the venue before we go to far down this line. TW says she is volunteering as she wants to know more about it. Various modes of documentation – both quality/amateur just in case.
20. JF says that Ben Rush will be booked up with a major exhibition the next day so that might be difficult.
21. JH talks about audio and video.
22. LW says also photos to potentially put in e-journal
23. JH says keep in mind a transcription will be useful as included in a DVD in the final presentation. Booking the equipment should be a priority…
24. JF says she has a small mini-disc that we can use if all goes badly.
25. LW runs through the process and critical dates of the posters and the handouts.
26. JH raises the printing and the necessity of appropriate inks for location. i.e. indoor / outdoor.
27. The date of the 9th is independent study day – should we try and meet somewhere in Great Western Road close to where JH lives, in the afternoon? Should we arrange this so we can have a chat even if it is just for an hour? Juts in case we need to discuss anything last minute. How about 3PM / Meet at AZIZA next to Kelvinbridge Underground. On a corner….ok. Agreed
28. And the following week, meet at 11am in the studio space? The morning to discuss? 4 hours to work things out? We can revise this the week before if we need to….. ok. Agreed.
29. TW mentions that Judit’s train arrives at 1.30 and she might have to entertain the guest for some time that day.
30. JH have you thought about trying to piggy back into the GU promotional material
31. JH put together a brief description to send around to the school. It may be worth sending it around to people like Francis McKee…an initiative in the art school etc. Greater publicity….Transmission etc as well. And that there will be more promotional material to come – a press release of sorts. ‘Notification of a forthcoming date’….
32. JH even if people don’t come its still the organising of it that’s the important part.
33. The smaller venue may work if its fewer people / Barnes is too big. JF notes that a smaller room may be more appropriate.
34. JH says that if it is at the Rec you may have to spend time arranging chairs etc which may be stressful, better if it is an already arranged room.
35. JH mentions Fins project from last week….
36. LW says she will send the notes and hopefully this will give JH a greater understanding of the details of the conference
37. End.

Common Guild Lecture Series

March 06, 2008


Camden Arts Center - London


Curator Jenni Lommax gave a talk tonight at the Glasgow Trade Hall, hosted by the Common Guild. She has been the director of the Camden Arts Center based in London for the past 20 years - very inspiring to hear from a director who is absolutely passionate about contemporary art, coupled with a sincere vision for the mandate and direction of the her center.

What I found most interesting is how not only the gallery exhibition space is the focus for creation and presentation of art, but that art leaks out from the various sites and accompanies all of the transitions along the way. For example how during a period of renovations they continued a program by squatting off-site exhibition spaces, a photographer had residency documenting the renovations, a string of Felix Gonzalez lights led the way through the city, drawings on the walls of the center, and the construction site itself became an art interface...

Another key point that Jenni stressed, was the importance of keeping the mandate at the heart throughout the evolution of the center, especially in development. There was a question asked towards the end about business, and businesses in the center - coffee shops to bookstores. Jenni really stressed the importance of keeping the center without franchize, about being honest about what the center will actually generate financially, and sticking to the guns as to its importance.

Detours

The second lecture of the Detours series, hosted by The Common Guild, was presented by contemporary curator, Vasif Kortun, from Istanbul. Vasif spoke about his conception and subsequent seven year span as director of Platform, a contemporary gallery, library, archive and residency center in Istanbul.

Speaking with a great deal of integrity, Vasif criticized many 'pedestal' institutions for inaccessibility, predictable 'blockbuster' programming, and lack of research orientation. Vasif emphasized the importance of Platform's accessibility, and integration with an audience that spans the spectrum of the public. Vasif is currently working on a collaboration that will see Platform converge with another institution in Istanbul, to spawn an entirely new being... yet untitled.


scaffold (study)
2008

Bibliography - in relation to excavation


Books

Barrett, E. & B. Bolt (eds.) Practice as Research - Approaches to Creative Arts Enquiry. LB Tauris; 2007

Borland, Christine. Progressive disorder / Christine Borland. London: Dundee Contemporary Art: 2001.

Brind, S. (ed.) Curious: artists' reasearch within expert culture. Glasgow: Visual Arts Projects; 1999

Coles, A. (ed.) "Critical Strategies of Fictional Address: Field Work and the Natural History Museum. Mark Dion Interview" The Optic of Walter Benjamin. London: Black Dog Publishing; 1999

Foucault, M. The Archaeology of Knowledge. Sheridan Smith trans. London: Routledge; 1989


Hiller, Susan et al. The Producers: Contemporary Curators in Conversation. Gateshead: Baltic Centre for Contemporary Art/University of Newcastle; 2000.

Hunt, I. (ed.) Christine Borland: The dead teach the living. Geroldswil, Switzerland: Offset druck Goetz; 2000.

Johnson, D. (ed.) Encounters: Performance, Photography, Collaboration: Manual Vason. Bristol: Arnolfini Gallery Ltd; 2007


Latour, Bruno. Pandora's hope : essays on the reality of science studies. Cambridge, Mass; London: Harvard University Press, 1999

Massumi, Brian.
A User's Guide to Capitalism, Deviations, and Schizophrenia from Deleuze & Guattari. Cambridge: The MIT Press; 1992

Plato, The Symposium. Desmond Lee (trans.) London : Penguin, 2003

Pollan, Micheal. The Botany of Desire. London: Bloomsbury Publishing; 2002

Internet

Art & Research (on-line journal) http://www.artandresearch.org.uk/

Experiential Knowledge Conference
http://www.art-design.herts.ac.uk/ekc/ekc1.html

Journal of Contemporary Art. Interview with Elaine Reichek.
http://www.jca-online.com/reichek.html

Studio 55: Centre for Research in Fine Art Practice
http://www.studio55.org.uk/

The Getty: Art & Architecture Thesaurus

http://www.getty.edu/research/conducting_research/vocabularies/aat/index.html

Research Issues - Practice-led PhD Case Studies
http://www.biad.uce.ac.uk/research/rti/case_studies/art/content.htm

The Whitney ArtPort http://artport.whitney.org/

Lectures

Claire Bishop. Pedagogy as Art. GSA lecture Friday Event, March 7, 2008

Hoover, Nan. The Line in a Creative Life. GSA lecture - Friday Event, Feb 01, 2008

Jenni Lomax. The Common Guild, March 06, 2008


John Smith. Film & Video Work. GSA lecture Friday Event, Feb 22, 2008

Spielmann, Yvonne. Video: a new technology & a new medium. GSA Friday Event, Jan 25, 2008

Conferences

Intimacy: Across Digital & Visceral Performance Platform. Goldsmith's Graduate School - London, Dec 7th, 2007 (contributing artist)

MutaMorphosis: Challenging Arts & Sciences. November 2007. Prague, CR. (conference participant)


Stitched-Up, a discussion on the future of the body, facilitated by Jens Hauser, participating artists: Paul Thomas, Eduardo Kac, and Atau Tanaka. (public lecture/discussion) FACT (Liverpool, Mar 29, 2008)

Completing the Doctorate. Glasgow School of Art, Mar 19, 2008
lectures by Jack Cuningham, Laura Gonzalez & Naren Barfield

Festivals

NRLA. New Territories, Tramway. Feb, 2007

Gi, April, 2008

Bibliography - in relation to my research

Arends B, Thackara D. editors. Experiment: conversations in art and science. London: The Wellcome Trust; 2003.

Ascott R. editor. Engineering nature: art & consciousness in the post-biological era. Bristol: Intellect Books; 2006.

Ascott R. Technoetic territories. In: Allsopp R, Delahunta S. editors. Performance research: digital resources. 2006 Dec. Vol. 11.4: p. 39-40.

Bastian H. editor. Joseph Beuys editions: collection Schlegel. Edinburgh: Scottish National Gallery of Modern Art; 1999.

Bioline International. Electronic Journal of Biotechnology [Online]. 2004 ; Available from: http://www.bioline.org.br/request?ej04015#_edn

Borland C. Progressive disorder / Christine Borland. London: Dundee Contemporary Art; 2001.

Boyle M. Journey to the surface of the earth. Cologne: Edition Hansjorg Mayer; 1970.

Brind S. editor. Curious: artists' research within expert culture. Glasgow: Visual Arts Projects; 1999.

Coakley J. Welcome to the world of bioart. ABC Arts [Online]. 2003 [cited 2008 Mar 20]; Available from: http://www.abc.net.au/arts/digital/stories/s877305.htm

Co-culture. Biology Online Dictionary [Online]. 2005 ; Available from:
http://www.biology-online.org/dictionary/Coculture

Flusser V. Art Forum XXVI. 1988 Mar. No. 7: p.156.

Foucault M. The care of the self: the history of sexuality. Volume 3. New York: Random House; 1986.

Gessert G. A history of art involving DNA. BioMediale [Online]. 2004 ; Available from: http://www.ncca-kaliningrad.ru/biomediale/?blang=eng&author=gessert

Gibson W. Hieronymus Bosch. London: Thames & Hudson Ltd; 1973.

Hamilton A. Ann Hamilton. Seattle: Henry Art Gallery & University of Washington Press; 1992.

Hauser J. editor. Sk-interfaces. Liverpool: Liverpool University Press & FACT; 2008.

Heidegger M. The Question Concerning Technology and Other Essays. William Lovitt (trans.)
New York: Harper & Row; 1977.

Kac E. Bioart: transgenic works and other living pieces [Online]. 2007 ; Available from: http://www.ekac.org/

Kac E. editor. Signs of life: bio art and beyond. Cambridge: MIT Press; 2006.

Karafyllis N. Endogenous design of biofacts. In: Sk-Interfaces. Liverpool: Liverpool University Press & FACT; 2008.

Latour B. Pandora's hope: essays on the reality of science studies. Cambridge: Harvard University Press, 1999.

Latour B. Science in action: how to follow scientists and engineers through society. Cambridge, Mass: Harvard University Press; 1987.

Massumi B. A user's guide to capitalism, deviations, and schizophrenia from Deleuze & Guattari. Cambridge: The MIT Press; 1992.

O'Reilly K. Leavings and beginnings and other things [Online]. 2008 ; Available from: http://kiraoreilly.com/blog/

Parfrey A. Eugenics: the orphaned science. In: Apocalypse culture. New York: Amok Press; 1987. p. 155-66.

Poissant L. The passage from material to interface. In: Grau O. editor. Media art histories. Cambridge: MIT Press; 2007.

Pollan M. The botany of desire. London: Bloomsbury Publishing; 2002.

Russo M. The female grotesque: risk excess and modernity. London: Routledge; 1995.

Schumacher EF. Small is beautiful, economies as if people mattered. New York: Harper Perennial; 1973.

Senior A. Towards a (semi-) discourse of the semi-living: the undecidability of a life exposed to death. Technoetic Arts. 2007 Ap. no 2: p. 97-112.

Shepard P. Nature and madness. San Francisco: Sierra Club Books; 1982.

Shortell A. Corporate culture: the creation of culture within an organization [Online]. [cited 2008 Mar 20]; Available from: http://www.smu.edu/ecenter/discourse/papers/2002Spring/CultureMatters.asp

Snyder J. The art of Hieronymus Bosch. London: Ferndale Editions; 1980.

Stachelhaus H. Joseph Beuys. (David Britt trans) New York: Abbeville Press; 1991.

Thacker E. Biomedia. Minneapolis, MN: University of Minnesota Press; 2004

Willet J. Bodies in biotechnology: embodied models for understanding biotechnology in contemporary art. Wild nature and the digital life special issue, Leonardo Electronic Almanac. 2006 Nov. Vol. 14: No. 7-8

Willet J. Why bioArt? Towards redefining the specialist [Online]. 2008 ; Available from: http://jenniferwillet.com/whybioart.html

Winterson J. Art objects. London: Jonathon Cape; 1991

Zaretsky A. Viva vivo! Living art is dead. LEONARDO, 2004 Nov. Vol. 37: p. 90-2.