1 Kawabata, Y., 1980. House of the sleeping beauties. London: Kodansha Europe Ltd, p.107 

2 Riemschneider, B., & Grosenick, U., 2001. Art Now. Köln: Taschen, p.48

3 Muller, J-E., 1976. Velazquez. London: Thames & Hudson, p.189

4 Adler, D., 2009. Hanne Darboven: Cultural History 1880-1983. Cambridge, Massachusetts & London: MIT Press, p.103

5 Hudson, S., 2009. Robert Ryman: Used Paint. Cambridge, Massachusetts & London: MIT Press, p.131

6 Elkins, J., 2000. What painting is. New York & London: Routledge, p.3

7 Twigger, R., 1997. Angry white pyjamas. London: Indigo, p.47

8 Fer, B., 2004. The Infinite Line: re-making art after modernism. New Haven & London: Yale University Press, p.67

9 Deleuze, G., 1990. Negotiations 1970 - 1990. New York: Columbia University Press, p.92

10 Patrick, K., 2009. Antoni Tàpies: a personal memoir. Bloomington: Indiana University Press, p.100

11 Bourdieu, P., 1993. The field of cultural production. Cambridge: Polity Press, p.43

12 Haddon, M., 2004. The curious incident of the dog in the night-time. London: Vintage Books, p.55

13 Rubin, J., 2005. Haruki Murakami and the music of words. London: Vintage, p.223

14 Plath, S., 1967. The Colossus. London: Faber & Faber, p.1

15 Pallasmaa, J., 2005. The eyes of the skin: Architecture and the senses. West Sussex: John Wiley & Sons Ltd, p.4

16 Alberro, A., 2001. Recording Conceptual Art. Berkeley & London: University of California Press Ltd, p.4

17 Thornton, S., 2008. Seven days in the Art World. London: Granta Publications, p.6

18 Kawabata, Y., 1993. The Izu Dancer and other stories. Translated by Seidensticker, E., 1963. Tokyo: Charles E. Tuttle Co., Inc, p.116

19 Murakami, H., 1993. The Elephant Vanishes. London: Vintage, p.87

20 Heaney, S. and Hughes, T. eds., 1982. The Rattle Bag. London: Faber & Faber, p.131

21 Camus, A., 2005. The Myth of Sisyphus. Translated from French by O’Brien, J., London: Penguin Books, p.1

22 Federico, F.G., 1981. La casa de Bernada Alba. 7th ed. Madrid: Ediciones Catedra, p.80

23 Murakami, H., 2003. Norwegian Wood. London: Vintage, p.50

24 Malraux, A., 1978. The Voices of Silence: Man and his Art. Princetown, N. J: Princeton University Press, p.13

25 Krauss, R. E., 1999. The Originality of the Avant-Garde and other Modernist Myths. Cambridge, Massachussets & London: The MIT Press, p.10

26 Sartre, J-P., 2003. Being and Nothingness. London: Routledge Classics, p.260

27 Tzu, L., Tao te ching. Translated by Lau, D.C., & Su- hui, C., 1963. London: Penguin Books, p.59

28 Camus, A., 1983. The Outsider. Translated from French by Laredo, J., London: Penguin Books, p.31

29 Camus, A., 2001. The Plague. Translated from French by Buss, R., London: Penguin Books, p.8

“Thepaintings2 are3 deliberately4 blank5 sothat7 they8 reflect9 as10 much11 as12 possible13 .14 If15 they16 were17 about18 this19 and20 that21 ,22 then23 they24 would25 exclude26 the27 other28 .29


02 07 2010