1 Hughes, T., 1999. Birthday Letters. London: Faber and Faber, p.3 

2 Austen, J., 2003. Emma. London: Penguin Books, p.8

3 Toltz, S., 2009. A Fraction of the Whole. London: Penguin Books, p.79

4 His Holiness the Dalai Lama., 1999. The Art of Happiness: A Handbook for Living. London: Hodder and Stoughton, p.102

5 Sagan, F., 2009. That Mad Ache: A Novel. New York: Basic Books, p.6

6 Hughes, T., 2005. The Iron Man. London: Faber & Faber, p.1

7 de Beauvoir, S., 1999. The Mandarins. New York . London: W.W. Norton & Co, p.12

8 Larkin, P., 2010. Letters to Monica. London: Faber and Faber, p.88

9 Feinstein, E., 2002. Ted Hughes: The Life of a Poet. London: Phoenix Books, p.xvi

10 Curtis, P., 1999. Sculpture 1900-45. Oxford: Oxford University Press, p.107

11 MacNeice, L., 2008. The Poems of W.B. Yeats. London: Faber and Faber, p.11

12 Bishop, C., 2005. Installation Art. London: Tate Publishing, p.8

13 Hughes, T., 1983. Seneca’s Oedipus. London: Faber and Faber, p.8

14 Ruskin, J., 2009. Selected Writings. Edited by Birch, D., Oxford: Oxford University Press, p.143

15 Longley, M., 2005. Louis MacNeice. London: Faber and Faber, p.ix

16 Thompson, N., 2012. Living as Form: Socially Engaged Art from 1999-2011. Massachussetts & London: MIT Press, p.257

17 Larkin, P., 2005. Jill. London: Faber & Faber, p.x

18 Larkin, P., 2002. Further Requirements: Interviews, Broadcasts, Statements and Book Reviews 1952-1985. London: Faber and Faber, p.4

19 Lacy, S., 2010. Leaving Art: Writings on Performance, Politics and Publics, 1974-2007. Durham, NC: Duke University Press, p.19

20 Hughes, T., 2009. Letters of Ted Hughes. London: Faber and Faber, p.xiv

21 Kester, G.H., 2011. The One and the Many: Contemporary Collaborative Art in a Global Context. California: Duke University Press, p.15

22 Hughes, T., 1996. Difficulties of a Bridegroom. London: Faber and Faber, p.viii

23 Kwon, M., Ed 2004. One Place After Another: Site Specific Art and Locational Identity. Massachussetts & London: MIT Press, p.12

24 Hughes, T., 2001. Collected Plays for Children. London: Faber and Faber, p.4

25 Harrison, C., & Wood, Dr P.J., 2002. Art in Theory. Oxford: Blackwell Publishing, p.37

26 Heaney, S., 2005. The Burial at Thebes: Sophocles’ Antigone. London: Faber and Faber, p.1

27 Middleton, T., 2000. The Changeling. London: Nick Hern Books, p.7

28 de Beauvoir, S., 1995. All Men are Mortal. Translated by Cameron, E., London: Virago Press Ltd, p.17

29 O’Doherty, B., Inside the White Cube: The ideology of the Gallery Space. Berkeley & London: University of California, p.20

30 Kaye, N., 2000. Site-Specific Art: Performance, Place and Documentation. Oxford: Routledge Books, p.32

31 de Beauvoir, S., 1997. The Second Sex. London: Vintage Classics, p.10

32 Larkin, P., 1985. All What Jazz: A Record Diary 1961-1971. London: Faber and Faber, p.36

33 Ferguson, B.W., Greenberg, R., & Nairne, S., 1996. Thinking About Exhibitions. London: Routledge Books, p.164

34 Wolf, N., 2008. Give Me Liberty: A Handbook for American Revolutionaries. New York: Simon & Schuster Paperbacks, p.7

35 MacNeice, L., 1996. The Strings Are False. London: Faber and Faber, p.11

36 Larkin, P., 2005. A Girl in Winter. London: Faber and Faber, p.12

37 Wolf, N., 1991. The Beauty Myth: How Images of Beauty are used against Women. London: Vintage Books, p.29

38 Hughes, T., 2008. Poetry in the Making: A Handbook for Writing and Teaching. London: Faber and Faber, p.11

39 Bishop, C., 2012. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso Books, p.93

40 Sagan, F., 2008. Bonjour Tristesse and A Certain Smile. London: Penguin Classics, p.23

41 de Beauvoir, S., 2006. She Came to Stay. London: Harper Perennial, p.19

42 Adamson, G., 2007. What Makes a Great Exhibition? Philadelphia, PA: Philadelphia Exhibitions Initiative, p.50

43 Hughes, T., 1998. Phèdre: A Version of Racine. London: Faber and Faber, p.3

44  Wolf, N., 2008. End of America, The Letter of warning to a Young Patriot. Vermont: Chelsea Green Publishing Co, p.16

45 Graham, B., & Cook, S., 2010. Rethinking Curating. Massachussetts: MIT Press, p.xii

46 Jackson, S., 2011. Social Works: Performing Art, Supporting Publics. Oxford: Routledge Books, p.229

47 de Beauvoir, S.,  1987. The Woman Destroyed. Translated by O’Brian, P., New York: Pantheon Books, p.12


“The1 work2 has3 developed4 out5 of6 a7 series8 of9 strands10 that11 with12 the13 benefit14 of15 hindsight16 ,17 are18 easy19 to20 trace21 .22 These23  
are24 habits25 .26 
Rather27 than28 allowing29 them30 to31 go32 unchecked33 ,34 I35 have36 tried37 to38 foreground39 them40 into41 something42 that43 
has44 some45 eloquence46.47


29 08 2010