Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 1
Samuel Beckett and/in Contemporary Art since the 1960s
1. Summary
2. Detailed Description
3. Knowledge Mobilization Plan
4. Expected Outcomes Summary
5. Team-Work Plan
6. List of References
1. Summary
1.1. Samuel Beckett (1906-1989) is one of the leading figures of 20th century culture whose oeuvre
spans several languages (mainly English and French but also German, Italian and Spanish), literary
genres (poetry, prose fiction, novel, drama, criticism and translation), media (literature, theatre,
radio, TV and film) and cultures (mainly but not only European). Beckett’s oeuvre enjoys a
remarkable global reception across artistic, scholarly an intellectual fields. The research project of a
monograph, exhibition and Internet platform on 'Samuel Beckett and/in Contemporary Art since
the 1960s' aims at the systematic and comprehensive mapping of Beckett's pervasive presence in
contemporary art practices and discourses in the last half century, throughout the world. The
project's ultimate goal is to propose a paradigmatic model for understanding and studying cultural
transmission phenomena across artistic-literary fields in the late 20th-early 21st centuries.
1.2. The project proceeds empirically by collecting (ideally) all available data regarding Beckett-
conditioned contemporary artworks and discourses; by describing the data; by assessing and
organizing it; and by eventually proposing, on its basis, a theoretical model. However, due to the
sheer volume and dispersion of data, the stage of theoretical formulation will very likely not be
reached before a three- to four-year time-span. Yet the activities of data collection, description,
assessment and organization will be informed by a consistent methodological reflection on best
available tools and practices. In this way, the project can already function as a methodological
model, before becoming a theoretical one.
1.3. A further significant outcome of this empirically-oriented stage of the project is that Beckett-
related contemporary artworks that are not yet documented will actually be recorded and made
available. Many contemporary art practices rest on processual rather than objectual conceptions of
Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 2
art, being oftentimes ephemeral and not leaving behind either an artifact or proper documentation.
Yet their significance for further artistic and cultural developments can be major. The present
project improves contemporary art-historical documentation, in its specifically circumscribed area,
for a range of potential uses: in-depth academic research, research conducted by art professionals,
teaching at various levels in/across different disciplines, consultation by the general public,
exchanges and collaboration between the above.
1.4. Beckett's multidimensional oeuvre and its 'legacy' to contemporary art has been chosen as a case
study that can potentially generate both methodological and theoretical research models because of
its extreme complexity. There is no other creative figure in the 20th century whose 'outside legacy'
to the arts is as continuous, extensive and varied as Beckett's. Besides artistic practices, Beckett's
oeuvre also impacts the discourses of artists, art historians, theorists, critics and curators in ways
that need to be specified as well. These discourses draw on Beckett references not only to discuss
Beckett-related artworks, but also to interpret -- by analogy with oftentimes different and even
conflicting understandings of Beckett's oeuvre -- further art works, practices, curatorial projects
and/or art 'movements'. If a model can be devised to systematize our grasp of processes of
signification, cultural transmission and appropriation in the case of 'Samuel Beckett and/in
Contemporary Art since the 1960s', one can quite confidently conjecture that this model is likely to
apply, with minor revisions, to other less complex cases.
2. Detailed Description
2.1. Samuel Beckett (1906-1989) is one of the leading figures of 20th century culture whose oeuvre
spans several languages (mainly English and French but also German, Italian and Spanish), literary
genres (poetry, prose fiction, novel, drama, criticism and translation), media (literature, theatre,
radio, TV and film) and cultures (mainly but not only European). Configurative relationships
fundamentally connect these constitutive dimensions of Beckett’s corpus in a complex multimodal
network the nature and workings of which scholars are still endeavouring to comprehend in their
full specificity, by using a variety of theoretical, methodological and (inter-) disciplinary approaches.
Originally drawing on and transforming centuries of accumulated knowledge in the arts, humanities
and even sciences, Beckett’s oeuvre enjoys a remarkable global reception across artistic, scholarly an
intellectual fields, which is matched only by few other literary figures (e.g. Dante, Shakespeare,
Joyce).
2.2. One field in which Beckett’s ‘legacy’ is particularly pervasive is contemporary art. (Other fields
are contemporary literature, performing and dramatic arts, and music). The research project of a
monograph, exhibition and Internet platform on ‘Samuel Beckett and/in Contemporary Art since
the 1960s’ aims at the systematic and comprehensive mapping of Beckett’s widespread presence in
Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 3
contemporary art practices and discourses in the last half century, throughout the world. The
project’s ultimate goal is to propose a paradigmatic model for understanding and studying cultural
transmission phenomena across artistic-literary fields in the late 20th-early 21st centuries.
2.3. Scholars deal with the topic of Beckett and/in art in mainly two ways. On the one hand, they
discuss Beckett’s direct involvement with art during his lifetime as evidenced by: i) His art
historical, critical and/or theoretical writings on contemporaneous artists, mainly the Dutch painter
brothers Abraham and Gerardus Van Velde, but also on French painters André Masson and Pierre
Tal-Coat (Beckett 1983); ii) His tributes to artist friends, again Bram and Geer Van Velde, but also
Irish painter-graphic designer Jack B. Yeats, French-Israeli painter-draughtsman-printmaker
Avigdor Arikha and French painter Henry Hayden (Beckett 1983); iii) His oftentimes unsigned, and
hence unattributed, translations (or translation proofs) into English of essays on art by critics,
historians, philosophers, writers and artists, such as Georges Duthuit, André Breton, Jean Wahl,
Bram Van Velde and others, most of which were published in the Parisian magazine transition
(Ackerley and Gontarski; Duthuit 1950 and 1952; Labrusse); iv) Beckett’s granting permission for
the creation of numerous artists’ books comprising his texts, to artists such as: Avigdor Arikha,
Hans Martin Erhardt, Max Ernst, Sorel Etrog, William Stanley Hayter, Dellas Henke, Jasper Johns,
Charles Klabunde, Louis Le Brocquy, Robert Ryman, etc. (Beckett 1958; 1965; 1967, 1968a; 1968b;
1970, 1971; 1972; 1973; 1974; 1976a; 1976b; 1979; 1983; 1984; 1989a; 1989b; 1991; 1998); v) Overt
and covert art references in Beckett’s creative corpus, across genres and media (Albright; Bignell;
Del Degan; Hartel; Herren; Knowlson 1996 and 2003; Lommel; McMillan; Mercier; Milz;
Oppenheim 1999 and 2000; Taban); vi) Travel notebooks and letters giving evidence of young
Beckett’s countless visits to art galleries, museums and private collections throughout Europe
(Beckett 2009 and 2011; Lutz, Veit and Wichner; Nixon; Quadflieg; Tophoven); and finally vii)
Archival material such as Beckett’s manuscripts, reading and production notebooks that facilitate
the reconstruction of art allusions in his oeuvre (Beckett 1992, 1993, 1999b; Beckett 1999a).
On the other hand, Beckett’s ‘minimalist’ aesthetics is highlighted – especially due to Beckett’s
participation in the “Minimalism” issue of the Aspen magazine edited by Brian O’Doherty in 1967
(Beckett 1967) – and it is related to the American ‘Minimalist’ movement of the 1960s and its
different, even conflicting, interpretations (Bell; Brater; Oppenheim 2000).
2.4. Beside Beckett scholars, art historians, theorists and critics have also tackled on occasion the
relationships between Beckett and contemporary art, by discussing not so much Beckett’s own
‘minimalism’, but his significance for ‘Minimalist’ artists. Exemplary in this respect are Rosalind
Krauss’s writings on Sol LeWitt and Robert Morris that draw on extensive analogies with Beckett’s
novels Molloy and Watt respectively. Along or beyond the import of Beckett for ‘Minimalist’ artists,
Bruce Nauman and the impact of Beckett’s oeuvre on his artistic practice have also been quite often
studied (van Bruggen; Chiong; Delaporte; Folie and Glasmeier; Lerm Hayes 2003; Schaffner;
Tubridy 2007; van Tuyl), as has been the relevance of Beckett for Canadian filmmaker and
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photographer Stan Douglas, who organized the very first comprehensive exhibition of Beckett’s
visual (TV and Film) work at the Vancouver Art Gallery in 1988 (Bal; Douglas; Inboden; Watson),
which circulated internationally. Art historians and/or literary scholars have highlighted further
connections between Beckett and artists as different as Jasper Johns (Krauss 1976), William
Kentridge (Krauss 2000), Steve McQueen (Carville), Doris Salcedo (Tubridy 2010) and Robert
Smithson (Israel; Katz). Moreover, a number of contemporary artists have themselves discursively
acknowledged – in their writings, statements, interviews, etc. – the relevance of Beckett’s work for
them (Douglas and Enright; Douglas and Thater; Graham and Gerdes; Holt, Lippard and Smithson;
LeWitt; LeWitt and Wilson; Morris; Nauman; Smithson), although they haven’t always explicitly
clarified how exactly this interest is to be related to either particular artworks or to specific
problematics informing their overall practice.
2.5. Recent research undertaken in the last ten to fifteen years – in which scholars have started to
cross the boundaries between different disciplines such as literary, theatre, film, media, visual,
visual culture and cultural studies as well as art history – has listed in addition the following
contemporary artists as having responded, at one time or another, to Beckett in their works: Gerard
Byrne, Duncan Campbell, Janet Cardiff, Paul Chan, James Coleman, Atom Egoyan, Valie Export,
Douglas Gordon, Dan Graham, Rodney Graham, Eva Hesse, Nathaneal Mellors, Juan Munoz, Tony
Oursler, Richard Serra and Ugo Rondinone (Carville; Folie and Glasmeier; Knowlson 2003). The
value of such a list, to which many more names can and should in fact be added (see List of
References), is to begin to show the full range and variety of artistic responses to Beckett since the
1960s. What made it possible to draw up this list is the interdisciplinary border-crossing that has led
to the recognition of the fact that Beckett’s ‘legacy’ to contemporary art is much more complex and
diverse than an evaluation in terms of ‘Minimalism’ allows one to asses. Nonetheless, such
interactions between disciplines are still an incipient and local/individual effort that the present
project aims at developing and coordinating, so that the issue of Beckett’s pervasiveness in
contemporary art can be dealt with in a comprehensive and systematic fashion. While the above list
is a valuable starting point for research, in depth study requires, in parallel with further data
collection, that the connections between Beckett and artists creatively drawing on his work be not
simply itemized, but specified, supported and documented.
2.6. The project ‘Samuel Beckett and/in Contemporary Art since the 1960s’ aims in its first phase at
precisely such further data collection, specification and documentation. A considerable challenge to
this task is the programmatic objectlessness of many contemporary art practices. Simply put, the
challenge consists in the improbability of directly experiencing ephemeral Beckett-related artworks
(due to geographical, temporal, informational, etc. constraints) and, correlatively, in the scarcity,
unreliability and/or inaccessibility of their documentation. This circumstance is partly responsible
for the common impression that Beckett’s presence in contemporary art practices is less substantial
than it actually is. In fact there isn’t a major art ‘movement’ since the second half of the 20th century
– from ‘Abstract Expressionism’ to ‘Conceptual Art’ passing through ‘Fluxus’, ‘Minimalism’, ‘Pop
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Art’, ‘Art & Language/Text’, ‘Video and Performance Art’, ‘Earthworks’/‘Land Art’, ‘Mail Art’, etc. –
that doesn’t include at least one key representative working at one moment or another in response
to Beckett. Among the quoted ‘movements’, more than half rest on processual rather than objectual
conceptions of art, rejecting the validity of creative endeavors whose main or sole aim is the
production of art objects (Lippard). Similar notions of art-as-process, art-as-activity or art-as-
intervention also ground the praxis of a number of distinguished and ‘independent’ (i.e. difficultly
assignable to a ‘movement’) contemporary artist figures that have produced Beckett-related works.
Yet, in the absence of an ‘object’ of study proper, in this particular case art ‘objects’ with a
‘Beckettian’ dimension, the researcher’s task is considerably impeded.
2.7. A further challenge to the project is the fact that Beckett’s impact spans both artistic practices
and art critical-theoretical-historical discourses. Sometimes it seems that art discoursers establish
connections between artists’ works and Beckett’s oeuvre without the artists or artworks themselves
necessarily or explicitly supporting these associations. Conversely, artists may draw not (only) on
Beckett’s work directly, but (also) on its previous appropriative and transformative uses in both art
practices and discourses. The intricacy of exchanges between and mutual conditionings of artistic
practices and discourses becomes fully visible in the case of ‘Samuel Beckett and/in Contemporary
Art since the 1960s’. The project can thus function as a paradigm, i.e. a model with larger
implications for the understanding of cultural transmission across literary-artistic fields.
2.8. Given the complex and as yet unmapped state of affairs described above, the project proceeds
empirically by collecting (ideally) all available data regarding Beckett-conditioned contemporary
artworks and discourses; by describing the data; by organizing and assessing it; and by eventually
proposing, on its basis, a theoretical model. However, due to the sheer volume and dispersion of
data, the stage of theoretical modeling will very likely not be reached before a three- to four-year
time-span. Yet the activities of data collection, description, organization and assessment will be
informed by a consistent methodological reflection on best available tools and practices. In this way,
the project can already function as a methodological model, before becoming a theoretical one.
2.9. Data collection will proceed (for it has already started) with a thorough research of abstract,
bibliographical, index, database and – public and private – archival resources on all available
supports, i.e. paper, audio-visual and electronic formats (see List of References). Art museums’/
galleries’ and periodic art exhibitions’ online collections and/or archives will also be fully searched,
as will be art practitioners’ official websites. This step will be followed by the corroboration of
findings via original document consultation on original support, on-site archival and collection
research, and art practitioners’ interviewing. The project leader and/or team need not be the only
ones to carry out on-site research and thus travel globally. Local volunteers with the project can
become responsible for data validation. Moreover, art practitioners’ interviewing can also take place
via communication and information technology. The next step of the project consists in developing,
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on the basis of a substantial amount of data, criteria to organise, describe and assess it (see infra),
and in actually carrying out all these activities.
2.10. A further significant outcome of this empirically-oriented stage of the project is that Beckett-
related contemporary artworks that are not yet documented will actually be recorded and made
available. Artworks that are ephemeral and do not leave behind either an artefact or proper
documentation, may nonetheless be significant to further artistic and cultural developments. The
‘Samuel Beckett and/in Contemporary Art since the 1960s’ project improves contemporary art-
historical documentation and access to it, in its specifically circumscribed area, for a range of
potential uses: in-depth academic research, research conducted by arts professionals, teaching at
various levels in/across different disciplines, consultation by the general public, exchanges and
collaboration between some or all of the above interested parties.
2.11. Previous attempts to assess the connections between Beckett and contemporary art have been
carried out not only by scholars from different fields, but also by curators. A few exhibitions that
have been organised since 2000 dealt exclusively with the topic of ‘Beckett and/in (Contemporary)
Art’. While Samuel Beckett: A Passion for Paintings curated by Fionnuala Croke at the National
Gallery of Ireland, Dublin, Ireland in 2006, on the occasion of Beckett’s centenary, showed artworks
(mainly paintings) that Beckett owned, saw and/or alluded to in his various works, alongside artists’
books comprising his texts as well as Beckett archival material related to art (Croke), the following
shows focused mainly or solely on contemporary artists’ creative responses to Beckett (although
some of them also included artists’ books and/or archival material), sometimes even commissioning
new artworks: Samuel Beckett, Bruce Nauman, curated by Christine Hoffmann and Michael
Glasmeier with the collaboration of Gaby Hartel at the Kunsthalle Wien, Vienna, Austria in 2000
(Folie and Glasmeier); not i, curated by Pieter Hensen at the Ormeau Baths Gallery, Belfast and
Context Gallery, Derry, Northern Ireland, UK also in 2000 (Lerm Hayes 2000);
daprèsledépeupleur/afterthelostones, curated by Michèle Thériault at the UQAM Gallery, Montreal,
Quebec, Canada in 2002 (Thériault); 18: Beckett, curated by Séamus Kealy at the Blackwood
Gallery, Mississauga, Ontario, Canada in 2006 (Kealy); I not I: Samuel Beckett, Philip Guston,
Bruce Nauman, curated by Patrick T. Murphy at the Royal Hibernian Academy, Dublin, Ireland in
2006 (Anon); and most recently Samuel Beckett curated by Marianne Alphant and Nathalie Léger at
the Centre Georges Pompidou, Paris, France in 2007 (Alphant and Léger).
2.12. Another kind of exhibition that deals exclusively with Beckett’s reception by contemporary
artists is that of artists’ books comprising his texts. While Foirades/Fizzles: Echo and Allusion in the
Art of Jasper Johns, curated by James Cuno at the Grunwald Center for the Graphic Arts, Wight Art
Gallery, UCLA, USA in 1987 is the most comprehensive exhibition to date to display the various
stages of the making of an artist book comprising Beckett texts (Cuno), Word and Image: Samuel
Beckett and the Visual Text/ Mot et image: Samuel Beckett et le texte visuel, curated by Breon
Mitchell and Lois More Overbeck at the Robert W. Woodruff Library, Emory University,
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Atlanta/GA, USA in 1999 exhibited the so far largest selection of artists’ books created on the basis
of Beckett works (Mitchell and Overbeck).
2.13. Besides exhibitions that focus, one way or another, solely on Beckett and art, a wealth of
international exhibitions, biennials, art festivals, etc. which have been organized in the past ten to
fifteen years, either included Beckett as a participating artist, especially with his TV work and Film,
or were placed under his conceptual patronage that favoured specific interpretations of his oeuvre
and/or creative processes. The two best known examples of the first category are: documenta X,
curated by Catherine David in Kassel, Germany in 1997, which screened as an artwork Beckett’s
Quadrat I & II, a TV piece that Beckett himself directed at the Süddeutscher Rundfunk in Stuttgart,
Germany in 1982 (Glasmeier 2000); and Always a Little Further, curated by Rosa Martínez at the
51st Venice Biennial, Italy in 2005, in which Beckett was both referred to in the curatorial statement
and present as an exhibitor with his shortest dramaticule Breath adapted by Greek artist Nikos
Navridis in the form of a video installation (Martínez; Grammatikopoulou). Using as their titles
quotes from Beckett, Total Object Complete with Missing Parts, curated by Andrew Renton at the
Tramway, Glasgow, UK in 2001 and Try Again, Fail Again, Fail Better, curated by Anette Kierulf
and Mark Sladen at the 4th Nordic Biennial Momentum, Moss, Norway in 2006 best illustrate the
second category.
2.14. While quite abundant, these various types of curatorial projects offer, just like the scholarly
attempts discussed above, only partial and most of the time speculative glimpses into the complex
issue of ‘Samuel Beckett and/in Contemporary Art since the 1960s’. Although our project will
undoubtedly benefit from these various efforts to assess Beckett’s ‘legacy’ to contemporary art, it
requires at the same time that these efforts be systematised and supplemented, especially as regards
the different historical-chronological stages of artistic responses to Beckett and their conceptual,
thematic, problematic, medium-related and contextual dimensions.
2.15. Previous scholarly and curatorial contributions have, as a rule, endeavoured to circumscribe
the relationships between Beckett’s work, on the one hand, and a given contemporary artwork,
artist’s practice or art ‘movement’, on the other, by selecting and highlighting a limited number of
structural, thematic and/or media-related ‘Beckettian’ features. This selective approach made it
possible for Beckett’s work to be considered relevant for competing understandings of the same
object of inquiry. A case in point is the ‘Minimalist movement’. Both the serialist-structuralist-
rationalist interpretation of ‘Minimalism’ and its rival phenomenological-intuitionist interpretation
argue their respective position (also) by resorting to Beckett’s relevance for ‘Minimalist’ artists and
focusing only on aspects of his work that support this rather than that point of view. The same
situation holds for other divergent interactions in contemporary art, e.g. between ‘movements’ such
as ‘Abstract Expressionism’ and ‘Conceptual Art’ or between approaches such as medium-specificity
and inter-/post-mediality, with Beckett being invoked and/or appropriated, paradoxically, on both
sides of the divide. From the perspective of the ‘Beckett and/in Contemporary Art since the 1960s’
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project what is of interest and needs to be explained is precisely the capacity of Beckett’s work to be
significant for all the past, present and oftentimes contradictory developments in contemporary art.
2.16. The project is also relevant because responses to Beckett from the field of contemporary art
succeed in casting a new light on fundamental constitutive dimensions of Beckett’s corpus and their
configurative relationships, which may otherwise be much harder to observe or even remain
unnoticed. If contemporary art responses to Beckett help to better understand contemporary art,
they at the same time help to better understand Beckett’s own creative endeavour and processes.
Some of the mutually dependent structure-, form- and medium-informing themes that
contemporary art has highlighted in Beckett by appropriating, transforming and developing them
are the following: sensation – perception – apperception – conception; structure – construct –
concept – affect; presence – memory – imagination; inside – outside; subjectivity – objectivity; I –
other/s; stasis – movement; mind – body – technology; seriality – repetition – difference;
rationality – logic – meaninglessness; language games – ‘zero degree of writing’ – babble – silence;
objecthood – dematerialization – nothingness; strategy – accident – event; entropy – decay –
exhaustion – subsistence; futility – failure – resistance; humour – anguish; origin – originality –
appropriation; text – context – intertext; tautology – autonomy – reference – self-reference;
abstraction – figuration – representation; ‘high’ culture – ‘low’ culture; spectatorship – performance
– agency – passivity; ethics – aesthetics; identity – ideology – culture – history; etc.
2.17. These i) themes can be used – along criteria such as ii) chronology by decade since the 1960s,
iii) art ‘movement’ characteristics/aesthetics and iv) art discipline/medium – as heuristic starting
points in the organisation, description and assessment of contemporary art responses to Beckett.
The following questions can further assist with the same task: What aspects of Beckett’s creative
endeavour do contemporary artists/art discoursers consider particularly relevant to their own
artistic and/or discursive enterprise? What works by Beckett do they favour and why? How
precisely, i.e. at what levels, does the transposition – from Beckett to the art field – operate, since it
oftentimes entails the passage from one medium, context and signifying system to another? What
less obvious features of Beckett’s work does contemporary art help to illuminate? How does
Beckett’s oeuvre participate in contemporary art discourses and practices?
2.18. At the present, contemporary artworks and discourses – inclusive of those that respond to
Beckett – are the objects of study of various disciplines such as art history, criticism and theory,
cultural and visual culture studies as well as visual and cultural anthropology. Beckett’s oeuvre is in
its turn tackled by various disciplines such as literary, theatre, media and film studies. The
interactions between art and literature have led to the creation of fields of inquiry such as word and
image, art and language and inter-media studies. Curatorial practices, which ground various
Beckett-related exhibitions, are mainly researched in museum and curatorial practice studies.
Within each, or at least most, of these disciplines and fields there are several methodological and
theoretical models at work, ranging from historicist and biographical approaches to formalist,
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structuralist, poststructuralist-deconstructivist, cognitivist, semiotic, reader/viewer-response,
feminist, postcolonial, psychoanalytical, socio-ideological, critical-theoretical, philosophical-
phenomenological, philosophical-analytical and philosophical-aesthetical ones, to name but the best
known and most used (see for instance Bal, Bois et ali; Belting; Cheetham, Holly and Moxey; Culler
2007 and 2011; Eagleton; Foster, Krauss et ali; Fry; Haxthausen; Kibédi Varga 1989 and 2003;
Preziosi 1989 and 2009). These various models have oftentimes come into existence and co-
existence because previous models were considered insufficient to suitably account for specific
cases/ occurrences/contexts. The project ‘Samuel Beckett and/in Contemporary Art since the 1960s’
will endeavour to understand the various methodological-theoretical perspectives from within
which its objects of study – i.e. artworks and art discourses responding to Beckett – emerge or
within which they are explicitly or implicitly set/embedded/framed, before attempting to propose
new methodological-theoretical modelling. This actually means that the project will take stock of
and fully show, again in its specifically circumscribed area, methodological-theoretical debates
taking currently place in the disciplinary fields which it involves.
2.19. The Internet platform component of the present project will be, due to the technological
capabilities of the medium, more comprehensive, versatile and accessible than the monograph and
exhibition components. It will be the first operational module of the project and it will continue to
function even after the completion of the monograph and exhibition, so as to record and assess new,
on-going responses to Beckett in contemporary art. Besides recording and assessing both historical
and contemporaneous data and thus function as a knowledge resource, the Internet module is also
intended to become an exchange platform for artists, scholars, practitioners, educators or anybody
else interested in Beckett’s work and its reception in contemporary art since the 1960s.
2.20. Beckett’s multidimensional oeuvre and its ‘legacy’ to contemporary art has been chosen as a
case study that can potentially generate both methodological and theoretical research models
because of its extreme complexity. There is no other creative figure in the 20th century whose
‘outside legacy’ to the arts is as continuous, extensive and varied as Beckett’s. Besides artistic
practices, Beckett’s oeuvre also impacts the discourses of artists, art historians, theorists, critics and
curators in ways that need to be specified too. These discourses draw on Beckett references not only
to discuss Beckett-related artworks, but also to interpret – by analogy with oftentimes different and
even conflicting understandings of Beckett’s oeuvre – further art practices, curatorial projects
and/or art ‘movements’. If a model can be devised to systematise our grasp of processes of
signification, cultural transmission and appropriation in the case of ‘Samuel Beckett and/in
Contemporary Art since the 1960s’, one can quite confidently conjecture that this model is likely to
apply, with minor revisions, to other less complex cases.
Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 10
3. Knowledge Mobilization Plan
3.1. The main knowledge mobilization strategy of the proposed project is its Internet component,
since it will be continuous, freely accessible and it will include a social media element. This
component will also be the first operational one. Operation is planned to start by the end of the
project’s second year, with subsequent ongoing development in terms of uploaded content in the
third year and beyond. The exhibition and monograph components of the project will also
contribute to knowledge mobilization, although in a less continuous fashion. They are planned to
take place and respectively be published at the end of the third year of the project. It is likely that
these two components’ reach in terms of number and type of audience (age, profession, geographical
location, etc.) be more limited than in the case of the Internet component. Nonetheless, if partner
organizations will be found, the exhibition can have international circulation. Measuring the
number of people that access the Internet and exhibition components is quite easy, via hit counting
in the first case and ticket counting in the second. The quality of the interaction between the
audience and these two components will also be evaluated, via surveys and questionnaires.
3.2. Knowledge mobilization methods will also include participation in both academic and art
professional conferences, workshops, meetings, etc. The knowledge mobilized on these occasions
will be not only outbound, from the project to the audience and peers, but also inbound, from the
audience and peers to the project. The project will have enough flexibility, at least in its first year
and a half to two years, to integrate and adapt solutions that it may not come to generate itself.
Subsequent participation in such activities of knowledge mobilization is likely to be more outbound
than inbound, at least as regards the best possible way for designing the website-cum-portal and
organizing its content. Anybody interested will be able to contribute web content, especially once
the website-portal is launched, a process which will be nonetheless moderated. Volunteers around
the world can also participate in data verification.
3.3. Further modalities of knowledge mobilization include the publication of journal articles, book
chapters and reports of at least two kinds: in-depth studies dealing with specific aspects of Beckett-
related contemporary artworks and discourses that it is neither the monograph nor the Internet
component’s function to tackle in detailed manner. The second kind of publication which also is out
of the range of the project’s three components – Internet platform, monograph and exhibition – and
which will find its best dissemination venue in journals, book collections, etc. is the in-depth
description of the project’s various stages of development, as well as its methodological, theoretical
and logistical challenges.
3.4. The project has the capability of facilitating exchanges between individuals, organizations and
individuals and organizations both within and outside academia, that were previously unaware of
their shared interests. It can thus consolidate interest communities and facilitate the development of
new collaborative projects of which it itself need not be a direct part, other than having enabled
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mutual knowledge. Pending the project’s resources it itself can collaborate in other projects that are
relevant to its scope.
3.5. The project’s overall knowledge mobilization strategy is to respond – as time and personnel
resources allow – to requests of presentation and instruction/training from any interested party, be
it art professional or academic organizations and groups, educational institutions, media, etc. It will
also endeavor, at least in its first stages, to signal its existence to these various parties. Later and if
the need arises, it can train trainers.
4. Expected Outcomes Summary
4.1. The proposed project will generate several kinds of benefits/outcomes. In terms of knowledge
creation, the project will discover and delineate the extent of its object of study, i.e. contemporary
art works and discourses drawing on Beckett’s oeuvre. Methodologically, it will employ and further
best available approaches for data collection from both recorded and (hitherto) unrecorded sources,
in its specifically circumscribed area. It will also employ and further best available practices for the
description, organization, analysis and assessment of its object of study. Theoretically, the project
will not only lay out the methods and theories that already ground or are embedded within its very
object (see Detailed Description), but it will also eventually propose a model for literature-arts
appropriation and transmission processes.
4.2. In terms of knowledge preservation and dissemination, the project will function – especially,
but not only through its Internet platform component – both as a hub for its object of study and as a
gateway to connected resources (such as artists’, art practitioners’, art discourses’, galleries’,
museums’, etc. websites). Furthermore, it will record and make available as yet unrecorded and/or
difficultly accessible information. If through its multi-authored monograph and exhibition modules,
the project will give a largely static account of its object of study at a given moment in time, its
Internet component will allow it to function as a ‘work in progress’ that will keep growing with every
new and pertinent (in terms that still need to be defined) Beckett-connected artwork and discourse.
4.3. In terms of audience, the project will be relevant, as a knowledge resource, to researchers
interested in further in-depth study of particular aspects of its object. It will also be relevant to
artists, art practitioners and discoursers, as well as researches, who can use the project not only as a
knowledge resource but also as a platform for exchange (the latter especially via the Internet
component). The project can be also used for teaching purposes at various levels and it can be in fact
used by any member of the general public with an interest in it. Furthermore, team members and
non-team participants involved in the development of the project will benefit from it in terms of
gaining various kinds of research and professional skills.
Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 12
4.4. In terms of effects and implications, the project can become a model on several levels:
collaboration between researchers in various disciplines; collaboration between academia and
professionals, organizations and institutions in the field of arts; research training, turning research
into practice training and professional skills training for the assistants participating in the project
and other constituencies; as well as use of integrated digital arts & humanities and social media.
5. Team-Work Plan
5.1. The team of researchers working on the project will be responsible for carrying out the following
tasks (N.B. the list below is not exhaustive):
- Collect data via extensive bibliographical researches in a variety of published, audio-visual,
electronic, public and private archival resources, so as to find Beckett-related contemporary
artworks and art discourses.
- Travel for data collection and verification (i.e. research travel).
- Record, transcribe, translate (into English, possibly also French) and annotate data.
- Familiarize themselves with specific theoretical-methodological models underlying the data (as
explained in the Detailed Description).
- Participate in the process of developing criteria for organizing, describing, analyzing and
assessing the data.
- Database operation and/or creation.
- Write up both summaries and shorter or longer descriptions of individual Beckett-related
contemporary artworks and art discourses, as well as summaries and descriptions of groups/ classes
of such, once taxonomic criteria will have been established.
- Participate in the elaboration and conduction of interviews with art professionals (artists and
art discoursers) on their Beckett-related work/interest.
- Secure image and text rights (usage and reproduction) from publishers, museums, art galleries,
artists, writers, scholars, etc.
- The Internet component of the project presupposes additional duties such as website updating
and social media, possibly also participation in website design and maintenance.
Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 13
- The exhibition component presupposes additional duties such as lending and insurance
contracts, event organization and publicity.
- Travel for the purpose of participation/presentation in scholarly and art professional
conferences, meetings or workshops.
- Travel for the purpose of exhibition research/organization.
- Publication of research findings.
- Mentor junior co-workers and volunteers on the project.
5.2. The project will be open, via its Internet component, to non-team members around the world
who want to volunteer with it. Volunteers will be responsible for some of the above tasks. Team
members and non-team participants in the project will have the opportunity to familiarize
themselves with many aspects of knowledge creation, mobilization and implementation.
6. List of References
6.1. Quoted References Samuel Beckett Beckett, Samuel. Acte sans paroles I & II. Akt ohne Worte I & II. Act without Words I & II. Text in
English, French and German, translated by Elmar Tophoven. With eighteen original linocuts by Hans Martin Erhardt. Stuttgart: Manus Presse, 1965.
---. Aus einem aufgegebenen Werk. From an Abandoned Work. D’un ouvrage abandonné. Text in English, French and German, translated by Erika and Elmar Tophoven. With three original numbered and signed etchings in colour by Max Ernst. Stuttgart: Manus Presse, 1967.
---. Beckett’s “Dream” Notebook. Edited by John Pilling. Reading: Beckett International Foundation, 1999a.
---. Bing. Text in German, translated by Elmar Tophoven. With eight original signed blind reliefs by Hans Martin Erhardt. Stuttgart: Manus Presse, 1970.
---. Bing. Translated by Elmar Tophoven. With twenty-four etchings and one woodcut by Georg Baselitz. Cologne: Galerie Michael Werner, 1991.
---. Company. With thirteen original etchings by Dellas Henke. Iowa City: Iowa Center for the Book, 1983.
---. The Complete Dramatic Works. London: Faber and Faber, 1986. ---. The Complete Short Prose, 1929-1989. Edited and with an introduction and notes by S. E. Gontarski.
New York: Grove Press, 1995. ---. Film. Complete Scenario, Illustrations, Production Shots. With an Essay on Directing Film by Alan
Schneider. New York: Grove Press, 1969. ---. Foirades/Fizzles. With thirty-three original etchings by Jasper Johns. London: Petersburg Press,
1976a. ---. The Grove Centenary Edition. Series editor: Paul Auster, 4 vols. New York: Grove Press, 2006. ---. He, Joe, Quadrat I und II, Nacht und Träume, Schatten, Geister Trio... Filme für den SDR. DVD.
Berlin: Suhrkamp, 2008. ---. Ill Seen Ill Said. With twenty-eight original copperplates by Dellas Henke. Grand Rappids/MI: Dellas
Henke, 1998. ---. Imagination Dead Imagine. With twenty-four original lithographs by Sorel Etrog. London: John
Calder, 1979. ---. L’Issue. With six original signed etchings by Avigdor Arikha. Paris: Georges Visat, 1968a.
Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 14
---. Kommen und Gehen. Come and Go. Va et vient. Text in English, French and German, translated by Erika and Elmar Tophoven. With seven original signed etchings by Hans Martin Erhardt. Stuttgart: Manus Presse, 1968b.
---. The Letters of Samuel Beckett. Edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn and Lois More Overbeck. Cambridge: Cambridge University Press, 2009 (vol. 1), 2011 (vol. 2).
---. Au loin un oiseau. With five original signed etchings by Avigdor Arikha. New York: Double Elephant Press, 1973.
---. The Lost Ones. With seven original signed etchings by Charles Klabunde. Stamford/CT: The New Overbrook Press, 1984.
---. Malone meurt et Oh les beaux jours. With eight illustrations by Avigdor Arikha. Paris: Editions Rombaldi, 1971.
---. Nohow On. With six original etchings by Robert Ryman. New York: The Limited Editions Club, 1989a.
---. The North. With three original etchings by Avigdor Arikha. London: Enitharmon Press, 1972. ---. Nouvelles et textes pour rien. With six reproductions of signed pen and ink drawings by Avigdor
Arikha. Paris: Minuit, 1958. ---. “Part III: Words about Painters”, in Disjecta. Miscellaneous Writings and a Dramatic Fragment.
Edited by Ruby Cohn. London: John Calder, 1983 (115-152). ---. Still. Text in English and Italian, translated by Luigi Majno. With three original signed etchings in
colour, and three original black and white signed etchings on Japan, by William Stanley Hayter. Milan: M’Arte Edizioni, 1974.
---. Stirrings Still. With one original two-colour lithograph and eight original litographs in black and white by Louis Le Brocquy. London: John Calder; New York: Blue Moon, 1989b.
---. Text for Nothing #8. Read by Jack MacGowan, LP audio recording, Aspen: The Magazine in a Box, nos. 5-6 “The Minimalism Issue”. Edited and designed by Brian O’Doherty (1967).
---. The Theatrical Notebooks of Samuel Beckett. Series editor: James Knowlson, 4. vols. London: Faber and Faber, 1992, 1993, 1999b.
---. Waiting for Godot. With fourteen signed etchings by Dellas Henke. Iowa City: Iowa Center for the Book, 1976b.
Samuel Beckett and Art Ackerley, C. J. and S. E. Gontarski. The Grove Companion to Samuel Beckett. A Reader’s Guide to His
Works, Life, and Thought. New York: Grove Press, 2004. Albright, Daniel. Beckett and Aesthetics. Cambridge; New York: CUP, 2003. Alphant, Marianne and Nathalie Léger (Eds.). Objet Beckett. Catalogue of the exhibition Samuel Beckett
co-curated by Marianne Alphant and Nathalie Léger at the Centre Pompidou, Gallery 2, 14 March-25 June 2007. Paris: Centre Georges Pompidou/IMEC, 2007.
Anon. “Listings”, in Irish Arts Review 23, no. 1 (Spring 2006): 44. Bal, Mieke. “Re-: Killing Time”, in Hans D. Christ and Iris Dressler (Eds.). Stan Douglas. Past Imperfect:
Works, 1986-2007. Catalogue of an exhibition co-curated by Hans D. Christ and Iris Dressler in cooperation with Gudrun Inboden at the Staatsgalerie Stuttgart and Würtembergischer Kunstverein Stuttgart, 15 September 2007-6 January 2008. Ostfildern: Hatje Cantz, 2008 (64-93).
Bell, L. A. J. “Between Ethics and Aesthetics: The Residual in Samuel Beckett’s Minimalism”, Journal of Beckett Studies 20, no. 1 (2011): 32-53.
Bignell, Jonathan. Beckett on Screen: The Television Plays. Manchester: Manchester University Press, 2009.
Bruggen van, Coosje. Bruce Nauman. New York: Rizzoli, 1988. Brater, Enoch. Beyond Minimalism: Beckett’s Late Style in the Theatre. New York: OUP, 1987. Carville, Connor. “Autonomy and the Everyday: Beckett, Late Modernism and Post-War Visual Art”,
Samuel Beckett Today/Aujourd’hui 23 (2011): 63-80. Chiong, Kathryn. “Nauman’s Beckett Walk”, October 86 (Autumn 1998): 63-81. Croke, Fionnuala (Ed.). Samuel Beckett: A Passion for Paintings. Catalogue of an exhibition curated by
Fionnuala Croke in collaboration with Riann Coulter at the National Gallery of Ireland, 15 June-17 September 2006. Dublin: National Gallery of Ireland, 2006.
Cuno, James (Ed.). Foirades/Fizzles: Echo and Allusion in the Art of Jasper Johns. Catalogue of an exhibition curated by James Cuno at the Grunwald Center for the Graphic Arts, Wight Art Gallery, University of California Los Angeles, 20 September-15 November 1987. Los Angeles: Wight Art Gallery – UCLA, 1987.
Del Degan, Dario. “Playing with Paint or Painting with Play: Positioning Beckett’s Play within Marin’s Theory of Reading Paining”, Samuel Beckett Today/Aujourd’hui 11 (2002): 237-244.
Delaporte, Marie-Laure. “Samuel Beckett/Bruce Nauman: Un nouveau lieu de création spatio-temporel”, Samuel Beckett Today/Aujourd’hui 23 (2011): 81-93.
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Dittrich, Lutz, Carola Veit and Ernest Wichner (Eds.). “Obergeschoss still closed”: Samuel Beckett in Berlin 1936-1937. Catalogue of an exhibition at Literaturhaus Berlin. Berlin: Matthes & Seitz, 2006.
Douglas, Stan (Ed.). Samuel Beckett: Teleplays. Catalogue of an exhibition curated by Stan Douglas at the Vancouver Art Gallery, 1 October-3 December 1988. Vancouver: Vancouver Art Gallery, 1988.
Douglas, Stan and Robert Enright. “Double Take”, Frieze 109 (September 2007): 168-175. Douglas, Stan and Diana Thater. “Diana Thater in Conversation with Stan Douglas”, in Scott Watson,
Diana Thater and Carol J. Clover. Stan Douglas. London: Phaidon, 1998 (8-29). Duthuit, Georges. The Fauvist Painters. New York: Wittenborn, Schultz, 1950.
---. “Jean-Paul Riopelle – A Painter of Awakening”. Translated by Samuel Beckett. Canadian Art 10, no. 1 (October 1952): 24-27.
Folie, Sabine and Michael Glasmeier (Eds.). Samuel Beckett, Bruce Nauman. Catalogue of an exhibition co-curated by Christine Hoffmann and Michael Glasmeier with the academic assistance of Gaby Hartel at the Vienna Kunsthalle, 4 February-30 April 2000. Vienna: Die Kunsthalle, 2000.
Glasmeier, Michael. “Erschöpfte Räume. Samuel Beckett und andere Künstler”, in Angela Lammert (Ed.). Raum und Körper in den Künsten der Nachkrigszeit. Berlin: Akademie der Künste; Dresden: Verlag der Kunst, 1998 (246-260).
---. “Bewegter Stillstand”, in Sabine Folie and Michael Glasmeier (Eds.). Samuel Beckett, Bruce Nauman. Catalogue of an exhibition co-curated by Christine Hoffmann and Michael Glasmeier with the academic assistance of Gaby Hartel at the Vienna Kunsthalle, 4 February-30 April 2000. Vienna: Die Kunsthalle, 2000 (149-159).
Graham, Dan and Ludger Gerdes. “Dan Graham Interviewed by Ludger Gerdes”, in Adachiara Zevi (Ed.). Dan Graham. Selected Writings and Interviews on Art Works, 1965-1995. Roma: I Libri di Zerynthia, 1995 (175-200).
Grammatikopoulou, Christina. “Restaging Beckett: Hirst, Navridis and brothers Guimarães Taking a Breath”, Interartive 4 (November 2008): http://interartive.org/2008/11/samuel-beckett.
Hartel, Gaby. “the eyes take over”: Samuel Becketts Weg zum gesagten Bild. Eine Untersuchung von ‘The Lost Ones’, ‘Ill Seen, Ill Said’ und ‘Stirrings Still’ im Kontext der visuellen Kunst. Trier: Wissenschaftlicher Verlag Trier, 2004.
Herren, Graley. Samuel Beckett’s Plays on Film and Television. New York: Palgrave MacMillan, 2007. Holt, Nancy, Lucy R. Lippard and Robert Smithson. “Out of the Past. Lucy R. Lippard Talks about Eva
Hesse with Nancy Holt and Robert Smithon”, Artforum 46, no. 6 (February 2008): 236-250. Inboden, Gudrun. “Giving Form to Absence”, in Hans D. Christ and Iris Dressler (Eds.). Stan Douglas.
Past Imperfect: Works, 1986-2007. Catalogue of an exhibition co-curated by Hans D. Christ and Iris Dressler in cooperation with Gudrun Inboden at the Staatsgalerie Stuttgart and Würtembergischer Kunstverein Stuttgart, 15 September 2007-6 January 2008. Ostfildern: Hatje Cantz, 2008 (124-141).
Israel, Nico. “At the End of the Jetty: Beckett, Smithson, Spirals and Global Modernity”, Journal of Beckett Studies 20, no. 1 (2011): 1-31.
Katz, Daniel. “Where Now? A Few Reflections on Beckett, Robert Smithson, and the Local”, Samuel Beckett Today/Aujourd’hui 22 (2010): 329-340.
Kealy, Séamus (Ed.). 18: Beckett. Catalogue of an exhibition curated by Séamus Kealy at the Blackwood Gallery, University of Toronto at Mississauga, 9 November-21 December 2006. Mississauga: Blackwood Gallery, 2006.
Knowlson, James. Damned to Fame. The Life of Samuel Beckett. New York: Simon & Schuster, 1996. ---. Images of Beckett. Cambridge: Cambridge University Press, 2003. Krauss, Rosalind. “Jasper Johns: The Functions of Irony”, October 2 (Summer 1976): 91-99. ---. “LeWitt in Progress”, October 6 (Autumn 1978): 46-60. ---. “The Mind/Body Problem: Robert Morris in Series”, in Robert Morris. The Mind/Body Problem.
Catalogue of an exhibition co-curated by Rosalind Krauss and Thomas Krens at the Solomon R. Guggenheim Museum Soho, January-April 1994. New York: The Solomon R. Guggenheim Foundation, 1994 (2-17).
---. “‘The Rock’: William Kentridge’s Drawings for Projection”, October 92 (Spring 2000): 3-35. Labrusse, Rémi. “Beckett et la peinture. Le témoignage d’une correspondance inédite”, Critique 46, nos.
519-520 (August-September 1990): 670-681. Lerm Hayes, Christa-Maria. “Not I. Exhibition Review”, Circa 93 (Autumn 2000): 50-51. ---. “Nauman.. Beckett... Beckett. Nauman: The Necessity of Working in an Interdisciplinary Way”, Circa
104 (Summer 2003): 47-50. LeWitt, Sol. “Drawing for Come and Go by Samuel Beckett”, double-spread sheet, Harper’s Bazaar 3093
(August 1969): 136-137. LeWitt, Sol and Andrew Wilson. “Sol LeWitt Interviewed”, in Gabriele Detterer (Ed.). Art Recollection:
Artists’ Interviews and Statements in the Nineties. Ravenna: Danilo Montanari & Exit & Zona Archives Editori, 1997 (153-160).
Lommel, Michael. Samuel Beckett: Synästhesie als Medienspiel. München: Wilhelm Fink Verlag, 2006.
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Martínez, Rosa. “Always a Little Further”, in La Biennale di Venezia 51st International Art Exhibition, vol. 3. Catalogue of an exhibition curated by Rosa Martínez at the 51st Venice Biennial, Arsenale, June- September 2005. Venezia: La Biennale di Venezia & Marsilio, 2005.
McMillan, Dougald. “Samuel Beckett and the Visual Arts: The Embarrassment of Allegory”, in Ruby Cohn (Ed.). Samuel Beckett: A Collection of Criticism. New York: McGraw-Hill Book Co., 1975 (121-135).
Mercier, Vivian. Beckett/Beckett. New York: Oxford University Press, 1977 (88-113). Milz, Manfred. Samuel Beckett und Alberto Giacometti: Das Innere als Oberfläche. Ein ästheticher
Dialog im Zeichen schöpferischer Entwicklungsprozesse. Würzburg: Königshausen und Neumann, 2006.
Mitchell, Breon and Lois More Overbeck (Eds.). Word and Image: Samuel Beckett and the Visual Text/Mot et image: Samuel Beckett et le texte visuel. Catalogue of an exhibition and symposium at the Robert W. Woodruff Library, Emory University, Atlanta/GA, November 1999; Lilly Library, Indiana University Bloomington/IN, 20 October-18 December 1999; and Musée des Beaux-Arts, Caen, 22 March-15 April 2000. Atlanta/GA: Emory University; Paris: IMEC, 1999.
Morris, Robert. “Aligned with Nazca”, in Continuous Project Altered Daily. The Writings of Robert Morris. Cambridge: MIT Press, 1993 (143-173).
Nauman, Bruce. Please Pay Attention Please: Bruce Nauman’s Words. Edited by Janet Kraynak. Cambridge: MIT Press, 2003.
Nixon, Mark. Samuel Beckett’s German Diaries 1936-1937. London: Continuum, 2011. Oppenheim, Lois (Ed.). Samuel Beckett and the Arts. Music, Visual Arts and Non-Print Media. New
York and London: Garland Publishing, 1999. Oppenheim, Lois. The Painted Word: Samuel Beckett’s Dialogue with Art. Ann Arbor: University
of Michigan Press, 2000. Quadflieg, Roswitha. Beckett Was Here: Hamburg im Tagebuch Samuel Becketts von 1936. Hamburg:
Hoffmann und Kampe, 2006. Schaffner, Ingrid. “Circling Oblivion. Bruce Nauman through Samuel Beckett”, in Bruce Nauman: 1985-
1996. Drawing, Prints and Related Works. Catalogue of ‘The 1995 Larry Aldrich Foundation Award Exhibition’, curated by Jill Snyder at The Aldrich Museum of Contemporary Art, 4 May-31 August 1997. Connecticut: The Aldrich Museum of Contemporary Art, 1997 (15-31).
Smithson, Robert. “Quasi-Infinities and the Waning of Space”, Arts Magazine 41, no. 1 (November 1966): 28-31.
Taban, Carla. “Samuel Beckett: du discours descriptif, fictif et critique sur la peinture à la contiguïté du discursif et du pictural”, Word & Image: A Journal of Verbal/Visual Enquiry 27, no. 2 (June 2011): 220-233.
---. “Transpositions de l’œuvre de Beckett dans l’art contemporain au Québec, 2000-2010”, Samuel Beckett Today/Aujourd’hui 23 (2011): 143-161.
Thériault, Michèle. daprèsledépeupleur/afterthelostones. Catalogue of an exhibition curated by Michèle Thériault at the UQAM Gallery Montréal, 16 January-23 February 2002. Montreal: Carapace, 2002. Tophoven, Erika. Becketts Berlin. Berlin: Nikolai, 2005.
Tubridy, Derval. “Sounding Spaces. Aurality in Samuel Beckett, Janet Cardiff and Bruce Nauman”, Performance Research. A Journal of the Performing Arts 12, no. 1, Special Issue “On Beckett” (2007): 5-11.
---. “Beckett, Feldman, Salcedo… Neither”, in Daniela Caselli (Ed.). Beckett and Nothing: Trying to Understand Beckett. Foreword by Terry Eagleton. Manchester: Manchester University Press, 2010 (143-159).
Tuyl van, Gijs. “Condition Humaine/Corps Humain. Bruce Nauman und Samuel Beckett”, in Christine van Assche (Ed.). Bruce Nauman. Image/Text 1966-1996. Catalogue of an exhibition held at the Kunstmuseum Wolfsburg, 24 May-28 September 1997 and three other locations through January 1999. Wolfsburg: Kunstmuseum Wolfsburg; Ostfildern-Ruit: Cantz, 1997 (61-75).
Watson, Scott. “Against the Habitual”, in Scott Watson, Diana Thater and Carol J. Clover. Stan Douglas. London: Phaidon, 1998 (32-67).
Art and Literary Theory and History Bal, Mieke, Yve-Alain Bois, Irving Lavin, Griselda Pollock and Christopher S. Wood. “Art History and Its
Theories”, The Art Bulletin 78, no. 1 (March 1996): 6-25. Belting, Hans. Art History after Modernism. Translated by Carolina Saltzwedel and Mitch Cohen with
additional translation by Kenneth Northcott. Chicago: University of Chicago Press, 2003. Cheetham, Mark A., Michael Ann Holly and Keith Moxey (Eds.). The Subjects of Art History: Historical
Objects in Contemporary Perspectives. Cambridge: Cambridge University Press, 1998. Culler, Jonathan. The Literary in Theory. Stanford: Stanford University Press, 2007. ---. Literary Theory: A very Short Introduction. 2nd Edition. Oxford & New York: Oxford University
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Eagleton, Terry. Literary Theory: An Introduction. 2nd Edition. Minneapolis/MN: University of Minnesota Press, 1996.
Foster, Hall, Rosalind Krauss, Yve Alain-Bois, Benjamin H. D. Buchloh and David Joselit. Art since 1900: Modernism, Antimodernism, Postmodernism. 2nd Revised Edition. New York: Thames & Hudson, 2011.
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MA: Sterling and Francis Clark Art Institute; New Haven/CT: Yale University Press, 2002. Kibédi Varga, Áron “Criteria for Describing Word-and-Image Relations”. Poetics Today 10, no. 1 ‘Art and
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---. The Art of Art History. A Critical Anthology. New Edition. Oxford: Oxford University Press, 2009. 6.2. Consulted References (Selection) Samuel Beckett Criticism Abbott, H. Porter. The Fiction of Samuel Beckett: Form and Effect. Berkeley: University of California
Press, 1973. Bishop, Tom and Raymond Federman (Eds.). Les Cahiers de l’Herne 31 ‘Samuel Beckett’. Paris: Éditions
de l’Herne, 1976. Branigan, Kevin. Radio Beckett: Musicality in the Radio Plays of Samuel Beckett. Oxford: Peter Lang,
2008. Caselli, Daniela, Beckett’s Dantes. Manchester & New York: Manchester University Press, 2005. Cohn, Ruby. Back to Beckett. Princeton: Princeton University Press, 1973. ---. A Beckett Canon. Ann Arbor: The University of Michigan Press, 2001. ---. Samuel Beckett: The Comic Gamut. New Brunswick & New Jersey: Rutgers University Press, 1962.
Connor, Steven. Samuel Beckett: Repetition, Theory and Text. Oxford & New York: Blackwell, 1988. Davis, Robin and Lance St. John Butler (Eds.). Rethinking Beckett. London: MacMillan, 1990.
Fitch, Brian T. Beckett and Babel. An Investigation into the Status of the Bilingual Work. Toronto: University of Toronto Press, 1988.
Gontarski, S. E. The Intent of Undoing in Samuel Beckett’s Dramatic Texts. Bloomington: Indiana University Press, 1985.
Harper, Howard, Douglas McMillan III and Edouard Morot-Sir (Eds.). Samuel Beckett. The Art of Rhetoric. Chapel Hill: University of North Carolina Department of Romance Languages, 1976.
Harvey, Lawrence E. Samuel Beckett. Poet and Critic. Princeton: Princeton University Press, 1970. Hill, Leslie. Beckett’s Fiction in Different Words. Cambridge: Cambridge University Press, 1990.
Hulle van, Dirk. The Making of Samuel Beckett’s Stirrings Still/Soubresauts and Comment dire/What Is the Word. Brussels: University Press Antwerp, 2011.
Kalb, Jonathan. Beckett in Performance. Cambridge & New York: Cambridge University Press, 1989. Kenner, Hugh. Samuel Beckett. A Critical Study. Berkeley & Los Angeles: University of California Press, 1968.
Laws, Catherine (Ed.). Performance Research. A Journal of the Performing Arts 12, no. 1 Special Issue “On Beckett” (2007).
Locatelli, Carla. Unwording the World. Samuel Beckett’s Prose Works after the Nobel Prize. Philadelphia: University of Pennsylvania Press, 1990.
McMillan, Dougald and Martha Fehsenfeld. Beckett in the Theatre: The Author as Practical Playwright and Director. London: John Calder; New York: Riverrun Press, 1988.
McMullan, Anna. Theatre on Trial: Samuel Beckett’s Later Drama. New York: Routledge, 1993. Moorjani, Angela B. Abysmal Games in the Novels of Samuel Beckett. Chapel Hill: University of North
Carolina Department of Romance Languages, 1982. Myskja, Bjørn. The Sublime in Kant and Beckett: Aesthetic Judgment, Ethics and Literature. Berlin and
New York: Walter de Gruyter, 2002. Pilling, John. Samuel Beckett. London: Routledge & Kegan Paul, 1976. Pilling, John (Ed.). The Cambridge Companion to Beckett. Cambridge: Cambridge University Press,
1994. Rabinovitz, Rubin. Innovation in Samuel Beckett’s Fiction. Urbana & Chicago: University of
IllinoisPress, 1992. Sherzer, Dina. Structure de la trilogie de Beckett: ‘Molloy’, ‘Malone meurt’, ‘L’Innommable’. La Haye &
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Tagliaferri, Aldo. Beckett et la surdétermination littéraire. Translated from the Italian by Nicole Fama. Paris: Payot, 1977.
Tönning, Erik. Samuel Beckett’s Abstract Drama: Works for Stage and Screen, 1962-1985. Bern & Oxford: Peter Lang, 2007.
Uhlmann, Anthony. Beckett and Poststructuralism. Cambridge: Cambridge University Press, 1999. Wulf, Catharina (Ed). The Savage Eye = L’Oeil fauve. New Essays on Samuel Beckett’s Television Plays.
Amsterdam: Rodopi, 1995. Zilliacus, Class. Beckett and Broadcasting: A Study of the Works of Samuel Beckett for and in Radio and
Television. Abo: Abo Akademi, 1976. Samuel Beckett and Art Applebroog, Ida. “Ida Applebroog: Process and Technology”, Art21 Interview:
http://www.art21.org/texts/ida-applebroog/interview-ida-applebroog-process-and-technology. Armstrong, Gordon S. Samuel Beckett, W.B. Yeats, and Jack Yeats: Images and Words. Lewisburg/PA:
Bucknell University Press; London: Associated University Presses, 1990. Beuys, Joseph and Stuart Morgan. “Interview with Joseph Beuys”, Parkett 7 (1986): 54-68. Blistène, Bernard et ali. A Theater without Theater. Catalogue of an exhibition co-curated by Bernard
Blistène and Yann Chateigné with the collaboration of Pedro G. Romero at the Museu d’Art Contemporani de Barcelona, 25 May-11 September 2007 and at the Museu Colecção Berardo, Arte Moderna e Contemporânea, Lisbon, 16 November 2007- 17 February 2008. Barcelona: Museu d’Art Contemporani de Barcelona; Lisbon: Museu Colecção Berardo, 2007.
Bochner, Mel and John Baldessari. “Outside the Box”, Artforum 45, no. 10 (Summer 2007): 101-102. Bogardi, Georges. “The Studio: In Her Reconfigurations of Ideas and Found Materials, Betty Goodwin
Transforms Life into Art”, Canadian Art 11, no. 3 (Fall 1994): 86-93. Brater, Enoch. “Dada, Surrealism and the Genesis of Not I”, Modern Drama 18, no. 1 (March 1975): 49-
59. ---. “The Empty Can: Samuel Beckett and Andy Warhol”, Journal of Modern Literature 3, no. 5 ‘From
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