Women in Dark Times Read Free Page B

and Listening; Inseparable Angels: The Imaginary House of Walter Benjamin (Stockholm: Historical Museum, 2002)
    —, Entre l’écoute et la parole: Derniers Témoins: Auschwitz-Birkenau 1945–2005 (Paris: Hotel de Ville, 2005)
    —, First Generation , edited by Vendela Heurgren (Fittja, Sweden: Botkyrka Multicultural Centre, 2006)
    —, Menschendinge/The Human Aspect of Objects (Buchenwald: Stiftung Gedenkstätten Buchenwald und Mittelbau-Dora, 2006)
    —, The Place of Art , University of Gothenburg, Art Monitor , 2, 2008
    —, Esther Shalev-Gerz , Retrospective (Paris: Jeu de Paume, 2010)
    —, Describing Labor (Florida: The Wolfsonian, 2012)
    —, The Contemporary Art of Trusting, Uncertainties and Unfolding Dialogue (Gothenburg: University of Gothenburg and Valand Academy, 2014)
    Wik, Annika, ‘In-Between: The Cut’, Esther Shalev-Gerz (Lausanne: Musée cantonal des Beaux-Arts, 2012)
    6. Coming Home: Yael Bartana
    ‘A Conversation between Yael Bartana, Galit Eilat and Charles Esche’, . . . And Europe Will Be Stunned (Berlin: Revolver, 2010)
    Alexander, Sally, ‘Primary Maternal Preoccupation: D. W. Winnicott and Social Democracy in Mid-Twentieth-Century Britain’, History and Psyche: Culture, Psychoanalysis and the Past , edited by Sally Alexander and Barbara Taylor (London: Palgrave, 2012)
    Arendt, Hannah, ‘We Refugees’, The Jew as Pariah: Jewish Identity and Politics in the Modern Age (New York: Grove Press, 1978); also in Arendt, The Jewish Writings (New York: Schocken, 2007)
    Azoulay, Ariella, ‘“Come back! We need you!” On the video works of Yael Bartana’ (Tel Aviv: Short Memory Center for Contemporary Art and Rachel and Israel Pollack Gallery, The Teacher’s College of Technology, 2008), typescript
    Bartana, Yael,  . . . And Europe Will Be Stunned (London: Artangel, 2011)
    Bartana, Yael, Emily Jacir, Lee Miller, Wherever I Am (Oxford: Museum of Modern Art, 2004)
    Cichoki, Sebastian and Galit Eilat (eds), A Cookbook for Political Imagination (Warsaw: Zach ? ta National Gallery of Art, 2011)
    Decter, Joshua, ‘Yael Bartana: P.S. 1 Contemporary Art Center, New York’, Art Forum , 47:8, 2009
    Gross, Jan T., Neighbors: The destruction of the Jewish Community in Jedwabne (Princeton: Princeton University Press, 2001)
    —, Fear, Anti-Semitism in Poland after Auschwitz, An Essay in Historical Interpretation (Princeton: Princeton University Press, 2006)
    Hoffman, Eva, Shtetl: The Life and Death of a Small Town and the World of Polish Jews (London: Secker & Warburg, 1998)
    ‘Interview with Yael Bartana’, ArtiT (Amsterdam: Annet Gelink Gallery; Tel Aviv: Sommer Contemporary Gallery, 2012)
    Penrose, Antony (ed.), Lee Miller’s War: Photographer and Correspondent with the Allies in Europe 1944–1945 , foreword by David E. Scherman (London: Thames & Hudson, 1992)
    Polonsky, Antony and Joanna B. Michlic, The Neighbors Respond: The Controversy over the Jedwabne Massacre in Poland (Princeton: Princeton University Press, 2004)
    Steinlauf, Michael C., Bondage to the Dead: Poland and the Memory of the Holocaust (New York: Syracuse University Press, 1997)
    7. Damage Limitation: Thérèse Oulton
    Andreas-Salomé, Lou, The Freud Journal (London: Quartet, 1987)
    Caygill, Howard, ‘The Destruction of Art’, The Life and Death of Images: Ethics and Aesthetics , edited by Diarmuid Costello and Dominic Willsdon (London: Tate, 2008)
    Clark, T. J., Farewell to an Idea: Episodes from a History of Modernism (New Haven: Yale University Press, 1999)
    Cork, Richard, ‘Between Two Worlds’, Lines of Flight (London: Marlborough, 2006)
    The Diaries of Paul Klee 1898–1918 , edited by Felix Klee (Berkeley: University of California Press, 1964)
    Gidal, Peter, ‘Fugitive Theses re Thérèse Oulton’s The Passions No. 6 and Metals paintings (1984)’, in Thérèse Oulton, Fools’ Gold (London: Gimpel Fils, 1984)
    Greer, Germaine, ‘Painting landscapes requires authority. Is this why so few women try them?’ Guardian