2014
Simon, Joan ed. The Distaff Side. East Greenwich, RI: Meridian Printing, 2014, 29 and 46.
Lethen, Helmut. Der Schatten Des Fotografen. Berlin: Rowohlt Berlin, 2014, 24-29.
2013
Aleksic, Tatjana. The Sacrificed Body: Balkan Community Building and
the Fear of Freedom. Pittsburgh: University of Pittsburgh Press, 2013.
Babin, Sylvette. Esse Arts + Opinions: Reconstitution & Re-Enactment.
Quebec: Canada Council for the Arts, 2013, 5 – 9.
Cerveira Biennial Museum. 17a Biennial of Cerveira. Villa Nova de
Cerveira: Direccao-Geral Das Artes, 2013.
Davvetas. Démosthènes. Marina Abramovic: Méditation aux Yeux Fixés.
Paris: Edition Nicholas Chaudan, 2013.
Dekel, Tal. Gendered: Art and Feminist Theory. Newcastle upon Tyne: Cambridge Scholars Publishing, 2013, 27-28, 151.
De Jongh, Karlyn and Sarah Gold. Personal Structures: Time-Space- Existence. Leiden: Global Art Affairs Foundation, 2013, 152 - 159.
Gareis, Sigrid, Georg Schöllhammer und Peter Weibel eds. Moments: Eine Geschichte der Performance in 10 Akten. Köln: Verlag der Buchhandlung Walther König, 2013, 112-115.
Ghia, Maria Clara. Prescrivere Liberare. Rome: Officina Edizioni, 2013.
Gielen, Denis. DITS: Troubles? #18. Wallonia-Brussels Federation:
Musee des Arts Contemporains au Grand-Hornu, 2013.
Grath, Jürgen. Furk’art Spuren des Ephemeren. Munich: Herbert Utz Verlag, 2013, 213-222.
Grovier, Kelly. 100 Works of Art That Will Define Our Age. London:
Thames & Hudson Ltd., 2013, 18 – 19.
Hailand, Tim. One Day in the Life of Robert Wilson’s The Life and Death
of Marina Abramovic. New York: Tim Hailand Books, 2011.
Hayashi, Sumi, et al, eds. Unattained Landscape. New York: Japan Foundation, 2013.
Heiser, Jörg. “Jörg Heiser Talks to Marina Abramovic & Moniva Bonvicini.” Frieze Interviews. London: Frieze Publishing Ltd., 2013, 126-146.
Heartney, Eleanor et al. After the Revolution: Women Who Transformed Contemporary Art. Munich: Prestel, 2013, 106-125.
Herbert F. Johnson Museum of Art. Hair: Untangling Roots of Identity. Ithaca: Cornell University, 2013.
Huber, Thomas R. Asthetik der Begegnung: Kunst als Erfahrungsraum
der Anderen . Frankfurt: Transcript Image, 2013, 168 – 173.
Keidan, Lois and CJ Mitchell. Programme Notes: Case Studies for
Locating Experimental Theatre [Revised & Expanded Second Edition]. London: Oberon Books Ltd, 2013, 40 – 60.
Kusama, Yayoi. Enjoy! Contemporary Art. Tokyo: OTA Fine Arts, 2013.
Jacinto Lageira, “Les puissance formative du corps,” La Part de l’OEil 27-28 (2012-2013) 52-62.
Ledbury, Mark. Fictions of Art History. Williamstown: Sterling and Francine Clark Art Institute, 2013, 187 – 202.
List, Larry and Martha Wilson. Skin Trade. New York: PPOW, 2013.
Luca Francesconi “Effet de Masque”, Cite Musiques, January-June, 2013,
33.
Martin, Jean-Hubert. Theatre of the World. Tasmania: Museum of Old and
New Art, 2013.
Obrist, Hans Ulrich and Klaus Biesenbach. 13 Rooms. Sydney: Kaldor
Public Art Projects at Pier 2/3, 2013, 20 – 26.
Riegel, HP. Beuys: Die Biographie. Berlin: Aufbau, 2013, picture credit 24.
Rosendal Nielsen, Thomas. Peripeti: tidsskrift for dramaturgiske studier: Publikum. Langelandsgade, Denmark : 2012, 123-128.
Schaefer, Pierre. Surprendre Le Regard: Experience Photographique Avec Dix Couples. Geneva: Labor Et Fides, 2013.
Signe Theill. United Nations Revisited - Artisitc Interventions in political
Space. (Berlin: Vice Versa Verlang, 2013) 70 - 73.
Smith, Stephanie. FEAST: Radical Hospitality in Contemporary Art. Chicago: Smart Museum of Art, University of Chicago, 2013, 50- 65.
Stiegele, Juliane. Utopia Toolbox .1. Munich: Toolbooks LTD, 2013, 119.
van Mechelen, Marga. Art at Large - Through Performance and
Installation Art (Amsterdam: ArtEZ Press, 2013) 2 - 5, 62 - 95,
176.
Wetzel, Roland. Metamatic Reloaded. Basel: Museum Tinguely, 2013,
30 - 41, 174 – 179.
Wiesinger, Véronique. Giacometti Alberto: Espace, Tete, Figure: Musee de Grenoble / Fondation Giacometti. Grenoble, March-June, 2013, 171.
2012
12 Rooms . Museum Folkwang. 2012, 18, 20.
Abramovic, Marina and Mateo Fijoo. The Kitchen. Madrid: La Fabrica Editorial, 2012
Ballabio, Edith. Marina Abramovic: With Eyes Closed I See Happiness. Milan: Arti Grafiche Bianca e Volta, 2012.
Baiardi, Francesca. Dr. Abramovic: A Cura Di Francesca Baiardi. Milano: Feltrinelli Real Cinema, 2012.
Buran, Dusan ed. KRV. Bratislava: The Slovak National Gallery, 2012, 48.
Denegri, Dobrila. Theatre of Life. Torun: Centre of Contemporary Art, 2012, 10, 63-65.
Gooding, Mel. RA Now: Royal Academicians from Anish Kapoor to Zaha Hadid. Royal Academy of Arts. 2012, 20-21.
Hellwig-Schmid, Regina ed. Documenta 2012. Regensburg:
Amuller Druck, 2012, 38-43.
Kavass, Veronica. Artists in Love from Picasso and Gilot to Christo and Jeanne-Claude: A century of Creative and Romantic Partnership, ed. Katrina Fried. New York: Welcome Books, 2012, 180-187.
Lepecki, André, ed., Dance: Documents of Contemporary Art. 2012 London: The Whitechapel Gallery, 2012, 110
Lynes, Krista Genevieve. Prismatic Media, Transnational Circuits: Feminism in a Globalized Present, New York: Palgrave Macmillan, 2012, 41-45.
Rooney, Anne Marie. Spitshine. Pittsburgh: Carnegie Mellon University Press, 2012.
Simson, George, ed., Biography: An Interdisciplinary Quarterly. Hawai’i: Hawai’i Press for the Biographical Research Center, 2012, 11 and 13.
The Spectacular of The Vernacular . Minneapolis: Walker Art Centre, 2012, 76 and 77.
When the Mountain Changed its Clothing . Bochum: International Festival for the Arts, Bochum. 2012, 77.
2011 10 Dialogues: Richard Demarco, Scotland and The European Avant- Garde. Edinburgh: The Royal Academy of Art and Architecture, 2011.
Artel, Rael. Art Must Be Beautiful. Tartu: Tartu Art Museum, 2011.
Borchardt-Hume, Achim. Keeping it Real. London: Whitechapel Gallery, 2011.
Bos, Saskia and Steven Lam, eds. The Crude and the Rare. New York: The Cooper Union, 2011, 8-11.
Brito, Luciana and Fabio Cimino, eds. Transitory Object for Human Use. Sao Paulo: Galeria Brito Cimino. 2011.
Brockman, John. Is the Internet Changing the Way You Think? The Net's Impact on our Minds and Future. New York: Harper Perennial, 2011, 370.
Chavanne, Blandine, Philippe Renaud, and Laurent Houssaia, eds. Inquiétantes Étrangetés, Musée des Beaux-Arts de Nantes. Versailles: Artlys, 2011.
Cukovic, Petar, and Svetlana Racanovic, eds. The Fridge Factory and Clear Waters. Montenegro: Contemporary Art Centre, Podgorica, 2011.
Daskalopoulos, Dimitris. The Luminous Interval. Guggenheim Bilbao, 2011, 45-47.
Eccher, Danilo, ed. Eroi. Torina: Galleria Civica d'art Moderna e Contemporanea, 2011, 48-55, 239.
Beatriz Furtado. “Corpo-Arquivo,” Reticencias…Critica de arte, November 2011, 34-45.
Jalving, Camilla. Værk Som Handling. Copenhagen: Museum Tusculanums Forlag, 2011, 37-38, 42, 205, 261, 270 and 295.
Jeremic, Vladan. Psychosis, Part 1: I Will Never Talk About the War Again. Stockholm: Fargfabriken, 2011, 45.
Kelly, Caleb. Sound. London: The Whitechapel Gallery; The MIT Press, 2011, 187- 190.
Klanten, Robert. Art and Agenda: Political Art and Activism. Berlin: Die Gestalten Verlag, 2011, 210-215.
Markovic, Natasa. Marina Abramovic: Heroina Narcisticke Kulture. Belgrade: Plavi Jahac, 2011.
Pittman, Lari. The Spectacular of Vernacular. Minneapolis: The Walker Art Center, 2011, 76-77.
Helena Reckitt, “To Make Time Appear,” Art Journal, November, 2011, 58-63.
Schneider, Gregor. Double. Frankfurt: Museum Fur Moderne Kunst, 2011, 62-63.
Solana Guillermo, ed. Heroinas, Heroines. Madrid: Museo Thyssen- Bornemisza, 2011, 12, 31, 178, 194, 215 and 243.
Westcott, James. Quando Marina Abramovic Morira. Milan: Johan & Levi Editore, 2011.
2010 Abramovic, Marina and Klaus Biesenbach et al. Marina Abramovic: The Artist is Present. New York: Museum of Modern Art Department of Publications, 2010.
Borja, Jaime and Jose Alejandro Restrepo. Habeas Corpus: Que
Tengas (un) Cuerpo (Para Exponer). Bogota: Museo de Arte de Banco de La Republica, 2010, 97 and 114.
Butler, Cornelia. Modern Women: Women Artists at the Museum of Modern Art. Alexandra Schwartz, ed. New York: MoMA, 2010, 20, 27 and 364.
Centro Andaluz De Arte Contemporaneo. 11 to 21. Spain: CAAC, 2010, 64.
Cordero, Karen and Ramon Coelho. Marina Abramovic: Videoinstalaciones. Mexico City: Instituto Nacional de Bellas Artes y Literatura, 2010.
Conland, Natasha. Last Ride in a Hot Air Balloon. Auckland: Auckland Art Gallery, 2010, 48-55.
Coppard, Abbie. Aware Art Fashion Identity. London: Damiani, 2010, 44-47 and 243.
Franciolli, Marco. Look at Me: Faces and Gazes in Art 1969-2009. Milan: Silvana Editoriale, 2010, 74-75 and 62.
Levy, Bernard-Henri and Marina Abramovic et al. La Regle Du Jeu: 20e Anniversaire. Paris: La Regle Du Jeu, 2010, 248-249.
Llull Llobera, Paula. Miradas Singulares Voces Plurales. Cádiz: Diputacion de Cadiz, 2010.
Phelan, Peggy, Jennifer Blessing and Nat Trotman. Haunted: Contemporary Photography, Video, Performance. New York: Guggenheim Museum, 2010, 12, 51, 59, 71 and 202.
Piotrowski, Piotr. Agorafilia. Poznan, Poland: Dom Wydawniczy REBIS, 2010, 12, 36, 193-199, 249, and 283.
Rudin De Woody, Beth. Think Pink. Palm Beach: Gavlik, 2010, 11.
Russo, Rebecca. Videoinsight. Milan: Silvana Editoriale, 2010.
Schloen, Anne. Die Renaissance des Goldes. Nuremberg: Verlag Fur Moderne Kunst Nuremberg, 2010, 193-202.
Severo, Andre. Horizonte Expandido. Porto Alegre: Santander Cultural, 2010, 78.
?Volume I 2010. Spain: Coleccion CA2M, 2010, pp. 32 and 33.
Westcott, James. When Marina Abramovic Dies: A Biography. Cambridge: MIT Press, 2010.
Westcott, James. When Marina Abramovic Dies: A Biography. Beijing: Gold Wall Press, 2013.
2009 Marina Abramovic, “When Time Becomes Form”, Out of Now, The Lifeworks of Tehching Hsieh, ed. Adrian Heathfield, Cambridge: The MIT Press, 2009, 49-51, 351-353 and 375.
Barreca, Laura, ed. The Spirit In Any Condition Does Not Burn: Giovani Artisti Italiani/Young Italian Artists. Milan: Charter, 2009, 14-15.
Bastian, Aeneas, and Harriet Haubler. From an Artist’s Perspective: 13 Questions - 51 Interviews. Berlin: Kerber, 2009, 6-10 and 222.
Blocker, Jane. Seeing Witness: Visuality and the Ethics of Testimony. Minneapolis: University of Minnesota Press. 2009, 3-11
Cherix, Christophe. In & Out of Amsterdam: Travels in Conceptual Art, 1960-1976. New York: MoMA, 2009, 163 and 164.
Cordoni, Giovanni, ed. Biennale Internazionale Dell'Arte Contemporanea. Florence: Settima Edizone, 2009, xxi-xxiv.
Fabre, Alexia et al. Emporte-moi: Sweep Me Off My Feet. Canada: Editions du MAC 2010, 39, 40, 43, 48, 54-57,179, and 187.
Eccher, Danilo, ed. The Theatre of Performance. Turin: Umberto Allemandi, 2009, 107-134.
Foster, Elena Ochoa, ed. C Photo. London: Ivorypress, 2009, 56-77.
Goldberg, RoseLee. Everywhere and All at Once: An Anthology of Writings on Performa 07. Zurich: Jrp Ringier, 2009, 19-20, 295, 298, 332 and 333-43.
Grimmer, Dietgard. Mahlzeit! Essen in der Kunst. Salzburg: Jung and Jung, 2009, 20-21.
Gabor, Gulyas. Messiahs. Debrecen: MODEM, 2009.
Madoff, Steven Henry. Art School: (Propositions for the 21st Century.) Cambridge: The MIT Press, 2009, 177-188 and 343.
Martin, Jean-Hubert. 3 Moscow Biennale of Contemporary Art. Moscow: Artchronika, 2009, 34-35 and 196.
Matt, Gerald. 1989, Ende der Geschichte oder Beginn der Zukunft?: Anmerkungen zum Epochenbruch, 2009, 82-83 and 302.
Morin, France. The Quiet in the Land. New York: The Quiet in the Land Inc., 2009, 40-51 and 198.
Obrist, Hans Ulrich, ed. Serpentine Gallery Manifesto Marathon. London: Koenig Books, 2009, 34-37.
Ordas, Carlos, ed. Volume II of the MUSAC Collection Is a Microcosm of Contemporary Art and a Document of the Present as Seen Through Various Disciplines. Leon: MUSAC, 2009.
46-53.
Petranyi, Zsolt. Mi Vida. Budapest: Mucsarnok, 2009, 16-19.
Quaglia, Renato. Essential Experiences. Palermo: Electa, 2009, 80-81.
Salva, Cristina Ros. Paisatges Creuats. Palma: Museu d'Art Modern i Contemporani de Palma, 2009, 108-109, 166, 184, and 190.
Sofaer, Joshua. The Many Headed Monster. London: Live Art Development Agency, 2009, 19-21, 82, 110 and 116.
Solana, Guillermo. Lagrimas de Eros. Madrid: Fundacion Coleccion Thyssen-Bornemisza, 2009.
Stoschek, Julia. Collection Number Two: Fragile. Ostfildern: Hatje Cantz, 2009, 17-26.
Abramovic, Marina and Sergio Edelstein. Marina Abramovic. Tel Aviv: The Center for Contemporary Art, 2009
2008 Abramovic, Marina, and Kristine Stiles. Marina Abramovic. London and New York: Phaidon, 2008.
Celant, Germano, and Gianfranco Maraniello. Vertigo: A Century of MultiMedia Art, from Futurism to the Web. Milan: Skira, 2008.
Fang, Zhang and Chen Weiqun, eds. Fabricating Images from History. Beijing: Blue China, 2008, 138-141.
Frencia, Laura. Stories on Human Rights. Milan: Electa, 2008, 24-29, 199 and 205.
Kukovec, Dunja. Expansion in Space: Marina Abramovic and Ulay. Ljubljana: Galerija Skuc. 2008, 1-19.
Obrist, Hans Ulrich. Formulas For Now. London: Thames & Hudson, 2008, 7 and 14.
Pimentel, Taiyana. Implications of the Image. Mexico City: Universidad Nacional Autonoma de Mexico, 2008, 128-131, 230.
Piras, Sebastian. A Pocketful of Comtemporary Artists. Melbourne: Peleus Press, 2008, 16-17 and 254.
Sentis-Maillac, Catherine. Traces Du Sacre. Paris: Centre Pompidou, 2008.
Stoschek, Julia. Collection Number One: Destroy, She Said. Berlin: Hatje Cantz. 2008.
Torrens, Valentin. Pedagogia de la Performance. Huesca: Diputación Provincial de Huesca, 2008, 211- 214.
Yutana, Mikami and Hemmi Kai. Yokohama Triennale 2008, Time Crevasse. Yokohama: The Organizing Committee for the Yokohama Triennale, 2008, 36-39.
Abramovic, Marina and Jovana Stokic. ‘Conversations with Photographers’ Marina Abramovic and Jovana Stokic. Madrid: La Fábrica Editorial, 2008.
2007 C’era una Volta un Re: La Fiaba Contemporanea, Milan, Italy: ARCOS: Museo d’Arte Contemporanea Sannio and Electa, 2007.
Cleaning the House , Cadiz, Spain: Fundacion NMAC, 2007.
Biesenbach, Klaus. Into Me/ Out of Me. New York: P.S.1MoMa, 2007, pp. 43, 102-109.
Estrecho Dudoso , San Jose, Costa Rica: Teor/eTica, 2007.
Goldberg, Roselee, Performa: New Visual Art Performance, New York: Performa, 2007.
Heartney, Elenor, Posner, Helaine, Princenthal, Nancy, and Scott, Sue. After the Revolution: Women Who Transformed Contemporary Art. New York: Prestel, 2007, 12, 20, and 100-117.
L’art Contemporain et la Television / Imaginaire: Mode d’Emploi , Paris, France: Editions Cercle d’Art, 2007.
Marina Abramovic, 7 easy pieces. Milan: Charta, 2007.
Rabinowitz, Cay Sophie. Art Basel, Conversations, Transcripts. Germany, Basel: Art Basel, 2007, 11-31.
2006 Martin, Sylvia. Video Art. Koln: Taschen, 2006.
Presence . Louisville: The Speed Art Museum.
Richer, Francesca and Matthew Rosenzweig, eds. No. 1: First Works by 362 Artists. New York: D.A.P., 2006.
von Fürstenberg, Adelina, ed. Marina Abramovic: Balkan Epic. Milan: Skira, 2006.
2005 Bourgeois, Vera. Art Mistresses. Koln: Salon Verlag, 2007, 6-20.
Baume, Nicholas, ed. “Feelings Portrayed.” Getting Emotional, Boston: Institute of Contemporary Art, 2005, 69-87.
Bernstein, Ana. “Marina Abramovic Conversa Com Ana Bernstein.”
Caderno Videobrasil , ed. José Augusto Ribeiro, São
Paulo: Associação Cultural, 2005, 126-144.
Hoffman, Jens and Joan Jonas. Art Works: Perform. New York: Thames & Hudson, 2005.
Kallir, Jane. “Achiele/Abramovic/de Châtel.” Egon Schiele: Love and
Death . Amsterdam: Van Gogh Museum and Hatje
Cantz Publishers, 2005, 161-184.
“Marina Abramovic, Performance Anthology [1975-1980].” In 15 Festival
Internacional de Arte Electronica, Videobrasil , ed. Teté Martinho,
São Paulo: Associação Cultural, 2005, 176-183.
Richer, Francesca and Matthew Rosenzweig, eds. No. 1: First Work by 362 Artists. New York: Aperture Foundation, 2005.
Sibony, Daniel. Création: Essai sur l'art contemporain. Paris: Seuil, 2007.
The Art of White . Salford Quays: The Lowry Centre Limited, 2005.
Thompson, Chris and Weslien Katarina. PAJ- A Journal of Performance Art, interview-PURE RAW, Performance, Pedagogy, and (Re)presentation. Cambridge: MIT Press Journals, 2005, 29-50.
Tommaso Trini. Marina Abramovic, un Mito Occidentale 2004-2005,
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Westcott, James. Marina Abramovic. Geneva: Galerie Guy Bärtschi.
2004 Abramovic, Marina. The Biography of Biographies. Milan: Ed. Charta.
Hoffman, Jens, ed. The Next Documenta Should Be Curated by an Artist.
Germany: Revolver/eFlux Media, 2004.
Iles Chrissie. Whitney Biennial 2004. New York: Harry N. Abrams, 2004.
Love It or Leave It . Cetinje Biennale V: Cetinje Dubrovnik, Tirana, 2004, 33.
Marangon, Dino. Videotapes del Cavallino. Venice: Edizioni del Cavallino, 2004, 54.
The Biography Remix . Italy: Romaeuropa Festival, 2004.
2003 Abramovic, Marina et al. Marina Abramovic, Student Body. Milan:
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Art/Unlimited: Art/35/Basel/16-21/6/04 . Zürich: ProLitteris, 2003.
Djuric, Dubravka and Misko Suvakovic, eds. Impossible Histories:
Historical Avant-Gardes, Neo-avant-gardes, and Post-avant-gardes in Yugoslavia, 1918-1991 . Cambridge, MA: The MIT Press, 2003.
Mystic . Boston: Massachusetts College of Art, 2003
Obrist, Hans-Ulrich. “Marina Abramovic and Gregory J. Chaiten.” In Hans-Ulrich Obrist Interviews, Thomas Boutoux ed., Milan: Ed. Charta, 2003, 29-44.
Obrist, Hans-Ulrich and Miyake Akiko, eds. Bridge the Gap? Cologne,
Germany: Verlag Der Buchhandlung Walther König, 2003.
Pejic, Bojana. Marina Abramovic: The Star. Kumamoto, Japan:
Contemporary Art Museum, Kumamoto, 2003.
The House With the Ocean View . Milan: Ed. Charta, 2003.
2002 Abramovic, Marina et al. Marina Abramovic. Milan: Ed. Charta, 2002.
Ars Photographica. Bonn: Neues Museum Weserburg Bremen and VG
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“Corporeal/Cuerpo Real.” PHE02: Femeninos, Madrid: V Festival Internacional de Fotografia, 2002, 124-127.
Count On Us: 2002 Raymond and Beverly Sackler Artist-in-Residence .
Connecticut: Contemporary Art Galleries, 2002.
“Marina Abramovic & Ulay” and “Questions for Marina Abramovic.”
Video Acts , ed. Klaus Biesenbach, New York: P.S. 1 Contemporary Art Center, 2002. 13+.
2001 Ardenne, Paul. L’Image du Corps. Paris: Editions du Regard, 2001.
Arte y Naturaleza: Montenmedio Arte Contemporaneo . Cadíz: Fundación
NMAC, 2001.
Breitwieser, Sabine, ed. “Marina Abramovic.” In Double life: Identity and
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Generali Foundation, 2001. 72-79.
Celant, Germano. Public Body. Milan: Ed. Charta, 2001.
Hanssen, Elisabet. Cleaning the Mirror I, Marina Abramovic. Trans.
Palmyre Pierroux. Museet for Samtidskunst, Oslo, Norway: The
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Spector, Nancy. “Marina Abramovic.” In Guggenheim Museum Collection A to Z, ed. Nancy Spector, New York: Solomon R. Guggenheim Foundation, 2001. 20-21.
2000 Fort Wayne Museum of Art, 2000 Biennial. Fort Wayne, IN: Fort Wayne
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Henry, Karen. “Actions Speak Louder: Anti-Monuments in Performance.”
In WarZones, eds. Karen Henry and Karen Love, 2000. 101-107.
Vancouver: Presentation House Gallery.
Hiller, Susan. Dream Machines. London: Hayward Gallery.
Jones, Amelia. “Marina Abramovic.” In The Artist’s Body, ed. Tracy Warr, London: Phaidon Press Ltd., 2000.
Jaukkuri, Maaretta and Patrik Nyberg, eds. Cleaning the House/Travelling
Cabinet . Helsinki: Kiasma, Museum of Contemporary Art, 2000.
Vergine, Lea. Body Art and Performance. Milan: Skira, 2000.
1999 Bonami, Francesco and Hans-Ulrich Obrist, eds. Dreams. Torino, Italy:
Fondazione Sandretto Re Rebaudengo per l’Arte, 1999.
Montano, Linda M. Performance Artists Talking in the Eighties. Berkeley:
University of California Press.
Mahlerm Hannes Malte. Fresh Air. Cologne: Salon Verlag, 1999.
Obrist, Hans Ulrich. Dreams. Italy: Fondazione Sandretto Re Rebaudengo
Per L'arte, 1999, 11.
Payne, Antonia, ed. Lie of the Land, Earth Body Material. Southampton:
John Hansard Gallery, 1999.
Ulay/Abramovic: Performances 1976-1988 . Lyon: Musée d’Art
Contemporain de Lyon, 1999.
Unfinished Business. Cologne: Salon Verlag, 1999.
Yohn, Tim, ed. The Time of Our Lives. New York: New Museum of
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1998 Abramovic, Marina, et al. Marina Abramovic, Artist Body. Kunstmuseum
Bern; La Galleria, Valencia; Lonja del Pescado, Alicante; Moderna
Galerija and Cankarev Dom, Ljubljana. Milan: Charta, 1998.
Byrne, Fergus. “Marina Abramovic: A Surreal Religion.” In Thought Lines 2: An Anthology of Student Research, ed. Nicola Gordon Bowe, Dublin: National College of Art and Design, 1998. 12-20.
Denegri, Dobrila. Performing Body, Marina Abramovic. Studio Miscetti
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Goldberg, RoseLee. La Performance du Futurism a Nos Jours. New York:
Thames and Hudson.
Goldberg, RoseLee. Performance, Live Art Since 1960. New York: Harry N. Abrams, Inc.
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Inbetween, Marina Abramovic . Kitakyushu: Center for Contemporary Art, 1998
Jones, Amelia. Body Art: Performing the Subject. Minneapolis: University
of Minnesota Press, 1998.
Kulturmann, Udo. Modern Masterpieces-The Best of Art, Architecture,
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Marina Abramovic, Performing Body. Milan: Charta, 1998.
O’Dell, Kathy. Contact with the Skin: Masochism, Performance Art in the
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Rico, Pablo J., ed. Marina Abramovic, The Bridge/El Puente. Trans. Agustín Nieto and Brendan Lambe. Milan: Ed. Charta and Generalitat de Valenciana, 1998.
Riese, Ute, ed. Landscape: The Trace of the Sublime. Kiel, Germany:
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Schimmel, Paul. Out of Actions: Between Performance and the Object,
1949-1979 . Los Angeles: The Museum of Contemporary Art, 1998.
Tazzi, Pier Luigi and David Elliot. Wounds: Between Democracy and
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1997 Bond, Anthony. Body. Sydney: Art Gallery of New South Wales.
Bonito Oliva, Achile. Oggetti di turno-Dall’Arte alla critica. Venice.
Celant, Germano. La Biennale di Venezia, XLVII Esposizione Internazionale d'Arte. Milan: Electa.
Frieling, Rudolf and Daniel Dieter. Medien Kunst Aktion Die 60er und
70er Jahre in Deutschland/Media Art Action, The 1960s and 1970s in Germany . Vienna/New York: Goethe-Institut, Zentrum
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Guldemond, Jaap, ed. Ulay/Abramovic: Performances 1976-1988.
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Hasagawa, Yoko. De-Genderism Détruire dit-elle/il, Tokyo:
Setagaya Art Museum, 1997, 75-80.
Let’s Talk About Art . Kitakyushu: Center for Contemporary Art and
Kornisha Press, 1997.
Murray, Timothy. Drama, Trauma: Specters of Race and Sexuality in
Performance Video and Art . New York: Routledge, 1997.
Novakov, Anna, ed. Veiled Histories: The Body, Place and Public Art.
Gardiner, NY: Critical Press.
Obrist, Hans-Ulrich, ed. Do It. New York: Independent Curators Inc., 1997.
Sardo, Delfim. Spirit House, Marina Abramovic. Caldas da Rainha: 7.a, 1997.
Bienal Internacional de Escultura e Desenho das Caldas da Rainha.
Schneider, Rebecca. The Explicit Body in Performance. London/New York: Routledge, 1997.
1996 *L’Arts du Corps. Musée de Marseilles. Paris: Ed. R.M.N. 1996
Abramovic, Marina. The Connected Body? An Interdisciplinary Approach
to the Body and Performance. Interview by Scott de Lahunta.
Amsterdam: Amsterdam School of the Arts, 1996.
Avgikos, Jan. Marina Abramovic: Boat Emptying Steam Entering (Part I
and Part II) . Denton: The University of North Texas Art Gallery, 1996.
Beke, László. Une esquisse de l'Europe de l'Est 1960-1970. Paris:
Musée National d’Art Moderne; Centre George Pompidou, 1996.
Daniken, Hans-Peter von and Beatrix Ruf. Edge. Karthause Ittingen: Kunstmuseum des Kantons Thurgrau, 1996.
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Louisiana , ed. Henning Steen Hansen, Humlebæk: Louisiana Museum of Moderne Kunst 1996, 40-61.
Friis-Hansen, Dana. 19 Projects Artists in Residence at the MIT List Visual Arts Center. Boston: MIT Press, 1996.
Grundmann, Heidi and Kristine Stiles. Theories and Documents of
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Iles, Chrissie, ed. Marina Abramovic: objects performance video sound.
Munich: Museum Villa Stuck (German edition).
Kunstmuseum des Kantons Thurgau. Marina Abramovic: Double Edge. Sulgen: Verlag Niggli AG, 1996.
Liska, Vivian. Zijsporen-Kunst op het spoor. Antwerp: Gynaika.
Stiles, Kristine and Peter Selz. Theories and Docs of Contemporary Art.
Berkeley: University of California Press, 1996.
Waterlow, Nick. Spirit and Place: Art in Australia 1861–1996. Sydney:
Museum of Contemporary Art,
Weintraub, Linda. “Self-Transcendence: Marina Abramovic.” Art on the Edge and Over: Searching for Art’s Meaning in Contemporary
Society 1970-1990s , Litchfield: Art Insights, Inc. 1996, 59-64.
Wijers, Louwrien and Frederik Wagemans, eds. Art Meets Science and
Spirituality in a Changing Economy: From Competition to
Compassion. London: Academy Editions. 1996.
1995 *Brozman, Susan. Mit Haut und Haar. Körperkunst der 70er Jahre. Zu den
Arbeiten von Valie Export, Natalia LL. Friederike Pezold und Marina Abramovic. Aarau: Forum Schlossplatz.
Iles, Chrissie, ed. Marina Abramovic: objects performance video sound.
Oxford: Museum of Modern Art (English edition), 1995.
Pijnappel, Johan, ed. Marina Abramovic, Cleaning the House.
London: Academy Editions, 1995.
Ziesche, Angela et al. Künstlerinnen des 20. Jahrhunderts: Skulpturen,
Objekte, Installationen . Cologne: DuMont, 1995, 109-119.
1994 Abramovic, Marina and Charles Atlas. Marina Abramovic: Biography.
Stüttgart: Edition Cantz, 1994.
Thomas, Karin. Der streitbare Liebhaber: Kunst gesehen durch ein
Temperament: Hommage fur Karl Ruhrberg . Cologne: DuMont, 1994.
The Biography . Austria: Weiner Kunsthalle, 1994.
1993 Bonora, Lola and Doris von Draathen. Marina Abramovic. Ferrara:
Commune di Ferrara, 1993.
Jappe, Elisabeth. Performance, Ritual, Prozess. Handbuch der
Aktionskunst in Europa . Munich/New York: Prestel, 1993.
Marínez, Rosa, et al. Historia Del Arte 16. Barcelona: Instituto Gallach, 1993.
Meschede, Friedrich, ed. Abramovic. Neue Nationalgalerie Berlin
Stüttgart: Edition Cantz, 1993.
1992 Draathen, Doris von. Transitory Objects, Marina Abramovic. Vienna:
Galerie Krinzinger, 1992.
Draathen, Doris von. Marina Abramovic. Paris: Artistes de l’École nationale
supérieure des Beaux Arts, 1992.
Marina Abramovic, Becoming Visible. Montbéliard, France: Musées et Centre d’Art Contemporain, 1992.
Wijers, Louwrien. Fuente-Juan de la Cruz 1591–1991. Amsterdam: Nieuwe
Kerke, 1992.
1991 Draathen, Doris von. “Monographie, M.A.” In Kunstler. Kritsches Lexikon der Gegenwartskunst. Munich: WB Verlag, 1991.
Marina Abramovic: Departure, Brazil Project 1990-91. Paris: Galerie
Enrico Navarra, 1991.
1990 Le Guide Chinois. Paris: Galerie Charles Cartwright 1990.
Marina Abramovic, Sur La Voie. Paris: Musée National d'Art Moderne,
Centre Georges Pompidou, 1990.
Pijnappel, Johan. “Marina Abramovic.” In Art Meets Science and Spirituality in a Changing Economy: From Competition to Compassion, eds. Caroline Tisdall, et al., pp. 294-317. Amsterdam: SDU, 1990.
Marcadé, Bernard. The Shadow of Presence. Amsterdam: Libra Blu, 1990.
1989 Malsch, Friedemann and Bernard Marcade. Le Guide Chinois. Paris:
Galerie Charles Cartwright, 1989.
The Lovers . Amsterdam: Stedelijk Museum, 1989.
1988 Goldberg, RoseLee. Performance Art: From Futurism to the Present.
New York: Harry N. Abrams, Inc., 1988
Vukadinovic, Dragica. After 15 Years. Belgrade: Happy New Gallery, SCC, 1988
1987 Abramovic, Marina. “Art Must Be Beautiful, Artist Must Be Beautiful.” In
Taormina arte. Rome: DeLuca Edizione d’Arte, 1987.
Lacey, Catherine. Art from Europe. London: Tate Gallery, 1987.
1986 Debbaut, Jan. Octobre des Arts. Lyon: Musée St. Pierre Art Contemporain, 1986.
Tucker, Marcia. Choices: Making an Art of Everyday Life. New York: New Museum of Contemporary Art, 1986.
1985 Abramovic, Marina and Ulay, et al. Was Amsterdam Bereft, as Far as
Amsterdam Goes . Amsterdam: Stedelijk Museum, 1985.
Debbaut, Jan, ed. Modus Vivendi: Ulay & Marina Abramovic Works 1980-1985. Eindhoven: Stedelijk Van Abbemuseum, 1985.
1984 Battcock, Gregory and Robert Nickas. The Art of Performance. A Critical
Anthology . New York/Toronto, 1984.
Mignot, Dorine. The Luminous Image/Het lumineuze beeld. Amsterdam:
Stedlijk Museum, 1984.
Perrée, Robert. Image on the Run: Dutch Video Art in the 80s. The Hague, 1984.
1983 Martins, Kristen. Performance-eine andere Dimension. Berlin:
Künstlerhaus Bethanien, 1983.
Mignot, Dorine. The Second Link. Viewpoints on Video in the Eighties.
Banff: Walter Phillips Gallery, 1983.
1981 Barents, Els and Karel Schampers. Instant fotografie. Amsterdam:
Stedelijk Museum, 1981.
Celant, Germano and Tim Guest. Books by Artists. Toronto: Toronto Art
Metropole, 1981.
1980 Relation Work and Detour, Marina Abramovic/Ulay, Ulay/Marina
Abramovic . Amsterdam: Idea Books, 1980.
1979 30 November/30 November, Marina Abramovic/Ulay. Wiesbaden:
Harlekin Art, 1979.
European Dialogue-Biennal of Sydney . Sydney: Gallery of South Wales.
Koustelanetz, Richard, ed. Scenarios: Scripts to Perform. New York:
Assembling Press, 1979
Two Performances and Detour, Marina Abramovic/Ulay. Adelaide: The
Experimental Art Foundation, 1979.
1978 Inga-Pin, Luciano. Performances Happenings, Actions, Events, Activities,
Installations . Padova: Mastrogiacomo Editore Images, 1978.
The New Art Practice in Yugoslavia 1966–78 . Zagreb: Gallery of
Contemporary Art, 1978.
Three Performances, Marina Abramovic/Ulay-Ulay/Marina Abramovic:
Relation/Works . Innsbruck: Galerie Krinzinger; Graz: Galerie
H-Humanic, 1978.
1977 Body as a Visual Language. Tokyo: Maki Gallery, 1977.
1976 Ulay / Marina Abramovic, Marina Abramovic / Ulay, 13 November,
Mühlhausen: Harlekin Art, 1976.
1975 Danegri, Jesa. Rhythms 10, 5, 2, 4, 0. Belgrade: Museum of Contemporary
Art, 1975.
1974 Marina Abramovic. Zagreb: Gallery of Contemporary Art, 1974.
1973 Bonito Oliva, Achille. Contemporanea Festival. Rome: Villa Borghese, 1973.
1972 Blazevic, Dunija. October 72. Belgrade: SCC Gallery, 1972.
Selected Articles and Reviews
2011 Marina Abramovic "Marina's Diary", Flash Art, May-June 2011, 108- 109.
Marina Abramovic, "Marina's Diary," Flash Art, July - September 2011.
Peter Aspden,"Macabre in Manchester," Financial Times, 2/3 July 2001, 10
Iwona Blazwick, "The Artist is Present," Art Monthly, 1-8.
Isabella Burley, "V is for Vanguard", i-D, Summer 2011, 256-258.
Eugenia P. Butler, “The Kitchen Table, Talk 2: Art and the Dream” X-Tra, Contemporary Art Quarterly, Volume 14, #2.
Bryony Byrne, "Relinquishing Control," Aesthetica, June-July 2011,
76-79.
Katherine Clarke, "As Party Princess, It's Marina's Moment,” New York Observer, April 11, 2011, 46.
Rachel Corbett, "Drowning in Performance Art at the Guggenheim," New York Observer, April 11, 2011, 44.
Amelia Jones, "The Artist is Present: Artistic Re-enactments and the Impossibility of Presence", The Drama Review, Spring 2011, 16- 43.
Michael La Chance, "Sacralisation et Profanation du geste preformatif: Sept remarques facile," Inter Art Actuel, Winter 2011, 66-73.
Zoranu Lukicu, "Na Tragu Marine Abramovic', Novi Magazin, 13 October, 2011, 47-53.
"Marina Abramovic- World Report," Monthly Art, South Korea, February 2011, 106-119
"Marina Abramovic L'Universo Siamo Noi," Gloria, Italy, January 12 2011, 52-57.
Alexander Menden, "Herrlich physisch!" Suddeutsche Zeitung, July 2011.
Vlada Petric, "Eye to Eye with Marina," Politika, February, 5, 2011, 7.
Marina Pignatelli, "Spazio Nomade," Leonardo Caste & Stili, February 2011, 11-28.
Alain Platel, "C(h)oeurs y Marina Abramovic: Confusion entre lo publico y lo privado", La Revista del Real, March 2011, 6-7.
Lucy Powell, " She carved a star in her stomach, fasted for twelve days and nearly suffocated for her art," The Times, July 4, 2011, 10-11.
Rudiger Schaper, "Die eigene Bestattung gut vorausgespielt," Der Tagesspiegel, July 12, 2011, 37.
Jill Sigman, "On the wall, reflections on being present" Contact Quartley,Volume 36 Number 1, 2011, 23- 28.
Diane Solway, "The Life and Death of Marina Abramovic," Why Magazine, July 2011.
Alastair Sooke, "It takes strong willpower to do what I do," The Daily Telegraph Review, 2 July 2011, 12-13.
Gina Thomas, "Ein Vulkan aus Schnee," Der Tagesspiegel, 14 July 2011, 23
Marta Torres, "Para entender a los españoles hay que saber que son las corridas de toros," Arts Magazine, July- September 2011, 32- 36.
Guy Trebay, 'The Oscar for Best Provocateur…' New York Times, Sunday Style, Sunday November 20th, 2011, 1 and 11.
Carol Vogel, "New Factory; No Warhol", New York Times, May 27, 2011, C22
Aimee Walleston, "Tehching Hsieh by Marina Abramovic," V Magazine, Fall 2011, 150.
James Westcott, "Perform Yourself,' New York Times, August 18 2011.
Meike Winnemuth, "Wer Wohnt Denn Da?" A & W Architektur & Wohnen, February- March 2011, 82-86.
Linda Yablonsky, "The Epic Performance," The Art Newspaper, June 2011, 48-49.
Pinar Yigitogullari, "Olumsuz Sanat," Vogue Turkey, March 2011,
404-414.
2010 Laurie Anderson, "Meeting of minds, Marina Abramovic and Laurie Anderson," March 2010, 62-69
Koco Andonovski, "Interview: Body as Home," Doma Kyka, Spring 2010, 87-95.
Gian Maria Annovi, "Abramovic," Il Manifesto, Giugno 2010, 11.
"Artist should not only think about how to live but also how to die", China: Kuart, November-December 2010, 120-123.
Charles Atlas, "Marina Abramovic: The Artist is Present," Artforum, January 2010, 82-83.
Christopher Bedford, "Marina Abramovic, The Artist is Present," Frieze, January-February 2011, Issue 136, 83
Julie L. Belcove, "High Performance", W magazine, January 2010, 76-85.
Anna Benichou, "Images de performance, performances des images," CV86, Fall 2010, 40-57.
Claudia Botin, "Feminismus kann ich nicht ausstehen" Art, April 2010, 78- 85.
Judith Butler, "El transgenero y el espiritu de la revuelta", Minerva, April 2010, 47-51.
Lord Byron, "MoMA, Marina Abramovic," Art.Investment, April 2010, 140-145.
Luke Crisell, "Living in the Art- New York," Monocle, October 2010, 94-95.
Holland Cotter, "700-Hour Silent Opera Reaches Finale at MoMA", New York Times, May 2010, C1 and C7.
Fabio Cypriano, "Sempre me senti como uma ovelha negra," Folha de S.Paulo newspaper- (Ilustrada insert newspaper), November 17, 2010, E6
Oi Ekkentpikoi, "Mapina Amnpamobitz," BH Magazino, August 2010, 54-56.
Cherie Federico, "Art Beyond The White Walls: Marina Abramovic is Present," Aesthetica, May 2010, 26-29.
Rosario Fernandez, "ARCO Arranca con Mas Luces que Sombras," Expansion newspaper, Spain, February 17, 2010, 32.
Anna Grau, "Marina Abramovic estara sentada mas de 700 horas en el MoMA," March 17, 2010, 66.
Howard Halle, "Marina Abramovic: The Artist Is Present," Time Out New York, April 22-28 2010, 47.
Humberto Junca, "La Fabrica de imagenes," Arcadia magazine, Bogota Columbia, 12 October 2010, 60 - 61.
Ana Juarez, "La Locura de Marina," Vanity Fair, March 2010, 112-113.
Tomislav Krasnec, " Marina Abramovic, tom je kriv sto nisam slikarica, on me je navukao na performanse," Jutarnji Ljeto, 3.7.2010, 68-69.
Cherie Lambert-Beatty, "Against Performance Art" Art Forum, May 2010, 206- 219.
Lowenstein, Kate, "Marina Abramovic brings her intense focus to MoMA," Time Out New York, issue 754, March 11-17, 2010, 53.
"Marina Abramovic Performing at MoMA," Vogue Italia, no 714, February 2010, 348-349.
"Marina Abramovic-Conversation and On-Site," Kuart, November 2010, 120-123.
Luciano Marucci, "L'Arte della Sopravvivenza," Juliet Art Magazine, no 146, February-March 2010, 46.
Magadalena Moskalewicz, "Powtrazanie obecnosci: Performance jako partytura," ARTeon, May 2010, 10-13.
Philipp Oehmke, "Die 721- Stunden-Frau," Der Spiegel, Germany, June, 7, 2010, 120-123.
Corrie Pikul, " Body Issues," April 2010, 250-251.
Charlotte Ray, "Rituals, Marina Abramovic," Acne Paper, Winter 09/10, XLII- XLIII.
Dusana Reljina, "Abramovic: Light Side/ Dark Side", Elle, January 2011, 75-95
Richard Roth, Local Self Potraits, Hudson Opera House, June 2010.
Jerry Saltz, "In the end, it was all about you: How ‘Marina Abramovic: The Artist is Present’ turned the viewer into the viewed," New York Magazine, May 2010, 62-65.
** Lydia Schmid, "Fessel Mich! Marina Abramovic, die beruhmte Performancekunstlerin, schockiert und begeistert-jetst in New York, April 2010, 78-80.
Robert Storr, "Talk, Talk," View from the Bridge, January- February 2010, 15
"Tromescni performans u MoMi," Gloria magazine, Serbia, December 28, 2010, 68.
Judith Thurman, "Ficamos Na Cama Dez Dias Segudo," Bravo, November 2010, 88-90.
Judith Thurman, "Walking Through Walls: Marina Abramovic's Performance Art." The New Yorker, March 2010, 24-28.
David Zerbib, " La performance est-elle performative?" ArtPress, September- October 2010, 15 and 20-22.
"Abramovic," Photo magazine, November 2010, 78-85.
"En Artbo la reina de los montajes polemicos," Jet Set magazine, Spain, November 21, 2010, 46-49.
2009 Giovanni Amadasi, "100 Domande per Marina Abramovic," Marie Claire, Italy, November 2009, 133-140.
Christopher Bartley, "Caught in the Act," V Magazine, Spring 2009,
96-97.
Francesco Carrozzini, "Marina Abramovic, A Nomad," L'Uomo Vogue, November 2009.
Christopher Eamon, "Objects in the Mirror" Switch, Summer 2009,
34- 35.
David Ebony, "Marina Abramovic," Art in America, May 2009, 112-121 and 169 – 170.
Martin Gayford, "Just how much pain can one body take?" The Times, Monday June 29 2009, (Times 2) 10 and 11
Reto Gunti, "Temporary Forever," BHMA Deco, issue 26, 2009, 99-105.
Jegors Jerohomovics, "I never doubt," Studija Visual Arts Magazine, December 2009, 66-74.
Toby Maier, " Entrevista con Marina Abramovic," Exit Express, November 2009, 6-11.
Adolfo Montejo Navas, "Marina Abramovic," Das Artes, February 2009, 48- 53.
Mark Rappolt, "The Power 100," Art Review, November 2009, 111.
Leonie Schilling, "Marina Abramovic la fiebre de una vida hecha performance" Arte Global AL Limite, November- December 2009, 27-34.
Linda Yablonsky, "Taking it to the Limits" ARTnews, December 2009, 90-95.
2008 Caroline Corbetta, "Cose d'artista Marina Abramovic" Venti Quattro, March 2008, 186-187.
Michael La Chance, "Sacralisation et profanation du geste performatif: Sept remarques faciles,” Inter Art Actuel, no 107.
2007 Marina Abramovic, “Virginias,” Printed Project, June 2007, 20-25.
RC Baker, “Best in Show: Your Face or Mine?” Village Voice, July 25-31, 2007, 48.
Leslie Camhi, “Designed for Living,” New York Times Style Magazine, Sunday, April 15, 2007.
Ruta Caupova, "Dazi Makslinieka Personibas Izpausmju Veidi Musdienu Telnieciba", Makslas, 2007/8, 37
Colin, Juan Pablo, “Marina Abramovic: Carne de Canon (Cannon Fodder)” Arte Al Limite, January/February 2007, 12-20, 146- 147, cover.
Holland Cotter, “The Art of Feminism as It First Took Shape,” The New York Times, March 9, 2007.
Adrian Dannatt, “Guggenheim whips up a bash for Abramovic’s 60th,” The Art Newspaper, April 2007.
Lisa Dennison, “Europe: A Survival Guide,” Art + Auction, June 2007, 158.
Deborah Garwood, “Striking a Pose for the Sake of Art,” The New York Sun, July 19, 2007, 21.
Gilligan, Melanier, “The Beggar’s Pantomime,” Artforum, Summer 2007, 423-433.
Helena Kontova, “Marina Abramovic, Vanessa Beecroft, Shirin Neshat: Modern Nomads,” Flash Art, July - September 2007, 102-107, cover.
Jordan Levin, “Going to extremes: artist Marina Abramovic,” Miami Herald, 29 March, 2007.
“Marina Abramovic & Paolo Canevari,” C International Photo Magazine, number four, 2007, 252-264.
Shana Nys Dambrot, “Swing-Out Sisters: WACK! Art and the Feminist Revolution,” Art Review, April 2007, 34.
Charmaine Picard, and Gareth Harris, “Artists and Curators on the Circuit,” The Art Newspaper, 2007, 8.
Gudrun Sachse, "Die Mutter aller Schmerzen," NZZ Folio, January 2007, 46-49.
Jerry Saltz, "The Artists Who Still Matter," Di Modolo, October 15 2007, 40- 41.
Roberta Smith, “Art in Review: Role Exchange,” The New York Times, July 6, 2007, E31.
Jovana Stokic, "Performance," New Review, JatAirways, April 2007, 80-83.
Carlos Suares de Jesus, “Art Without the Fear Factor,” Miami New Times, March 29 – April 4, 2007.
Alfredo Triff, “Marina Abramovic: icono del arte del ‘performance,’ El Nuevo Herald, 29 March, 2007.
Alfredo Triff, “Marina Abramovic: Work of Progress,” Miami Sun Post, March 29, 2007.
James Westcott, "How much can you endure?" Tank, Liveshow, Volume 6, Issue 3, 2007, 32-35.
2006 Kristoffer Arvidsson, “Att Återuppföra en Performance,” Paletten, no. 264, 33-34.
“Back for One Night Only!,” Art in America, February 2006, 90-93.
“Balkan Epic,” L’Espresso, 5 Janurary 2006, 108.
Carol Becker, “Gandhi’s Body and Further Representations of War and Peace,” art journal, Winter 2006, 79-95.
Andrea Bellini, "New York Tales," Flash Art, January February 2006,
94-96.
Carly Berwick, “Sex, Moss, and Videotape,” ARTnews, September 2006, 46.
Francesca Bonazzoli, “Milano 2006, L’Arte e Erotica,” Corriere Della Jera, January 10 2006, Cover and p. 15.
Francesca Bonazzoli, “La mia arte esplora la paura,” Corriere Della Jera
January, 17 2006, 15.
Michel Bonel, “Milan a enfin son centre d’art contemporain,” Tribune des Arts, February 2006, 16.
Louise Buck, “Abramovic: artist or stand-up comic,” The Art Newspaper, November, 2006, 39.
Johanna Burton, “Repeat Performance,” ArtForum, Vol. XLIV, No. 5, January 2006, 55-56.
Germano Celant, “Eros propiziatore,” L’Espresso, February 16, 2006,
126.
“Corpo ed eros,” Riflessi, Anno XI No. 1, January 2006, 8.
“Digital Diary – Armory/Pulse,” Kunstbeeld.NL, May 2006, 16.
**E.A. “Bicocca a luci rosse,” L’Espresso, February 2, 2006, 15.
“Electric Company: Power 2006,” Art + Auction, December 2006.
Manuela Gandini, “Balla sotto la pioggia l’erotismo balcanico,” La
Stampa, No. 18 , January 19, 2006, 27.
Chiara Gatti, “Scandalosa Marina,” La Repubblica XI, Janurary 17, 2006.
Jonathan Gilmore, “Brain Trust,” Artforum, Summer 2006, 121-122.
Uta Gruenberger, “Marina Marina,” Quest, January/February 2006, 178- 191.
Doug Harvey, “The Dalai Museum” LA Weekly Online, June 21, 2006.
Amelia Jones, “Rupture,” Parachute, July-September 2006, 15-37.
Randy Kennedy, “The Week Ahead: Art/Architecture,” The New York Times, January 1, 2006, Section 2, 31.
Ann Landi, “Marina Abramovic,” ARTNews, April 2006, 138.
Kay Larson, “Such a Casual Man, but So Many Auras,” The New York Times, June 11, 2006, 34,36.
“Legenda,” Kunstbeeld.NL, May 2006, 27.
Rhonda Lieberman, “Passion Victims,” Artforum online, November 7, 2006.
Andrea Lissoni, "L'energia Sotto La Gonna," Rolling Stone, July 2006, 134-135.
“Marina Abramovic. All’hangar Bicocca la Nuova epopea Balcanica,” Arte, January 2006, 15.
“Marina Abramovic, Balkan Epic,” Ventiquattro, January 2006, 14.
“Marina Abramovic’ Balkan Epic,” www.virgilio.it, January 13, 2006.
“Marina Abramovic: Épique,” Art Actuel, No. 42, January-February 2006, 78-79.
Masoero, Ada. “Balcanica, Epica, Erotica,” Il Giornale Dell’Arte, No. 250, January, 2006, 23.
Marina Abramnovic…O Ucenju I Poucavanju,” Ambijenti, Sunday, June 11, 2006, 104-107.
Marjanovic, Milena. “Stvaram da bih pobedila bol u sebi,” BLIC, January 3, 2006, 13.
Gianluca Marziani, “Eros Estremo Milano,” Panorama, 13
January 2006, 166-167.
Bijana Misic, "Marina Abramovic… o ucenju i poucavanju", Ambijenti, June 2006, 104 - 107.
“Modern and Contemporary Art, Marina Abramovic,” Skira, Fall 2006, 14
Domenico Montalto, “I Balcani alla Bicocca,” Avvenire, No. 15
January 19, 2006, 2.
“Mostre/Marina Abramovic,” Capital, January 2006, 24-25.
Murphy, Jay, “Marina Abramovic,” Contemporary 21, Issue no. 89, 2006, 10, 20-23.
“Performance: Estudos,” Culturgest – Grupo Caixa Geral de Depósitos, September – December 2006.
Peggy Phelan, “L’engagement du Corps,” Mouvement, No. 41, Octobre / Decembre 2006, 44-51.
Francesca Pini, “Marina Abramovic In po sciamana, un po videoartista,”
Corriere Della Jera , January 12 2006, 90-92.
Stefano Pistolini, “Arte De Guardare O Da Guardoni?” Vanity Fair, January 12, 2006, 118.
Giancarlo Politi, and Helena Kontova, “Re-Centered?” Flash Art, no. 251, November-December 2006, 56-58.
“Pride and Prejudices: Best & Worst 2005,” Time Out New York, Issue 535, December 29 – January 4, 2006, 13.
Nancy Princenthal, "Back for one night only," Art in America, February 2006, 90, 91.
Madhu Puri, "The Originals," Times Style Magazine, Spring 2006, 184.
Schwendener, Martha. “New York’s Art Fairs” Art in America, May 2006, 49-51.
“Sesso e Riti Dentro L’Hangar,” La Repubblica XL, February 2006, 107.
Smalec, Theresa, “Not What it Seems: The Politics of Re-Performing Vito Acconci’s Seedbed (1972),” PMC: Postmodern Culture, September, 2006.
Stern, Steven, “ Liberal Arts: How and Emerging Creative Class is Transforming Philadelphia into a Major Art Destination,” The New York Times Magazine, November 19, 2006.
Jovana Stokic, “Diva u svetu umetnosti,” Elle Serbia, Winter 2006, 48-51.
Jovana Stokic, "Balkan Body and Soul," NY Arts, China Arts, May/ June 2006, 25.
Andrea Lissoni Testo and Milan Dakov Foto, “L’Energia Sotto La Gonna,” Rolling Stone, Gennaio 2006, 134-135.
Chris Thompson, and Katarina Weslien. “Pure Raw: Performance, Pedagogy, and (Re)presentation” PAJ: A Journal of Performance and Art. Cambridge: MIT Press Journals, January 2006, Vol. 28, No. 1, 29-50.
James Trainor, “Performa 05,” Frieze, March 2006, 41.
Jonathan Turner, “City Focus: Rome; Ferment and Creativity,” ARTnews, Vol. 105, No. 1, January 2006, 90-97.
Marie-Laure Verroust, “Tableaux d’architecture selon Chrissie Iles,” Architectural Digest, December 2006 – January 2007, 76.
Amei Wallach, "Missed Signals: Nuance and the Reading of Immigrant Art." American Art, vol. 20, no. 2, Summer 2006, 126-133.
“What’s On: Rest of Europe,” The Art Newspaper January Listings, No. 165, January 2006, 12.
2005 Marina Abramovic with others, “MoMA: How to Look at Modern Art.” The Brooklyn Rail, February 2005, 20-21.
Michaël Amy, “You Talkin’ To Me?” DITS: Violence III, No. 5,
Winter-Spring 2005, 18-31.
Zaneta Apostolovski and Kathryn Carr, “Spektakl u Gugenhajmu,”
Gloria , November 30, 2005, 8-9.
“Art Listings, Guggenheim Museum: Seven Easy Pieces.” The New Yorker, November 14, 2005, 21, 23.
Oreet Ashery, “Reflections on Clapping.” Contemporary 21, No. 75, 2005, 44-45.
“Balkanska Erotika,” Vecernje Nouasti, November 8, 2005.
“Balkanski Erotski Ep,” Danas, Kultura, December 5, 2005, 23.
Jack Bankowsky, “Tent Community: Art Fair Art.” ArtForum XLIV, No. 2, October 2005, 228-232.
Bellet, Harry. “Le Marché de l’Art en Spectacle à la Foire de Bâle.”
Le Monde, June 18, 2005, 29.
Chris Bergeron, “Waking Dreams.” The Daily News, March 6, 2005, C1, C10.
Priya Bhatnagar, “RoseLee Goldberg.” Contemporary 21, no. 77, 2005, 58-61.
Claire Bishop, “Fairer Fare.” ArtForum Online, June 15, 2005, <http://www.artforum.com/diary/id=9128>.
David B. Boyce, “Brandeis Gallery Hosts Provocative ‘Dreaming’ Exhibit.” The Sunday Standard-Times, March 13, 2005.
Geneviève Breerette, “L’Insoutenable Marina Abramovic.” Le Monde 59e Edition du Festival d’Avignon, July 5, 2005, 10.
Louisa Buck, “New Cisneros Space Opens to Public Today.” The Art
Newspaper: Art Basel/Miami Edition, December 3 2005, 10.
Leslie Camhi, “Grand Gestures.” Vogue, November 2005, 228, 232.
“Carnegie Mellon School of Art Lecture Series Spring 2005: Marina
Abramovic-Robert Lepper Distinguished Lecturer.” Carnegie
Mellon School of Art Spring 2005 Lecture Series Brochure , 2005.
Castle, Terry. “Desperately Seeking Susan.” London Review of Books
27, no. 6 March 17, 2005.
Nikki T. Cesare, “(Re)Performing the Score.” NY Arts 10, no. 7/8 July/August 2005, 22-23.
Andrew Clifford, “The Bittersweet Taste of Sadness.” New Zealand Herald, 23 November, 2005.
“Colgate Exhibit Examines: ‘Suddenly Older.’” PrimeTime Online, March
2005, <http://merz.colgate.edu/html/SORelease.html>.
Meghan Dailey, “Feel Like Italian.” Art + Auction XXVII, no. 9, May 2005, 179.
Adrian Dannatt, “Back to the Classics.” The Art Newspaper, no. 163, November, 2005, 40.
Adrian Dannatt, “New York Diary: Marina Abramovic Bares All.” The Art Newspaper, no. 164, December 2005, 34.
David Patrick, Columbia’s New York Social Diary, November 16, 2005,
<http://www.nysocialdiary.com/partypictures/2005/11_16_05/
partypictures11_16_05.php>.
“Death and the Maiden.” The Art Newspaper: Art Basel Edition, June 14, 2005, 1.
De Baecque, Antoine. “Une Vie de Performances.” Libération Online, July 13, 2005, <http://www.liberation.fr/page.php?Article=310825>.
“Do szri umetnost,” Novosti, December 31, 2005, 47.
“Don’t Miss.” Time Out New York, March 31- April 6, 2005, 63.
“Dreaming Now.” Sculpture, April 2005.
David Ebony, “MoMa Refreshes Contemporary Galleries.” Art in America, no. 10, November 2005, 41.
Geoff Edgers, “Perchance to Dream.” The Boston Globe, 4 February 2005, C1, C16.
Geoff Edgers, “Trying Out Sleep Sculpture Gives Him Pause.” The Boston Globe, February 4, 2005, C1, C16.
“Everybody at Art 36 Basel.” artnet, June 20, 2005, <http://www.artnet.
com/magazine/news/artnetnews2/artnetnews6-20-05.asp>.
Morgan Falconer, “Cover Versions.” ArtReview LVIII, November 2005, 41.
“Fall Art Listings: Marina Abramovic, ‘Seven Easy Pieces.’” The New York Times, September 11, 2005, 104, 106.
“Fire Sale and Raffle for Joe Goode.” Artnet, November 17, 2005,
<http://www.artnet.com/magazineus/artnetnews/arnetnews11-
18-05.asp>.
“Galleries: Chelsea.” New York, 12 December 2005, 116.
RoseLee Goldberg, “The Shock of the Live.” ArtReview LVIII November 2005, 108-111.
Blake Gopnik, “Art.” Washington Post, November 6, 2005, N2.
Lisbeth Rebello Gonçalves, “Fifth Mercosur Biennial.” ArtNexus 4, no. 59, 2005, 80-84.
Manuela Grassi, “Rembrantmania,” Panorama, December 30, 2005, 110- 114.
Jörg Heiser, “Do It Again.” Frieze 94, October 2005, 176-183.
Roger Hiorns, “Questionnaire: Roger Hiorns.” Frieze 94, October 2005,
232.
Randi Hopkins, “I Know What Girls Like.” The Boston Phoenix, January 12, 2005.
Chrissie Iles, “Film: Best of 2005.” ArtForum XLIV, no. 4, December
2005, 58.
“In the Frame.” The Art Newspaper, XIV, no. 161, September 2005, 2.
Jacobson, Louis. “Me, Myself, and I.” Washington City Paper, November 25, 2005.
Ken Johnson, “Art in Review: Marina Abramovic.” The New York Times, 23 December 2005, E40.
Randy Kennedy, “Self-Mutilation is the Sincerest Form of Flattery.” The
New York Times , November 6, 2005, sec. 2, 1, 18.
Kay Larson, “Reviews: Take Two. Worlds and Views: Contemporary Art
From the Collection.” ARTnews 104, no. 10, November 2005, 176- 177.
“La Galleria dell’Amore.” Flash Art XXXVIII, no. 243, July-September
2005, 12.
“Le Guide Culturelle: Vidéo du Corps à l’Ouvrage.” Elle, 27 June 2005, 24.
Kate Lowenstein, “Flash Art.” Time Out New York, December 8-14, 2005 72.
Phil Maddocks, “Make It a Date in the Dream Bed.” Natick Bulletin & TAB, 25 February 2005.
Steven Henry Madoff, “Mediating Circumstances: Steven Henry Madoff on the Festival d’Avignon.” ArtForum XLIV, no. 2, October 2005, 77, 80.
Sean Manning, “Un-Ho-Hum.” The New York Press, 5-11 January 2005, 46.
“Marina Abramovic: Autoportrait au Squelette.” Beaux Arts Magazine, June 2005, 112.
“Marina Abramovic: The Biography of Biographies”(review) Charta.
D.A.P. Books on Art and Culture, Spring/Summer 2005, 110.
“Marina Abramovic: Seven Easy Pieces.” Solomon R. Guggenheim Museum Guide, October 2005, 9.
Meredith Mendelsohn, “Live from New York.” ARTnews 104, no. 10
November 2005, 43.
Christopher Millis, “Dream Weaving.” The Boston Phoenix, March 4 2005, 22.
Michelle Minkoff, “Gallery Talk: Tour Reveals ‘Dreams.’” The Justice, 8 February, 2005.
Bridget Moriarity, “Stylish Traveler.” Travel + Leisure, September 2005, 60-71.
Aaron Moulton, “RoseLee Goldberg’s PERFORMA,” Flash Art, Vol. XXXVIII, No. 244, October 2005, 58.
Aaron Moulton, “Marina Abramovic: Re: Performance,” Flash Art, Vol. XXXVIII, No. 244, October 2005, 86-89.
“New York: Performa05,” Flash Art Italia, Vol. XXXVIII, No. 254, October-November 2005, 72.
Alexandra Peers, “When the Artist is the Artwork.” The Wall Street Journal, 16 November 2005, D14.
“PERFORMANCE: Art, Marina Abramovic: Seven Easy Pieces.” Flavorpill NYC 283 November 8-14, 2005, <http://nyc.flavorpill.net/mailer/issue283/index.html>.
“Performance Biennial for NYC.” Art in America, no. 10, November 2005, 41, 43.
Charmaine Picard, “MoMA Restocks Its Contemporary Galleries.” The Art Newspaper XIV, no. 162 October 2005, 18.
“Picking their favourites,” The Art Newspaper Art Basel/Miami Edition, Sunday, December 4, 2005, 1.
Robert Pinto, “Dimension: Performance.” Work, Winter 2005, 17-20.
Raphaela Platow, “New Dimensions of Dreaming.” The Rose Art Museum, Brandeis University Brochure, Fall/Winter 2005.
Radvila Radosavljevic, “Moja Giografija je mesavina srece I maskece,”
Vecernje Novosti , 7 September 2005, IV-V.
“Regarding Terror: The RAF-Exhibition, KW Institute for Contemporary
Art.” eFlux Media, 27 October 2005, <http://www.e-flux.com/
displayshow.php?file=message_1106847732.txt>.
“(Re)presenting Performance.” Sackler Center for Arts Education,
Guggenheim Education Programs Guide , Winter/Spring 2005, 19.
Karen Rosenberg, “Provocateur: Marina Abramovic.” New York, 12
December 2005, 90.
“Scambio di attenzioni,” Media Forum, November 29, 2005, 30-
31.
Smalec, Theresa. “Marina Abramovic Plays With Herself: Re-Performing Others, Engaging the Audience.” NY Arts Online 10, no. 7/8, July/ August 2005, <http://www.nyartsmagazine.com/pages/nyam_
document.php?lid=1&nid=749>.
Roberta Smith, “Performance Art Gets Its Biennial.” The New York Times, 4 November 2005, E33, E39.
Roberta Smith, “Turning Back the Clock to the Days of Crotchless Pants and a Deceased Rabbit.” The New York Times, 17 November 2005, E1, E3.
Brad Spiegel, “Wrapped in a Dream.” The Daily News Tribune, February 25, 2005, A1, A14.
Jovana Stokic, “Balkanski Erotski Ep,” Danas, Kultura, December 14, 2005, 25.
Jovana Stokic, “Biografija Kao Spektakl,” Danas, Kultura, 20 July 2005, 27.
Jovana Stokic, “Druga strana, ovde I sada,” Vreme, November 24, 2005, 48-51.
Jovana Stokic, “Marina Abramovic: Nabavili smo ogromnu Bazukuza
performans Valie Export, ‘Genital Panic’,” Danas, Kultura,
November 5-6, 2005, IX.
Jovana Stokic, “Nezapamceno u muzejima,” Danas, Kultura, November 16, 2005, 27.
“Summer Guide.” V Magazine 35 Summer 2005, 34.
Christine Temin, “Beds, Bodies, and Beyond: A World of Dreams.” The Boston Globe, 13 April 2005, C1.
“The Artists’ Artists.” ArtForum XLIV, no. 4, December 2005,
104-109.
“The Guggenheim International Gala.” New York, 21 November 2005.
Rodrigo Tisi, “Doing It All Again at the Guggenheim.” NY Arts 10,
no. 7/8, July/August 2005, 24.
Nicolas Trembley, “Supersize Spree.” ArtForum Online, June 18, 2005,
<http://www.artforum.com/diary/id=9141>.
Shinya Watanabe, “Marina Abramovic.” Another Expo: Beyond the Nation-State exhibition brochure, September 2005, 3-4.
James Westcott, "IPG: un futuro prometedor para el performance" Art.es, July-August 2005, 30-32.
James Westcott, “The ArtInfo Interview: Marina Abramovic.” ArtInfo, November 9, 2005, <http://www.artinfo.com/News/Article.aspx?a=1537&c=253>.
James Westcott, “Bodies Moving: The Independent Performance Group and Dansgroep Krisztina de Châtel with Egon Schiele.” NY Arts Online 10, no. 7/8 , July/August 2005, <http://www.nyarts
magazine.com/pages/nyam_document.php?lid=1&nid=749>.
“What’s On United States: Listings.” The Art Newspaper XIV, no. 164, December 2005, 4.
“What’s On United States: Listings” The Art Newspaper XIV, no. 163, November 2005, 2.
Karen Wright, “Under the Influence: Introducing Norbert Bisky.” Modern Painters, March 2005, 76-81.
Linda Yablonsky, “Reviews: ‘Take Two. Worlds and Views: Contemporary Art from the Collection.’” Time Out New York, October 13-19 2005, 71.
2004 L.P. Streitfeld “Marina Abramovic: Transformation and Rebirth
of the Performance Artist.” Esse, Spring 2004.
“Art Unlimited: No Limits for Today’s Art.” Art 35 Basel, 2 April 2004,
<http://www.ArtBasel.com>.
“Artistas Ante el Espejo.” Exit Express 7, November 2004.
Alan G. Artner, “Focusing On Camera in Performance Art.” Chicago Tribune, 4 November 2004.
Juan-Ramon Barbancho, “Limpiando la Casa (Cleaning the House).” art.es 4, July/August 2004, 74.
Anne Barclay-Morgan, “Buddhism and Contemporary Sculpture: The
Manifestation of Awareness.” Sculpture, September 2004, 47-51.
Fred Camper, “Art About Performance Art.” Chicago Reader, December 10, 2004, sec. 2.
Barbara Casavecchia, "Marina Abramovic Innamorata del Vuoto," Casa,
November 20, 2004, 80- 85.
Chasin, Noah. “Iron Giants.” Time Out New York, January 29 – February 5
2004, 65.
“Critics Pick Best Shows.” Art in America, February 2004, 144.
Mark Cunningham, “Lights, Camera, Action.” Rarified Air, 17 December 2004.
**Review of “Marina Abramovic: The Biography of Biographies”, D.A.P. published by Charta e-flux, November 20, 2004, <http://www.e- flux.com/displayshow.php?file=message_1100904005.txt>.
Ana Devic, “Bringing Balkan Back to the Balkans.” art.es 5, September/
October 2004, 16-17.
Maria Djordjevic “Golubica uoja place,” Politika, 30 October 2004, III.
Maria Djordjevic. “Publica Moze da ubbije,” Politika, 22 October 2004, 17.
Jim Drobnick “Trafficking in Air.” Displaycult, February 2004, 29-43.
Melissa Dunn, “Whitney Biennial: A Good Looking Corpse.” Flash Art,
May/June 2004, 63, 80.
“Featured Artist: Marina Abramovic.” Chrome Hearts Magazine 5, 2004, 64-67.
Colin Fernandes, “Subjective Made Object: Pain in Contemporary Art.”
American Pain Society Bulletin 14, no. 4 July/August 2004,
<http://www.ampainsoc.org/pub/bulletin/jul04/path1.htm>.
Fressola, Michael. “Noted Poet to Appear at Benefit.” Snug Harbor Cultural Center, 15 February 2004.
“Gearing Up for ArtBasel.” Artnet, May 27, 2004, <http://www.artnet.com/magazine/news/artnetnews2/artnetnews5- 27-04.asp>.
Roselee Goldberg, “Performance Anxiety.” Artforum, April 2004, 54.
Charles Green, “Doubled: Five Collaborations.” Cabinet 14, Summer
2004, 71-76.
Ed Halter, “Mind the Gap.” The Village Voice, 17-23 March
2004, 62.
Eleanor Heartney, “Rediscovering Ana Mendieta.” Art in America,
November 2004, 139-142.
Eleanor Heartney, “The Well-Tempered Biennial.” Art in America, June/
July 2004, 71-77.
Jens Hoffman, ed. “The Next Documenta Should Be Curated by an
Artist.” D.A.P: Books on Art and Culture, Fall/Winter 2004, 93.
John Hooper, “A Matter of Life and Death.” The Guardian, September 29 2004.
Boris Jakic, “Nisam imala vremena da ostarim,” Gloria, November 3, 2004, 24-26.
Michael Kimmelman, “Touching All the Bases at the Biennial.” The New
York Times , 12 March 2004, E27, E38.
Caol Kino, “March Madness.” Art + Auction, May 2004, 145.
Michael Laub, “Marina Abramovic: The Biography Remix.” Teatro
Palladium online , 2004, <www.teatro-palladium.it>.
Truls Lie, “Auschwitz og Beslan.” Le Monde Diplomatique, October
2004, 3.
Ingela Lind, “Pionjärer Vagar Ta Plats,” Kultur Konst, 9 October 2004, 1.
Barbara A. MacAdam, “What’s So Funny About Performance Art?”
ARTNews 103, no. 3 March 2004 38.
“Marina Abramovic,” MOCA Cleveland Newsletter, 2004, 4.
“Marina Abramovic: Cleaning the House,” Enfocarte.com, 19 June 2004,
<http://www.enfocarte.com/archivo.html>.
“Marina Abramovic: Collector’s Edition: ‘Unititled,’” Hatje Cantz Verlag,
November 2004, <http://www.hatjecantz.de/en/
vorzugsausgaben/abramovic.php>.
Miguel Fernandez-Cid and others, “Marina Abramovic: Student Body,” D.A.P. Spring/Summer Catalogue, Spring/Summer 2004, 111.
"Marina Abramovic," Geijtsu Shincho, January 2004, 178-181.
Joseph McElroy, “A Poetry of Transience.” Shambhala, March 2004.
Spomenka Medakovic, “Likovnost Marinikaj dela,” Politika, 4 November
2004, 17.
Macu Moran, “Loop ’04 Barcelona,” Artnet, December 2004,
<http://www.artnet.com/magazine/news/moran/
moran1-5-05.asp>.
Daniele Muscionco, “Wer hat Angst vor Marina Abramovic?” Neue
Zuricher Zeituung , August 28-29, 2004.
“Our Selections,” The Art Newspaper XIII, no. 145, March
2004, 2.
Ida Panicelli, “Reviews: The Invisible Thread,” Artforum, February 2004, 153.
Jane Perlez, “Where Pagodas Draw Tourists, Concrete is Unwelcome,”
The New York Times , 8 July 2004, A3.
“Prima Pagina,” Case da Abitare, June 2004, 41.
Jen Robbins, “Art to Art,” Best Bets, 6 December 2004.
Walter Robinson, “The 2004 Revue,” Artnet, December 2004,
<http:// www.artnet.com/magazine/reviews/walrobinson/
robinson12-30-04.asp>.
“Russia Meets Germany on Red Square,” News: Hotel Baltschug, Kempinski, 2004, 18.
Saltz, Jerry. “The OK Corral,” The Village Voice, March 17-23
2004, 80.
Roberta Smith, “Art That Speaks to You Literally,” The New York Times,
7 March 2004, 30.
Marina Sorbello, “A Window to the Balkans,” Tema Celeste, March/April
2004, 58.
“Spring Art,” The Village Voice, 3-9 March 2004, 54.
Mark Stevens, “Antithesis,” New York Magazine, March 2004.
L.P. Streitfeld, “Encountering the Sacred Feminine,” Art New England,
August/September 2004, 16-17, 55.
Lisa Paul Streitfeld, “For Artist Abramovic, Performance is Her Life,” The Hartford Courant, 26 February 2004, A1.
Lisa Paul Streitfeld, “Marina Abramovic: Transformation et Rénaissance de L’Artiste de Pérformance,” Esse 5,1 Spring 2004, 72-78.
Lisa Paul Streitfeld, “Marina Abramovic’s Triumphant Premiere,” The
Advocate and Greenwich Time , March 7, 2004, D3+.
“The Invisible Thread: The Buddhist Spirit in Modern Art,” Sculpture
Magazine , January/February 2004.
“The Invisible Thread: The Buddhist Spirit in Modern Art,” Staten Island Source, January 8-14, 2004.
“The Quiet in the Land: Art Spirituality and Everyday Life,” eFlux Media,
October 27, 2004, <http://www.e-flux.com>.
Joyce Wadler, “Boldface Names,” The New York Times, February 3, 2004, B2.
Amei Wallach, “Cold War Icons Revisited,” Art in America, June/July 2004, 81-89.
Lilly Wei, “Whitney Biennial 2004,” ARTNews, May 2004, 145.
Peter Weiermair, “The Nude. Ideal and Reality, Photography (vol.II).”
Skira , 18 September 2004.
“Whitney Biennial,” Flash Art, January/February 2004, 48.
“Whitney Biennial Exhibition 2004,” eFlux Media, March 11, 2004,
<http://www.e-flux.com>.
“Whitney Biennial Goes Online,” Artnet, March 23, 2004, <http://www.
artnet.com/Magazine/news/artnetnews2/artnetnews3-23-04.asp>.
2003 Marina Abramovic, Delia Bajo and Brainard Carey. “Marina Abramovic in Conversation,” The Brooklyn Rail, Winter 2003, 17-19.
“Air: James Cohan Gallery,” The Art Newspaper XII, no. 133 February 2003, 4.
Laurie Anderson, “Aventuras Pelo Invisível,” Folha de Sãn Paulo,
17 August 2003, 4-9.
Laurie Anderson, “Marina Abramovic,” Bomb, Summer 2003, 24-31.
“Art Cameo on Sex & the City,” Artnet, 18 September 2003, <http://www.
artnet.com/magazine/news/artnetnews2/artnetnews9-18-03.asp>.
Elena Balzani, “Illycafe: Waking Up to Art,” Artindex, no. 2 Winter 2003, 34-37.
“Banquete-International Traveling Exhibition,” NOEMA Online, April 2003, <http://www.noemalab.org>.
Ana Bernstein, “A Casa com Vista para o Mar de Marina Abramovic,” Sala Preta 3 2003, 132-140.
Sarah Boxer, “From a Bellicose Belly to Dramatized Emotions, All on
Video,” The New York Times, February 27, 2003, E1.
Magda Carneci, “In Search of Balkania,” World of Art 3, issue 6 2003,
84-89.
“Centro Galego de Arte Contemporánea,” ArtForum, November 2003.
Alicia Chillida, and Steve Cannon. “Marina Abramovic: ‘The House with the Ocean View,’” A Gathering of Tribes Online, April 2003,
<www.tribes.org>.
“Collection Dakis Joannou Athens,” ARCO Contemporary Art, no. 29
Autumn 2003, 38-41.
Jennifer Dunning, “Bessies Honor, and Inspire, Performance,” The New York Times, 22 September 2003, E3.
“Exhibition Previews,” NY Arts, January 2003, 35, 47.
Michael Findlay, and others. “Ever More Public,” The Art Newspaper: The Year in Review XII, no. 2, September 2003, 85-86.
Elaina Ganim, “Life, Death, and Paradox in New York–Three Exhibitions
Reviewed,” NY Arts, January 2003, 15.
RoseLee Goldberg, “Marina Abramovic,” ArtForum, February 2003,
138-139.
Eleanor Heartney, “’Video Acts’ at P.S. 1,” Art in America, April 2003,
140-141.
“Humor and Transcendence: ‘The Invisible Thread,’” Staten Island
Advance , 26 September 2003, sec. E.
Carol Kino, “Croatian Modern,” Art in America, June 2003, 63-69.
Ann Landi, “How to Hug a Tree,” ARTnews, April 2003, 110-111.
Ann Landi, “Who Are the Great Women Artists?” ARTnews, March 2003, 94-97.
Ingela Lind, “Utställd, Utskälld, Fokuserad och Mycket Naken,” Konst
Kulturtema , 27 December 2003, 8-9.
“Marina Abramovic,” Lanterno, April 2003, <http://www.uni-leipzig.de>.
“Marina Abramovic’s Top Five,” Carnet Arte, September/October 2003, 22.
“MARTa Herford Museum of Art and Design,” eFlux Media, 18 June 2003, <http://www.e-flux.com>.
McEvilley, Thomas. “Performing the Present Tense,” Art in America,
April 2003, 114.
Simone Menegoi, "Sangue e Ketchup e la splatter-art," Vernissage, No 43, November 2003, 12.
B.G. Muhn, “Marina Abramovic,” Wolganmisool, March 2003, 108-113.
“Newhouse Center for Contemporary Art,” Snug Harbor Cultural Center-
Gallery Guide , November 2003.
Anna Novakov, “Point of Access: Marina Abramovic’s 1975 Performance Role Exchange,” Woman’s Art Journal 24, no. 2, Fall 2003/Winter 2004, 31-35.
Aomi Okabe, “Echigo-Tsumari Triennial,” Flash Art, October 2003, 53.
Elisabetta Povoledo, “Letter from Turin,” Art + Auction, November 2003,
96-97.
Michael Rush, “Starting With Fabric, Branching Into Everything,” The New York Times, February 2, 2003, 35.
Roberta Smith, “Video, in Its Infancy, Had to Crawl Before It Could Walk,” The New York Times, 24 January 2003, E39.
Rebecca Sonkin, “Living Theater,” Art + Auction, January 2003, 125.
“Spain, December 2003,” ArtForum International, December 2003.
Christine Temin, “’Mystic’ Messages are Intriguing,” The Boston Globe,
March 5, 2003, C1.
“The Buddhism Project: Art, Buddhism and Contemporary Art,” eFlux
Media , October 7 2003, <http://www.e-flux.com>.
“The Gift: Generous Offerings, Threatening Hospitality,” Independent
Curators International Brochure , 2003, 8-9.
“The Next Documenta Should be Curated by an Artist,” Flash Art XXXVI, no. 233, November/December 2003.
James Westcott, “Marina Abramovic: The House With the Ocean View,”
Contemporary 47/48 2003 121-122.
“Whitney Announces Biennial Artists,” Art in America, December 2003, 128.
Wilson, Michael. “Critics’ Picks,” ArtForum Online, February 2003, <http:www.artforum.com>.
“World Wide Solo: Marina Abramovic,” World Wide Video Festival Online, May 2003, <http://www.wwvf.nl/rgb/index.html>.
Linda Yablonsky, “Air: James Cohan Gallery, through February 15,” Time Out New York, February 6-13, 2003, 52.
Midon Yoshimoto, “Fast Performance in Silence by Abramovic,” Geijutsu
Shincho , January 2003, 121.
2002 Valentina Agostinis, “Il Cielo in una Stanza,” Carnet, November 2002, 56-57.
Alfonso Armada, “Vistas Sobre El Océano Interior,” ABC Spanish Daily
Newspaper , November 30, 2002.
Cindy Carr, “Hunger Artist: The 12 Days of Marina Abramovic,” The
Village Voice , 4-10 December 2002, 56.
Sheila Farr, “Galleries: Serene Energy, Vast Scale,” Seattle Times,
December 8, 2002.
Charlie Finch, “My Favorite Artist,” Artnet, October 4 2002, <http://
www.artnet.com/magazine/features/finch/finch10-4-02.asp>.
Michael Fressola, “Preparing for ‘The Buddhism Project,’” Staten Island
Sunday Advance , December 15, 2002.
Martin Gayford, "Suffering for the Sake of their Art," The Daily Telegraph, 14 March 2002, A7.
Catherine Grant, “Private Performances: Editing Performance
Photography,” Performance Research 7, no. 1, 2002, 34-44.
Jörg Häntzschel, “Gewichtsklasse; Seit Zwolf Tagen Hungert Marina
Abramovic in New York,” Dienstag, November 26, 2002.
Clare Henry, “The Art: A Solitary Confinement,” Financial Times, December 11 2002.
Janet Kraynak, “Marina Abramovic, ‘The House With the Ocean View,’”
Time Out New York , November 28- December 5 2002.
“Loop,” Tema Celeste 94 December 2002.
Flash Art , Vol. 34, No. 224, May-June, 2002, 17.
Steven Madoff, “A Viewable Fast, Enforced by Knives,” The New York
Times , November 10, 2002, 1, 37.
Steven Henry Madoff, “Reflecting on an Ordeal That Was Also Art,” The
New York Times , November 28, 2002, E5.
“Marina Abramovic,” The Village Voice, November 13-19 2002, 46.
“Marina Abramovic, a Selection of Single Channel Video from the Kramlich Collection,” The New York Times, 8 September 2002, 83.
“Marina Abramovic: The House with the Ocean View,” The Art Newspaper, December 2002.
“Marina Abramovic: The House With The Ocean View,” Flavorpill NYC 128 November, 19, 2002. <http://nyc.flavorpill.net/mailer/issue128/index.html>.
“Marina Abramovic: The House With The Ocean View, Sean Kelly Gallery,”ArtForum, December 2002.
Jordan Mejias, “Asketish: Marina Abramovic Hungert in New York,”
Franffurter Allgemeine , 17 November 2002.
“Mönche des Tashi Dhargye Klosters Inszenierung/Video: Marina
Abramovic,” Festival of Sacred Music Brochure, March 2002, 10- 11.
Anne Morgan, “Beyond Post Modernism: The Spiritual in Contemporary
Art,” Art Paper, January/February 2002, 31-36.
“Moving Pictures,” The Guide to the Guggenheim Museum, November
2002-January 2003.
"Moving Pictures: Guggenheim Museum," The Art Newspaper,
July/August 2002, 2.
“News and Around: The Guggenheim Museum,” Tema Celeste, July/August 2002, 112.
Walter Robinson, “Weekend Update,” Artnet, November 13 2002,
<http://www.artnet.com/Magazine/reviews/robinson/robinson11-12-02.asp?C=1>.
Anne Rochette, and Wade Saunders. “When Artists Collaborate,” Art in
America , 2002, 53.
Catherine Saint Louis, “What They Were Thinking,” The New York Times Magazine, December 15, 2002, sec. 6.
“Sean Kelly: Marina Abramovic,” Time Out New York, November 21-28
2002.
Marcello Smarrelli, “Giants," Tema Celeste, January/February 2002,
108.
Roberta Smith, “Where Seeing is Not Only Believing, But Also Creating,” The New York Times, 22 November 2002, E31.
"Survey: Marina Abramovic," Tema Celeste, March/April 2002, 72.
“The House with the Ocean View,” Art for Real Online, 21 December
2002, <http://www.sitefour.com/artforreal.org/index.php>.
“‘Video Acts’ P.S.1, MoMa,” ArtForum, November, 2002.
2001 "Art: Exit Art/The First World," Time Out New York, February 22 – March 1, 2001, 74.
"Art: Exit Art/The First World," Time Out New York, February 8-15 2001, 66.
Kate Clifford, "Please Touch," Art News 100, no. 5 May 2001, 180–183.
"Double Life," Profil, no. 1/2 2001, 41-47.
"Doublelife. Identität und Transformation in der Zeitgenössischen Kunst,” Kunst-Bulletin, no. 7/8, July/August 2001, 56.
Aidan Dunne, "The Art of Living Dangerously," The Irish Times, November 28, 2001, 14.
"Exit Art/The First World-Body and the East," Time Out New York, January 25 – February 1, 2001, 67.
Judith Fischer, “Double Life: Identitat und Transformation in der
Zeitenossischen Kunst,” Springein 7, no. 3 October 2001 74.
Charles Green, “The Third Hand,” Tema Celeste, no. 87 September/October 2001 24.
Isabel Grüntges, "Immer Aufs Ganze Gehen," Deutsch Vogue, April 2001, 270.
"Irish Museum of Modern Art," Tema Celeste, no. 85, May/June 2001,112.
“It’s a Woman’s World,” Taschen, Winter 2001, 3.
Zoe Kosmidou, "Transitory Objects: A Conversation with Marina
Abramovic," Sculpture 20, no. 9 November 2001, 26-31.
Susanne Leeb, “Agentinnen in Fremder Sache,” Texte zur Kunst,
September 2001, 215-220.
Kim Levin, "Body and the East," The Village Voice, 23 January
2001, 73-74.
"Marina Abramovic at the Fondazione Ratti," Tema Celeste, no. 84,
March/April 2001, 123.
Germano Celant, “Marina Abramovic: Public Body,” Tema Celeste, no. 88 November/December 2001, 24.
“Outer and Inner Space,” Tema Celeste, no. 87, September/October 2001,
40-45.
Roberta Smith, "Art in Review: ‘Body and the East: From 1960 to the
Present,’" The New York Times, March 2 2001, E37.
Simona Vendrame, "Marina Abramovic," Tema Celeste,
September/October 2001, 40-45.
Angela Vettese, “The Good Witch of the East,” The Art Newspaper XII, no. 117, September 2001, 48.
“Voices Over,” Tema Celeste, no. 87 September/October 2001, 40-45.
2000 Marian Bergroth, "Relativ Rättvisa?" Tema: Kvinnokamp, Feministisk
Kulturtidskrift 1 2000, 32.
“Echigo-Tsumari Art Triennial 2000,” Flash Art XXXIII, Summer 2000.
Grace Glueck, "Defining Art as a Moment To Be Seized and X-Rayed,” The New York Times, 28 April 2000, E39.
Michelle Grabner, “Cold Conceptualism,” Frieze 530 Summer 2000,
125.
Susan Hiller, “Good Night, Sleep Tight,” Dazed and Confused, October
2000.
"Marina Abramovic, Ulay," Arte Povera e Concettuali, 2000.
“Renzo Piano for Sarjevo,” Tema Celeste, October-December 2000, 120.
Michael Rush, "His Canvas a TV Screen, His Brush a Camera,” The New
York Times , March 5 2000, 47.
Martha Schwendener, “Postmedia: Conceptual Photography in the
Guggenheim Museum Collection,” Time Out New York, May 4-11 2000, 91.
1999 Abramovic, Marina. "Deeper and Deeper; Interview with Marina Abramovic,”
Interview by Janet A. Kaplan. Art Journal 58, no. 2, Summer 1999, 7-20.
"Ana Mendieta and Marina Abramovic," The New York Art World, March 1999, 7-8.
Robert Atkins, “Performance Report,” Art in America, no. 3 March 1999, 31-35.
Robert Ayers, “Marina Abramovic: Fabric Workshop Museum,” Art
Monthly , February 1999, 31-33.
Alexandra Balfour and Pitchaya Sudbanthad. "Marina Abramovic,"
Museo 2, Spring 1999, 18-22.
Stephanie Cash, “Acting Out,” Art in America, no. 3 March 1999, 31-35.
“Critics’ Picks,” Time Out New York, April 8-15, 1999, 65.
Paula Deitz, "Comfort Zone: Furniture By Artists," The New York Times, May 2, 1999.
Paula Deitz, "Comfort Zone: Furniture By Artists," The Quarterly
Newsletter of the Public Art Fund 8, no. 1, Summer 1999.
Tatjana von Prittwitz Gaffron, "Beyond Conceptions," MA Thesis, Bard
College , 1999.
“Galerie Lelong,” NY Arts, April 1999, 64-65.
Ken Johnson, "Conceptual but Verbal, Very Verbal," The New York
Times , May 1999, E36.
Ken Johnson, “Walking,” The New York Times, July 2, 1999, E36.
Anne Kerner, "Abramovic & Ulay: Les Corps Mystiques," Beaux Arts, no. 186
November 1999, 30.
“Les Travaux de Marina Abramovic et d’Ana Mendieta,” Le Journal des Arts,
April 2-15, 1999.
Levin, Kim. “Art: Galleries,” The Village Voice, April 6, 1999, 89.
"Lie of the Land," Habitat Art Club Magazine, Autumn/Winter 1999.
Maite Lorés, "Lie of the Land: Earth Body Material," Contemporary Visual Arts 27 1999, 56, 57.
Laura Malacart, "Performing the Body." The Gallery Channel, 2000,
<http://www.thegallerychannel.com>.
"Marina Abramovic and Ana Mendieta," ArtForum, Summer 1999, 155.
Edith Newhall, “On View,” New York, July 19, 1999, 92.
“Rest/Energy,” The Art Newspaper X, no. 91, April 1999, 63.
Martha Schwendener, “Walking,” Time Out New York, August 19-26,
1999.
Franklin Sirmans, “Christian Haye,” Flash Art XXXII, no. 205 March/April 1999, 40.
Sirmans, Franklin. "Marina Abramovic and Ana Mendieta, Rest/Energy,"
Time Out New York , 22-29 April 1999, 67.
Roberta Smith, "An Ode to Old Age, Life’s Gift," The New York Times,
July 16, 1999, E33.
Robert Storr, “Prince of Tides,” ArtForum XXXVII, no. 9, May 1999, 160- 165.
Paula Toppila, “Animal.Anima.Animus.,” Flash Art XXXII January/February 1999, 57.
John Tozer, "Lie of the Land," Art Monthly, 1999, 32-34.
Angela Van der Burght, “Diaphaneity,” This Side Up 7 Autumn 1999.
Aaron Williamson, "Writing Art," Art Monthly, October 1999, 13-17.
“Wounds: Between Democracy and Redemption in Contemporary Art,”
Flash Art XXXII January/February 1999, 110.
Nina Zivancevic, “In the Domain of Absolute Freedom,” NY Arts 3, no. 4
April 1999, 34-36.
1998 Blair Brennan, "Light Out of Dark," International Contemporary Art 57
February/April 1998, 30-35.
Katie Clifford, “Marina Abramovic at Sean Kelly Gallery,” Art News 97,
no. 3 1999 172-174.
Daspin, Eileen. "How Can You Live With That? Or, How to Lose Friends and Alienate Neighbors With Big, Shocking Art," The Wall Street Journal 29 May 1998, 1-6.
Diamanda Galas, "Diamanda is Forever," Time Out New York, 1999,
109-111.
Charles Green, “Escape, Marina Abramovic,” Remanence, Melbourne
Festival of the Arts Brochure , 1998, 11-12.
Eleanor Heartney, "The Return of the Red-Brick Alternative," Art in
America , January 1998, 56-68.
David Joselit, "Between Objects and Actions," Art in America, November
1998, 86-91.
Daniel Pinchbeck, "NY Diary: Haye-Day for Harlem," The Art Newspaper IX, no. 86 November 1998 71.
Megan Ratner, “Marina Abramovic at Sean Kelly Gallery,” Art /Text 61
1998, 87.
Barry Schwabsky, “Marina Abramovic at Sean Kelly Gallery,” ArtForum,
no. 7 March 1998, 97-98.
Edward F. Sozanski, “Marina Abramovic Tries To Unify Body and Mind,” The Philadelphia Inquirer, December 27 1998, F6.
Tony Stooss, “Marina Abramovic: Artist Body-Public Body,” Berner
Kunstmitteilungen 314 March/April 1998, 6-8.
Stefan von Bergen, “Knochenarbeit im Museum, Lektüre mit Urlauten?”
Berner Zeitung , January 7 1998.
1997 "Angst vor dem Schwarzen Glöckner," Der Spiegel 25 1997, 192-193.
Michael Archer, “47th Venice Biennale,” Art Monthly, September 1997, 26-27.
Norman Bryson and Jeremy Gilbert-Rolfe. "XLVII Venice Biennale," Art/
Text , November 1997–January 1998, 32-35.
Dan Cameron, "47th Venice Biennale," ArtForum, September 1997, 118- 120.
C. Carr, “Voice Choices: Acts, Marina Abramovic,” The Village Voice, October 29 -- November 4, 1997.
C. Carr, "The Hard Way," The Village Voice, 25 November 1997, 69.
Rosella Caruso, "Marina Abramovic: Conferenza," Artel 65, June 1997.
Stefano Chiodi, “Marina Abramovic at Miscetti/Zerynthia, Rome,” Tema
Celeste , October 1997, 89.
Mario De Candia, “I Simbolismi Robusti della Abramovic,” La Repubblica, May 15, 1997.
Linda De Sanctis, "Un Corpo Oggetto d'Arte," la Repubblica,
May 21, 1997.
Mammì Di Alessandra, "Ho l'Arte in Corpo," L'Espresso,
May 22, 1997, 132.
Claudio Di Biagio, “Marina Abramovic: Performing Body,” Time Out Rome, June 1997.
Adrianna Di Genova, "Ballando Con Gli Scheletri," il Manifesto,
May 21, 1997, 26-27.
Elena Di Raddo, “Futuro Presente Passato 1967-1997,” Tema Celeste,
May/June 1997, 52.
“Endurance Test,” The New York Post, November 29 1997, 8.
“Extended Take on a 90s Buzz Word: De-Genderism at the Setagaya,”
Flash Art XXX , March/April 1997.
Franco Fanelli, “Biennale Back From the Brink: Germano Celant Brings
Venice Back Into This Summer’s Three-Ring Circus of Contemporary Art,” The Art Newspaper VIII, no. 71 June 1997, 26.
Jennifer Fisher, "Interperformance; The Live Tableaux of Suzanne Lacy,
Janine Antoni, and Marina Abramovic," Art Journal 57, no. 4, Winter 1997, 28-33.
Enrico Gallian, "Abramovic Ai Confini della Body Art," l'Unita Due,
May 23, 1997.
Grace Glueck, “Marina Abramovic: Boat Emptying Stream Entering,”
New York Times , February 7, 1997.
Christian Haye, “Marina Abramovic at Venice Biennale,” Frieze,
September/October 1997, 81.
Kevin Henderson and Alan Woods. "Marina Abramovic: Objects
Performance Video Sound," Transcript 3, 1997, 6-26.
Chrissie Iles, "Marina Abramovic Untitled," Grand Street-Crossing the
Line 63, 1997, 186-194.
Amelia Jones, "‘Presence’ in Absentia: Experiencing Performance as
Documentation," Art Journal 57, no. 4 Winter 1997, 11-18.
Susanna Legrenzi, "Memoria di una Guerra," Io Donna 26, June 1997, 187- 190.
Kim Levin, “Especially Recommended, Downtown: Marina Abramovic,” The Village Voice, November 4, 1997.
Kim Levin, “Marina Abramovic,” The Village Voice, November 18, 1997.
Kim Levin, "Venetian Bind: Blood Guts and the Cosmos at the Biennale,"
The Village Voice , July 15, 1997, 77.
Barbara A. MacAdam, “International Venice Biennale,” Art News,
Summer 1997, 145.
Tereasa Macri, "La Performance Come un Tableau-Vivant Che Include il
Pubblico," Il Manifesto, May 21, 1997, 27.
“Marina Abramovic: Performing Body,” Artel, 64, May 1997.
“Marina Abramovic: Performing Body,” Segno, 155, May/June, 1997.
Douglas F. Maxwell, “Marina Abramovic at Sean Kelly Gallery,” Review,
November 15 1997, 18.
Satoru Nagoya, "De-Genderism,” Flash Art, Summer 1997, 132-133.
"New Life For Art...and Ants," Tate, The Art Magazine, Winter 1997, 12.
Demetrio Paparoni, "Venice in the Age of Aquarius," Tema Celeste,
October 1997, 32.
“Performing Body: Marina Abramovic,” Romac’e, il Manuale Della
Settimana in Città , May 15-21 1997.
Francesca Pietracci, “Marina Abramovic: Performing Body: Studio Stefania Miscetti-Roma, Zerynthia-Paliano,” Next XIII, no. 39
Summer 1997.
“Project Space (1) Artists Select Series,” Artists Space Newsletter 3, no. 5
June/July 1997, 2-3.
Megan Ratner, “Marina Abramovic at Sean Kelly,” Art/Text 61, 1997 87.
Francesca Romana Morelli, "Roma: Abramovic da Buddah all'Hamburger,” Il Giornale Dell'Arte XV, no. 156, June 1997
Raphael Rubenstein, "Post Restante," Lacanian Ink 12, 1997, 70-85.
Martha Schwendener, “Marina Abramovic, Boat Emptying/Stream
Entering,” Time Out New York, January 23-30, 1997, 41.
Adrian Searle, "A Bone to Pick With the Biennale," The Guardian, June 17, 1997, 10-11.
Franklin Sirmans, "The Unbearable Lightness of Whiteness," Flash Art,
October 1997, 91-92.
P.C. Smith, “Racing Forms: A Gallery Tip Sheet, Marina Abramovic at Sean Kelly,” Artnet, April 18, 1997, <http://www.artnet.com/magazine/reviews/smith/abramovic.htm>.
Roberta Smith, “Galleries: SoHo, Marina Abramovic at Sean Kelly,” New York Times, November 28, 1997, E42.
Roberta Smith, "More Spacious and Gracious, Yet Still Funky at Heart,"
New York Times , October 31, 1997, 33-34.
Carolee Thea, "The Venice Biennale 47th International Art Exhibition,"
Sculpture 16, no. 9 , November 1997, 77-79.
Judd Tully, "Koons Ahoy," Art + Auction, February 1997.
Marcia E. Vetrocq, “The 1997 Venice Biennale: A Space Odyssey," Art in America, September 1997, 66.
Carol Vogel, "The High Priestess of P.S. 1," New York Times, October 26 1997, 40, 43.
Hans-Peter and Beatrix Ruf Von Daniken, “Marina Abramovic in Conversation,” New Moment 7, Spring 1997, 3-4.
Nicolaus Von Frank, "Marina Abramovic: Schon, Klug und Ohne
Kompromisse," Art, September 1997, 42-51.
“Working Proof," On Paper, January 1997, 39.
1996 Mark Dawes, "Spectacle of the Body," Circa, 26-29.
“Everything That’s Interesting is New,” Flash Art, February 1996, 42.
Harald Fricke, “Nowhere,” ArtForum, November 1996, 95, 127.
Eleanor Heartney, “Marina Abramovic at Sean Kelly,” Art in America,
March 1996, 98.
Janet Kutner, "Earth-Bound," Dallas Morning News, March 11, 1996, 19A.
Jonathan Napack, “Art Diary: Art to Pick a Bone Over; Gramercy Fair-in
Los Angeles,” New York Observer, December 25 - January 1, 1996, 34.
Valerie Reardon, "Side Tracks," Art Monthly, no. 197 June 1996, 41-44.
Martha Schwendener, “Marina Abramovic, Sean Kelly,” Time Out New
York , December 20-January 3, 1996, 27.
Richard Vine, "Report from Denmark, Part I: Louisana Techno-Rave,"
Art in America , October 1996, 41-47.
Gregory Volk, "Report From Istanbul: Between East and West," Art in
America, May 1996, 39-43.
Yvonne Volkart, “Warth (CH): Marina Abramovic, Kanton Thurgau,
Kunstmuseum Kartause Ittingen,” Flash Art, January/February 1996, 111.
Linda Yablonsky, “Art Review: Maura Sheehan, Joan Jonas, Marina
Abramovic, ‘Place,’ Cristinerose Gallery,” Time Out New York,
June 26 – July 3, 1996.
Linda Yablonsky, “‘La Toilette de Vénus,’ CRC Gallery.” Time Out New
York , September 18, 1996.
1995 Marina Abramovic, "The House Is My Body,” Galeries Magazine no. 62, Summer 1995, 72.
Robert Alstead, “Live, Galleries,” The Big Issue, July 21-August 3,1995.
Robin Baillie, "Spiritual Furniture," Art Preview, July 28-August 10, 1995.
Aline Brandauer, “Marina Abramovic: Double Blind," Sculpture, July-
August 1995, 23-27.
Aline Brandauer, “Santa Fe: Marina Abramovic at Laura Carpenter,”
Art in America , January, 1995.
Richard Carr, "In Performance at Fruitmarket," ArtWork 75, August-
September, 1995, 9.
Joshua Decter, "Mesa Vanguardism SoHo Alterations," Flash Art,
November 1995, 66-69.
John Dossett-Davies, “Marina Abramovic: MoMA,” The Oxford Times, April 21, 1995, 7.
Martin Gayford, "A Couple of Real Shockers," The Spectator, September 2, 1995, 35.
Gillian Harris, "The Exhibitionist Who Bleeds For Her Art," The Scotsman Magazine 14, August 1, 1995 14.
Paul Harris, "Slashed to Ribbons on the Cutting Edge of Culture,"
Spectrum , August 27, 1995, 12.
Clare Henry, "Who Takes It to the Limit," The Herald, August 2, 1995.
“High Jinks,” Edinburgh Evening News, July 21, 1995.
Ingrid Hoogervorst, "Aders, Ruggegraat, Hart," Elle Women, June-July 1995,
9-12.
Sally Kerr, "Victim Artist," The Scotsman, August 30, 1995, 7.
Tim Martin, "Marina Abramovic," Third Text, Winter, 1995, 85–92.
Thomas McEvilly, "Out There on the Edge," Interview, December 1995, 38.
Sarah Milroy, "Exhibition Explores Spectacles of Place," The Globe and
Mail , October 4, 1995.
Charles Dee Mitchell, "Report from Santa Fe: Introducing SITE Santa Fe," Art in America, October 1995, 45-47.
Geraldine Norman, "Chronicling the Bleakness of a Brutal Era," The
Independent , April 24, 1995.
“Opening Today,” The Scotsman Magazine 18, September 5, 1995.
"Protest Over Art Show Shocker," Edinburgh Evening News, August 2, 1995.
Alan Riding, "Video Artists Meet Today's Software," New York Times,
December 26, 1995, C20, C31.
“Sculpture To Make You Sit Up,” The Herald, July 21, 1995.
Roberta Smith, "Still a Credo for Artists; Do As You Please,” New
York Times , April 2, 1995, 42.
1994 Dean Balsamo, “Marina Abramovic at Laura Carpenter,” The
Santa Fe New Mexican , June 17, 1994.
“Esprit Contemporaneo,” Casa Vogue, May, 1994, 118-120.
Johan Pijnappel, “Marina Abramovic: Reflections on the Mental and
Physical Condition of the Artist: An Interview by Johan Pijnappel,” Art & Design 9, no. 9-10, 1994, 48-51.
1993 Marius Ba, “Marina Abramovic, Neue Nationalgalerie, Berlin,” Frieze 10, March-April 1993, 50.
"Lebensmitte Marina Abramovic in Einer Performancereihe in Berlin,"
Suddeutsche Zeitung, no. 72, March 27-28, 1993.
"Menetekel aus dem Computer," Hannoversche Allgemeine Zeitung, February 10 1993.
Michael Grus, "Zuviel Kraft: The Biography-Eine Performance von Marina Abramovic," Frankfurter Rundschau, March 20, 1993.
Karin Mecklenburg, "Ein Sensibler Kraftprotz," Architektur & Women,
April/May 1994, 68-74.
Katrin Bettina Müller, "Die Reise In Den Stein," Der Zitty, March 1993.
1989 Charles Green, "Escape," Women's Exercise Yard, October 17 – November 1, 1989, 10-11.
1986 Marina Abramovic and Ulay, "A Project For ArtForum By Ulay & Marina Abramovic: The Lovers," ArtForum, December 1986, 91.
1977 Georg F. Schwarzbauer, "Performance: 14 Interviews," Kunstforum
International, June 24, 1977, 55-56.