On the occasion of the publication of PARIS LA 17—CHANGE AGENTS (2021–2022): An intermittent, open-ended, alphabetical Reading List, expanding on the artists, works, and concepts raised in the print issue.

 

Alison Saar — Of Aether and Earthe. Edited by Rebecca McGrew and Irene Tsatsos. Claremont, CA: Benton Museum of Art at Pomona College, 2020.

Betye Saar — Uneasy Dancer. Edited by Elvira Dyangani Ose. Milan: Fondation Prada, 2016.

— Serious Moonlight. Edited by Stephanie Seidel. Miami: Institute of Contemporary Art; New York: DelMonico Books, 2022.

— Black Doll Blues. Texts by Rachel Federman and Katherine Jentleson. Interview by Maddy Inez Leeser. Culver City, CA: Roberts Projects, 2022.

Betye Saar, Lezley Saar, and Alison Saar — Family Legacies: The Art of Betye, Lezley, and Alison Saar. Edited by Jessica Dallow and Barbara Matilsky. Chapel Hill, NC: Ackland Art Museum; Seattle: University of Washington Press, 2005.

— “Ties That Bind: Betye Saar, Alison Saar, and Lezley Saar in Conversation with jill moniz.” PARIS LA 17 (2021–2022).

Sid Sachs and Kalliopi Minioudaki — Seductive Subversion: Women Pop Artists 1958–1968. Edited by Sachs and Minioudaki. Philadelphia: University of the Arts; New York: Abbeville Press, 2010.

Lin May Saeed — Arrival of the Animals. Williamstown, MA: Clark Art Institute, 2020.

Niki de Saint Phalle — At Last I Found the Treasure. Edited by Beate Kemfert. Texts by Gerard Forde, Rainer von Hessen, and Kemfert. Heidelberg: Kehrer, 2016.

— Structures for Life. Edited by Ruba Katrib. New York: Museum of Modern Art, 2021.

— Niki de Saint Phalle in the 1960s. By Jill Dawsey and Michelle White. Houston: Menil Collection; San Diego: Museum of Contemporary Art, 2021.

— “Niki de Saint Phalle.” Bloum Cardenas. Interview by Leah Singer. Apartamento 28 (Autumn-Winter 2021–2022).

— Belles! Belles! Belles!: Les femmes de Niki de Saint Phalle. Edited by Marianne Le Métayer and Catherine Francblin. Paris: Vallois, 2017, 2022.

Doris Salcedo — Doris Salcedo: Shibboleth. Edited by Achim Borchardt-Hume. London: Tate Publishing, 2007.

— Of What One Cannot Speak: Doris Salcedo’s Political Art. By Mieke Bal. Chicago: University of Chicago Press, 2010.

— Doris Salcedo. Edited by Julie Rodrigues Widholm and Madeleine Grynsztejn. Chicago: Museum of Contemporary Art; University of Chicago Press, 2015.

Charlotte Salomon — Life? Or Theatre? New York: Overlook Press, 2017.

Zilia Sánchez — Soy Isla. Edited by Vesela Sretenovic. Washington, DC: Phillips Collection; New Haven, CT: Yale University Press, 2019.

Jo Sandman — Traces. Asheville, NC: Black Mountain College Museum and Arts Center, 2022.

Fanny Sanín — The Concrete Language of Color and Structure. Seattle: Lucia/Marquand, 2019.

Larissa Sansour — Heirloom. Edited by Anthony Downey. Berlin: Sternberg Press, 2019.

Vivien Sansour — “Palatal Geographies.” In …And Other Such Stories. Edited by Yesomi Umolu, Sepake Angiama, and Paulo Tavares. Chicago: Chicago Architectural Biennial; New York: Columbia Books on Architecture and the City, 2019.

Janet Sarbanes — “An Independent Group?: Bernadette Corporation, Post-Pop Collective.” Afterall 14 (Autumn-Winter 2006).

Viviane Sassen — Venus and Mercury. Poems by Marjolijn van Heemstra. Text by Jerry Stafford. New York: Aperture, 2022.

Anne-Marie Sauzeau-Boetti — “Negative Capability as Practice in Women’s Art.” Studio International 191, no. 979 (January–February 1976).

Augusta Savage — Renaissance Woman. Edited by Jeffreen M. Hayes. Jacksonville, FL: Cummer Museum; Lewes, UK: Giles, 2018.

Jenny Saville — Jenny Saville. West Palm Beach, FL: Norton Museum of Art, 2012.

Miriam Schapiro — Miriam Schapiro: Shaping the Fragments of Art and Life. By Thalia Gouma-Peterson. Lakeland, FL: Polk Museum of Art; New York: Abrams, 1999.

Paul Schimmel and Jenni Sorkin — Revolution in the Making: Abstract Sculpture by Women, 1947–2016. Edited by Schimmel and Sorkin. Milan: Skira; Zürich: Hauser & Wirth, 2016.

Carolee Schneemann — Imaging Her Erotics: Essays, Interviews, Projects. Cambridge, MA: MIT Press, 2001.

— Correspondence Course: An Epistolary History of Carolee Schneemann and Her Circle. Edited by Kristine Stiles and Schneemann. Durham, NC: Duke University Press, 2010.

— Kinetic Painting. Edited by Sabine Breitwieser. Texts by Branden W. Joseph, Mignon Nixon, Ara Osterweil, Judith Rodenbeck, Breitwieser, and Schneemann. Salzburg: Museum der Moderne Salzburg; Munich: Prestel, 2017.

— Body Politics. Edited by Lotte Johnson and Chris Bayley. Texts by Jo Applin, Karen Di Franco, Jennifer Doyle, Elena Gorfinkel, Alison Green, Emily LaBarge, Thomas (T.) Jean Lax, Eileen Myles, Melissa Ragona, Amy Sillman and Kenneth White. New Haven, CT: Yale University Press, 2022.

— From Then and Beyond. Edited by Oliver Kielmayer and Lara Pan. Vienna: Verlag für moderne Kunst, 2022.

Mira Schor — Wet: On Painting, Feminism, and Art Culture. Durham, NC: Duke University Press, 1997.

June Schwarcz — Artist in Glass and Metal. By Bernard N. Jazzar and Harold B. Nelson. Los Angeles: Enamel Arts Foundation, 2019.

Eve Kosofsky Sedgwick — Tendencies. Durham, NC: Duke University Press, 1993.

— Fat Art, Thin Art. Durham, NC: Duke University Press, 1994.

— Touching Feeling: Affect, Pedagogy, and Performativity. Durham, NC: Duke University Press, 2003.

— Reading Sedgwick. Edited by Lauren Berlant. Durham, NC: Duke University Press, 2019.

Zineb Sedira — A Brief Moment. Paris: Jeu de Paume, 2019.

— Interview by Róisín Tapponi. Frieze 226 (April 2022).

Alejandra Seeber — Picture This. Berlin: Hatje Cantz, 2019.

See Red Women’s Workshop — Feminist Posters 1974–1990. London: Four Corners Books, 2017.

Emily Segal — Mercury Retrograde. New York and Los Angeles: Deluge Books, 2020.

Tschabalala Self — “Tschabalala Self in Conversation with Lydia Yee.” In Radical Figures: Painting in the New Millennium. Edited by Yee, Cameron Foote, and Candy Stobbs. London: Whitechapel Gallery, 2020.

Joan Semmel — Skin in the Game. Texts by Rachel Middleman, Jodi Throckmorton, and Amelia Jones. Philadelphia: Pennsylvania Academy of the Fine Arts, 2021.

Mindy Seu — Cyberfeminism Index. Edited and with text by Seu. Texts by Julianne Pierce and Legacy Russell. Los Angeles: Inventory Press, 2023.

Anna Sew Hoy — Suppose and a Pair of Jeans. Edited by Alex Klein and Mark Owens. Philadelphia: Oslo Editions, 2013.

Shirana Shahbazi — First Things First. Edited by Andreas Fiedler. Berlin: Sternberg Press, 2017.

Nizan Shaked — The Synthetic Proposition: Conceptualism and the Political Referent in Contemporary Art. Manchester: Manchester University Press, 2017.

Amrita Sher-Gil — A Self-Portrait in Letters and Writings. Edited by Vivan Sundaram. New Delhi: Tulika Books, 2010.

Amy Sherald — Amy Sherald. Texts by Lisa Melandri and Erin Christovale. St. Louis: Contemporary Art Museum, 2018.

— The World We Make. Texts by Jenni Sorkin and Kevin Quashie. Interview by Ta-Nehisi Coates. Zürich: Hauser & Wirth, 2022.

Cindy Sherman — Cindy Sherman 1975–1993. By Rosalind Krauss. New York: Rizzoli, 1993.

— Cindy Sherman. Edited by Eva Respini. New York: Museum of Modern Art, 2012.

Yoshiko Shimada — Art Activism 1992–98. Tokyo: Ota Fine Arts, 1998.

Alix Kates Shulman and Honor Moore — Women’s Liberation!: Feminist Writings That Inspired a Revolution and Still Can. Edited by Shulman and Moore. New York: Library of America, 2021.

Amy Sillman — The All-Over. Edited by Karen Kelly, Fabian Schöneich, and Barbara Schroeder. Texts by Yve-Alain Bois and Manuela Ammer. Interview by Schöneich. Milan: Mousse Publishing; Frankfurt: Portikus; Brooklyn: Dancing Foxes Press, 2017.

— Faux Pas: Selected Writings and Drawings. Edited by Charlotte Houette, François Lancien-Guilberteau, and Benjamin Thorel. Paris: After 8 Books, 2020.

Laurie Simmons — “Domestic Eccentricity.” Interview by Glenn O’Brien. Purple Fashion 20 (Fall-Winter, 2013–2014).

William J. Simmons — Queer Formalism: The Return. Berlin: Floating Opera Press, 2021.

Xaviera Simmons — “Xaviera Simmons.” By Liz Donato. In Among Others: Blackness at MoMA. By Darby English and Charlotte Barat. New York: Museum of Modern Art, 2019.

Taryn Simon — The Innocents. Expanded edition. New York: Museum of Modern Art, 2020.

Lorna Simpson — Lorna Simpson. Edited by Helaine Posner. New York: American Federation of Arts; Harry N. Abrams, 2006.

— Lorna Simpson. Texts by Thelma Golden, Kellie Jones, Chrissie Iles, and Naomi Beckwith. Revised and Expanded Edition. London: Phaidon, 2022.

Tamuna Sirbiladze — Tamuna Sirbiladze. Texts by Max Henry, Anna Kats, and Julie Ryan. Conversation with the artist and sonnets by Benedikt Ledebur. New York: David Zwirner Books, 2017.

Emilija Škarnulytė — Sirenomelia. Edited by Andrew Berardini. Berlin: Sternberg Press, 2021.

Henry F. Skerritt — Marking the Infinite: Contemporary Women Artists from Aboriginal Australia. Edited by Skerritt. Munich: DelMonico/Prestel, 2016.

Sylvia Sleigh — Sylvia Sleigh. Edited by Giovanni Carmine. Geneva: JRP Editions, 2023.

Penny Slinger — 50% The Visible Woman (1969, 1971). Interview by Linder. Los Angeles: Blum & Poe, 2021.

Alexis Smith — Alexis Smith. By Richard Armstrong. New York: Rizzoli, 1991.

— The American Way. Edited by Anthony Graham. Texts by Cecile Whiting, Elliott Hundley, and Graham. New York: Scala, 2022.

Anj Smith — Paintings. London: Mack; Zürich: Hauser & Wirth, 2013.

Barbara T. Smith — The 21st Century Odyssey Part II: The Performances of Barbara T. Smith. Edited by Rebecca McGrew and Jennie Klein. Claremont, CA: Pomona College Museum of Art, 2005.

— The Way to Be: A Memoir. Los Angeles: Getty Research Instutute, 2023.

Cauleen Smith — Give It or Leave It. Philadelphia: Institute of Contemporary Art, University of Pennsylvania, 2019.

Cauleen Smith and Amber Esseiva — In Conversation. Edited by Laura Preston. Cambridge, MA: Carpenter Center for the Visual Arts, Harvard University, 2020.

Emily Mae Smith — Emily Mae Smith. Texts by Suzanne Hudson, Gabriela Rangel, and Jenni Sorkin. New York: Petzel Gallery, 2022.

Kiki Smith — Kiki Smith. Edited by Stéphanie Molinard and Marie Chênel. Paris: Monnaie de Paris; Milan: Silvana Editoriale, 2020.

— Hearing You with My Eyes. Edited by Laurence Schmidlin. Zürich: Scheidegger & Spiess, 2021.

Ming Smith — An Aperture Monograph. New York: Aperture; Dallas: Documentary Arts, 2020.

— Invisible Man, Somewhere, Everywhere. Text by Oluremi C. Onabanjo. New York: Museum of Modern Art, 2023.

Sable Elyse Smith — And Blue in a Decade Where it Finally Means Sky. Texts by Nana Kwame Adjei-Brenyah, Horace Ballard, Johanna Burton, and Christina Sharpe. New York: JTT; Los Angeles: Regen Projects, 2022.

Shinique Smith — Wonder and Rainbows. Nashville: Frist Art Museum, 2016.

Sidonie Smith and Julia Watson — Interfaces: Women, Autobiography, Image, Performance. Edited by Smith and Watson. Ann Arbor: University of Michigan Press, 2002.

Zadie Smith — “A Bird of Few Words: Narrative Mysteries in the Paintings of Lynette Yiadom-Boakye.” In Feel Free: Essays. New York: Penguin Press, 2018.

— “Kara Walker: What Do We Want History to Do to Us?” In Hyundai Commission: Kara Walker—Fons Americanus. Edited by Clara Kim. London: Tate Modern, 2019.

— “The Muse at Her Easel” (Celia Paul). New York Review of Books, November 21, 2019.

— “Who Is to Be Master?” (Toyin Ojih Odutola). The New Yorker, August 17, 2020.

James A. Snead — “Repetition as a Figure of Black Culture” (1984). In Out There: Marginalization and Contemporary Cultures. Edited by Russell Ferguson, Martha Gever, Trinh T. Minh-ha, and Cornel West. New York: New Museum; Cambridge, MA: MIT Press, 1990.

Rebecca Solnit — As Eve Said to the Serpent: On Landscape, Gender, and Art. Athens: University of Georgia Press, 2001.

Barbara Stauffacher Solomon — Making the Invisible Visible. San Francisco: Owl Cave Books and Calvin Rocchio, 2018.

Abigail Solomon-Godeau — Photography After Photography: Gender, Genre, History. Edited by Sarah Parsons. Durham, NC: Duke University Press, 2017.

Jenni Sorkin — Live Form: Women, Ceramics, and Community. Chicago: University of Chicago Press, 2016.

Nancy Spero — Works Since 1950. Edited by Dominique Nahas. Syracuse, NY: Everson Museum of Art, 1987.

— Nancy Spero. Texts by Jon Bird, Jo Anna Isaak, and Sylvère Lotringer. London: Phaidon, 1995.

— Torture of Women. Edited by Lisa Pearson. Catskill, NY: Siglio, 2010.

— “Spero’s Other Traditions” (1996). By Benjamin H. D. Buchloh. In Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955–1975. Cambridge, MA: MIT Press, 2000.

Gayatri Chakravorty Spivak — In Other Worlds: Essays in Cultural Politics. New York: Methuen, 1987.

— The Spivak Reader. Edited by Donna Landry and Gerald MacLean. New York: Routledge, 1996.

Frances Stark — Uh-Oh: Frances Stark 1991–2015. Edited by Stark and Ali Subotnick. Los Angeles: Hammer Museum: New York: DelMonico / Prestel, 2015.

Frances Stark and A.L. Steiner — “And Then There Were None.” Interview by Dorothée Perret. PARIS LA 14 (Winter 2016).

A.L. Steiner — Puppies and Babies. Text by Maggie Nelson. Los Angeles: Otherwild, 2013.

— “Lanka Tattersall in Conversation with A.L. Steiner on Nan Goldin.” In Real Worlds: Brassaï, Arbus, Goldin. Los Angeles: Museum of Contemporary Art, 2018.

— “Nothing’s Not Okay: Nicole Eisenman, A.L. Steiner, Sarah Nicole Prickett, and Matt Wolf in Conversation.” PARIS LA 17 (2021–2022).

Daniela Steinfeld and Monica Bonvicini — Conversation. In Time for Outrage!: Art in Times of Social Anger. Edited by Linda Peitz and Florian Peters-Messer. Berlin: Distanz, 2020.

Hedda Sterne — Uninterrupted Flux: Hedda Sterne, a Retrospective. Edited by Sarah L. Eckhardt. Champaign, IL: Krannert Art Museum, 2006.

Florine Stettheimer — Painting Poetry. New York: The Jewish Museum; New Haven, CT: Yale University Press, 2017.

May Stevens — May Stevens: Images of Women Near and Far. Boston: Museum of Fine Arts; New York: Mary Ryan Gallery, 1999.

Hito Steyerl — Beyond Representation: Essays 1999–2009. Edited by Marius Babias. Cologne: Walther König, 2017.

— Duty Free Art: Art in the Age of Planetary Civil War. London: Verso, 2019.

Jessica Stockholder — Stuff Matters. Edited by Laurie Cluitmans. Milan: Mousse Publishing, 2019.

Maya Stovall — Liquor Store Theatre. Durham, NC: Duke University Press, 2020.

Michelle Stuart — Sculptural Objects: Journeys In and Out of the Studio. Milan: Charta, 2011.

Sturtevant — Under the Sign of [sic]: Sturtevant’s Volte-Face. By Bruce Hainley. Los Angeles: Semiotext(e), 2013.

Iiu Susiraja — “Openings: Iiu Susiraja. By Alex Jovanovich. Artforum 6, vol. 60 (February 2022).

Batia Suter — Cloud Service. Amsterdam: Roma Publications; New York: Printed Matter, 2019.

Vivian Suter — Vivian Suter. Berlin: Hatje Cantz, 2019.

Gio Swaby — Gio Swaby. Texts by Nikole Hannah-Jones, Katherine Pill, Melinda Watt, and Swaby. New York: Rizzoli Electa, 2022.

Martine Syms — Shame Space. Brooklyn: Primary Information, 2020.

Alina Szapocznikow — To Exalt the Ephemeral: Alina Szapocznikow, 1962–1972. Texts by Margot Norton and Pavel S. Pyś. Zürich: Hauser & Wirth, 2019.

Sarah Sze — Sarah Sze. New York: Phaidon, 2016.

— Timekeeper. Texts by Christopher Bedford, Hal Foster, Katy Siegel, Renata Salecl, and Hito Steyerl. New York: Gregory R. Miller, 2018.

— Centrifuge. Edited by Okwui Enwezor. Texts by Damian Lentini, Julie Mehretu, and Zadie Smith. Cologne: Walther König, 2018.

— De nuit en jour. Texts by Bruno Latour and Leanne Sacramone. Interview by Jean Nouvel. Paris: Fondation Cartier, 2021.

— Fallen Sky. Edited and with text by Nora R. Lawrence. Texts by Susan Choi, Angie Cruz, Jennifer Egan, Jarrett Earnest, James Hannaham, Marie Howe, and Katie Kitamura. Interview by Katharina Grosse. New York: DelMonico; New Windsor, NY: Storm King Art Center, 2022.

— Timelapse. Edited and with text by Kyung An. Texts by Hilton Als and Molly Nesbit. New York: Solomon R. Guggenheim Museum, 2023

 

 

From top: Cauleen Smith, Give It or Leave It, installation view, September 14–December 23, 2018, Institute of Contemporary Art, University of Pennsylvania, photograph by Constance Mensh for the Institute of Contemporary Art, © Cauleen Smith, courtesy of the artist and ICA; Frances Stark, Black Flag (detail), oil on canvas, four panels, © Frances Stark, courtesy of the artist and Gavin Brown’s enterprise, New York and Rome.