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 — 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).

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).

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. Salzburg: Museum der Moderne Salzburg; Munich: Prestel, 2017.

— Body Politics. Edited by Lotte Johnson and Chris Bayley. New Haven, CT: Yale University Press, 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 — 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.

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.

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

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

Cindy Sherman — Cindy Sherman 1975–1993. Text 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 — 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.

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

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.

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.

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.

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

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

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.

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.

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.

 

 

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/Rome;