DoPe Press

CHANGE AGENTS READING LIST — T – Paris-LA
Back

CHANGE AGENTS READING LIST — T

444

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.

 

Sophie Taeuber-Arp — Living Abstraction. Edited by Anne Umland, Walburga Krupp, and Charlotte Healy. New York: Museum of Modern Art, 2021.

Atsuko Tanaka — Electrifying Art: Atsuko Tanaka, 1954–1968. By Mizuho Kato and Ming Tiampo. Vancouver: Morris and Helen Belkin Art Gallery; New York: Gray Art Gallery, 2004.

Dorothea Tanning — Between Lives: An Artist and Her World. New York: W. W. Norton, 2001.

Tarsila Do Amaral — Cannibalizing Modernism. Edited by Adriano Pedrosa and Fernando Oliva. São Paulo: Museu de Arte de São Paulo, 2019.

Alma W. Thomas — Alma Thomas. Edited by Ian Berry and Lauren Haynes. Berlin: Prestel, 2016.

— Everything Is Beautiful. By Seth Feman and Jonathan Frederick Walz. New Haven, CT: Yale University Press, 2021.

Mickalene Thomas — I Can’t See You Without Me. Columbus, OH: Wexner Center for the Arts, 2018.

— Femmes Noires. Edited by Andrea Andersson and Julie Crooks. New Orleans: Contemporary Arts Center; Toronto: Art Gallery of Ontario; Fredericton, NB: Goose Lane Editions, 2019.

— Mickalene Thomas. Texts by Roxane Gay and Kellie Jones. London: Phaidon, 2022.

Denyse Thomasos — Odyssey. Edited by Gaëtane Verna and Sarah Milroy. Text by Esi Edugyan. Kleinburg, ON: McMichael Canadian Art Collection, 2021.

Sue Thornham — Feminist Film Theory: A Reader. Edited by Thornham. New York: New York University Press, 1999.

Leslie Thornton — Leslie Thornton. Edited by Natalie Bell, Dan Kidner, and Milan Ther. Texts by Erika Balsom, Rosalyn Deutsche, Chrissie Iles, Chris Kraus, et al. Cambridge, MA: MIT List Visual Arts Center; Nuremburg: Kunstverein Nürnberg–Albrecht Dürer Gesellschaft; Berlin: Sternberg Press, 2022.

Lynne Tillman — What Would Lynne Tillman Do? Brooklyn: Red Lemonade Press, 2014.

The Complete Madame Realism and Other Stories. South Pasadena, CA: Semiotext(e), 2016.

Mothercare: On Obligation, Love, Death, and Ambivalence. New York: Soft Skull, 2022.

Tyra Tingleff — Of Course I’m Not Sorry. Milan: Mousse, 2022.

Nadya Tolokonnikova — Read and Riot: A Pussy Riot Guide to Activism. New York: Harper One, 2018.

Celeida Tostes — Escultura. Text by Lélia Coelho Frota. Rio de Janeiro: Galeria César Ache, 1987.

Trinh T. Minh-Ha Woman Native Other. Bloomington: Indiana University Press, 1989.

— When the Moon Waxes Red: Representation, Gender, and Cultural Politics. New York: Routledge, 1991.

— Lovecidal: Walking with the Disappeared. New York: Fordham University Press, 2016.

Rosemarie Trockel The Same Different. Edited by Iris Müller-Westermann. Cologne: Walther König, 2019.

— Schizogenesis: The Art of Rosemarie Trockel. By Katherine Guinness. Minneapolis: University of Minnesota Press, 2019.

Tatiana Trouvé — Tatiana Trouvé. Texts by Catherine Millet, Robert Storr, and Trouvé. Cologne: Walther König, 2008.

— Il grande ritratto. Edited by Peter Pakesch. Cologne: Walther König, 2010.

— Tatiana Trouvé. Texts by Thierry Davila and Françoise Ninghetto. Geneva: MAMCO, 2022.

Anne Truitt — Daybook: The Journal of an Artist. New York: Pantheon, 1982.

— Threshold. Text by Anne M. Wagner. New York: Matthew Marks, 2013.

— Yield: The Journal of an Artist. Texts by Alexandra Truitt and Rachel Kushner. New Haven, CT: Yale University Press, 2022.

Wu Tsang — Not in My Language. Cologne: Walther König, 2015.

Marcia Tucker — Out of Bounds: The Collected Writings of Marcia Tucker. Edited by Lisa Phillips, Johanna Burton, and Alicia Ritson, with Kate Wiener. Los Angeles: Getty Research Institute; New York: New Museum, 2019.

Anne Turyn — Top Stories. Berlin: Weiss Berlin, 2019.

 

 

From top: Alma Thomas, Untitled, circa 1974, acrylic and watercolor on paper, © estate of Alma Thomas, courtesy Michael Rosenfeld Gallery; Lynne TillmanThe Complete Madame Realism and Other Stories, cover design by Hedi El Kholti, image courtesy and © Semiotext(e).