1

Samuel Beckett and/in Contemporary Art since the 1960s

Carla Taban

Summary

Samuel Beckett (1906-1989) is one of the leading figures of 20th century culture whose oeuvre

spans several languages (mainly English and French but also German, Italian and Spanish), literary

genres (poetry, prose fiction, novel, drama, criticism and translation), media (literature, theatre,

radio, TV and film) and cultures (mainly but not only European). Beckett’s oeuvre enjoys a

remarkable global reception across artistic, scholarly an intellectual fields. The research project of a

monograph, exhibition and Internet website-cum-portal on 'Samuel Beckett and/in Contemporary

Art since the 1960s' aims at the systematic and comprehensive mapping of Beckett's pervasive

presence in contemporary art practices and discourses in the last half century, throughout the world.

The project's ultimate goal is to propose a paradigmatic model for understanding and studying

cultural transmission phenomena across artistic-literary fields in the late 20th-early 21st centuries.

The project proceeds empirically by collecting (ideally) all available data regarding Beckett-

conditioned contemporary artworks and discourses; by describing the data; by assessing and

organizing it; and by eventually proposing, on its basis, a theoretical model. However, due to the

sheer volume and dispersion of data, the stage of theoretical formulation will very likely not be

reached before a three- to four-year the time-span. Yet the activities of data collection, description,

assessment and organization will be informed by a consistent methodological reflection on best

available tools and practices. In this way, the project can already function as a methodological

model, before becoming a theoretical one.

A further significant outcome of this empirically-oriented stage of the project is that Beckett-related

contemporary artworks that are not yet documented will actually be recorded and made available.

Many contemporary art practices rest on processual rather than objectual conceptions of art, being

oftentimes ephemeral and not leaving behind either an artifact or proper documentation. Yet their

significance for further artistic and cultural developments can be major. The present project

improves contemporary art-historical documentation, in its specifically circumscribed area, for a

range of potential uses: in-depth academic research, research conducted by arts professionals,

teaching at various levels in/across different disciplines, consultation by the general public,

exchanges and collaboration between the above.

Beckett's multidimensional oeuvre and its 'legacy' to contemporary art has been chosen as a case

study that can potentially generate both methodological and theoretical research models because of

its extreme complexity. There is no other creative figure in the 20th century whose 'outside legacy'

to the arts is as continuous, extensive and varied as Beckett's. Besides artistic practices, Beckett's

oeuvre also impacts the discourses of artists, art historians, theorists, critics and curators in ways

that need to be specified as well. These discourses draw on Beckett references not only to discuss

Beckett-related artworks, but also to interpret -- by analogy with oftentimes different and even

conflicting understandings of Beckett's oeuvre -- further art works, practices, curatorial projects

and/or art 'movements'. If a model can be devised to systematize our grasp of processes of

signification, cultural transmission and appropriation in the case of 'Samuel Beckett and/in

Contemporary Art since the 1960s', one can quite confidently conjecture that this model is likely to

apply, with minor revisions, to other less complex cases.

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Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

Detailed Description

Samuel Beckett (1906-1989) is one of the leading figures of 20th

century culture whose oeuvre

spans several languages (mainly English and French but also German, Italian and Spanish), literary

genres (poetry, prose fiction, novel, drama, criticism and translation), media (literature, theatre,

radio, TV and film) and cultures (mainly but not only European). Configurative relationships

fundamentally connect these constitutive dimensions of Beckett’s corpus in a complex multimodal

network the nature and workings of which scholars are still endeavouring to comprehend in their

full specificity, by using a variety of theoretical, methodological and (inter-)disciplinary

approaches. Originally drawing on and transforming centuries of accumulated knowledge in the

arts, humanities and even sciences, Beckett’s oeuvre enjoys a remarkable global reception across

artistic, scholarly an intellectual fields, which is matched only by few other literary figures (e.g.

Dante, Shakespeare, Joyce).

One field in which Beckett’s ‘legacy’ is particularly pervasive is contemporary art. (Other fields are

contemporary literature, performing and dramatic arts, and music). The research project of a

monograph, exhibition and Internet website-cum-portal on ‘Samuel Beckett and/in Contemporary

Art since the 1960s’ aims at the systematic and comprehensive mapping of Beckett’s widespread

presence in contemporary art practices and discourses in the last half century, throughout the world.

The project’s ultimate goal is to propose a paradigmatic model for understanding and studying

cultural transmission phenomena across artistic-literary fields in the late 20th

-early 21st centuries.

Scholars deal with the topic of Beckett and/in art in mainly two ways. On the one hand, they discuss

Beckett’s direct involvement with art during his lifetime as evidenced by: i) His art historical,

critical and/or theoretical writings on contemporaneous artists, mainly the Dutch painter brothers

Abraham and Gerardus Van Velde, but also on French painters André Masson and Pierre Tal-Coat

(Beckett 1983); ii) His tributes to artist friends, again Bram and Geer Van Velde, but also Irish

painter-graphic designer Jack B. Yeats, French-Israeli painter-draughtsman-printmaker Avigdor

Arikha and French painter Henry Hayden (Beckett 1983); iii) His oftentimes unsigned, and hence

unattributed, translations (or translation proofs) into English of essays on art by critics, historians,

philosophers, writers and artists, such as Georges Duthuit, André Breton, Jean Wahl, Bram Van

Velde and others, most of which were published in the Parisian magazine transition (Ackerley and

Gontarski; Duthuit 1950 and 1952; Labrusse); iv) Beckett’s granting permission for the creation of

numerous artists’ books comprising his texts, to artists such as: Avigdor Arikha, Hans Martin

Erhardt, Max Ernst, Sorel Etrog, William Stanley Hayter, Dellas Henke, Jasper Johns, Charles

Klabunde, Louis Le Brocquy, Robert Ryman, etc. (Beckett 1958; 1965; 1967, 1968a; 1968b; 1970,

1971; 1972; 1973; 1974; 1976a; 1976b; 1979; 1983; 1984; 1989a; 1989b; 1991; 1998); v) Overt

and covert art references in Beckett’s creative corpus, across genres and media (Albright; Bignell;

Del Degan; Hartel; Herren; Knowlson 1996 and 2003; Lommel; McMillan; Mercier; Milz;

Oppenheim 1999 and 2000; Taban); vi) Travel notebooks and letters giving evidence of young

Beckett’s countless visits to art galleries, museums and private collections throughout Europe

(Beckett 2009 and 2011; Lutz, Veit and Wichner; Nixon; Quadflieg; Tophoven); and finally vii)

Archival material such as Beckett’s manuscripts, reading and production notebooks that facilitate

the reconstruction of art allusions in his oeuvre (Beckett 1992, 1993, 1999b; Beckett 1999a).

On the other hand, Beckett’s ‘minimalist’ aesthetics is highlighted – especially due to Beckett’s

participation in the “Minimalism” issue of the Aspen magazine edited by Brian O’Doherty in 1967

(Beckett 1967) – and it is related to the American ‘Minimalist’ movement of the 1960s and its

different, even conflicting, interpretations (Bell; Brater; Oppenheim 2000).

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Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

Beside Beckett scholars, art historians, theorists and critics have also tackled on occasion the

relationships between Beckett and contemporary art, by discussing not so much Beckett’s own

‘minimalism’, but his significance for ‘Minimalist’ artists. Exemplary in this respect are Rosalind

Krauss’s writings on Sol LeWitt and Robert Morris that draw on extensive analogies with Beckett’s

novels Molloy and Watt respectively. Along or beyond the import of Beckett for ‘Minimalist’

artists, Bruce Nauman and the impact of Beckett’s oeuvre on his artistic practice have also been

quite often studied (van Bruggen; Chiong; Delaporte; Folie and Glasmeier; Lerm Hayes 2003;

Schaffner; Tubridy 2007; van Tuyl), as has been the relevance of Beckett for Canadian filmmaker

and photographer Stan Douglas, who organized the very first comprehensive exhibition of Beckett’s

visual (TV and Film) work at the Vancouver Art Gallery in 1988 (Bal; Douglas; Inboden; Watson),

which circulated internationally. Art historians and/or literary scholars have highlighted further

connections between Beckett and artists as different as Jasper Johns (Krauss 1976), William

Kentridge (Krauss 2000), Steve McQueen (Carville), Doris Salcedo (Tubridy 2010) and Robert

Smithson (Israel; Katz). Moreover, a number of contemporary artists have themselves discursively

acknowledged – in their writings, statements, interviews, etc. – the relevance of Beckett’s work for

them (Douglas and Enright; Douglas and Thater; Graham and Gerdes; Holt, Lippard and Smithson;

LeWitt; LeWitt and Wilson; Morris; Nauman; Smithson), although they haven’t always explicitly

clarified how exactly this interest is to be related to either particular artworks or to specific

problematics informing their overall practice.

Recent research undertaken in the last ten to fifteen years – in which scholars have started to cross

the boundaries between different disciplines such as literary, theatre, film, media, visual, visual

culture and cultural studies as well as art history – has listed in addition the following contemporary

artists as having responded, at one time or another, to Beckett in their works: Gerard Byrne, Duncan

Campbell, Janet Cardiff, Paul Chan, James Coleman, Atom Egoyan, Valie Export, Douglas Gordon,

Dan Graham, Rodney Graham, Eva Hesse, Nathaneal Mellors, Juan Munoz, Tony Oursler, Richard

Serra and Ugo Rondinone (Carville; Folie and Glasmeier; Knowlson 2003). The value of such a list,

to which many more names can and should in fact be added (see List of References), is to begin to

show the full range and variety of artistic responses to Beckett since the 1960s. What made it

possible to draw up this list is the interdisciplinary border-crossing that has led to the recognition of

the fact that Beckett’s ‘legacy’ to contemporary art is much more complex and diverse than an

evaluation in terms of ‘Minimalism’ allows one to asses. Nonetheless, such interactions between

disciplines are still an incipient and local/individual effort that the present project aims at

developing and coordinating, so that the issue of Beckett’s pervasiveness in contemporary art can

be dealt with in a comprehensive and systematic fashion. While the above list is a valuable starting

point for research, in depth study requires, in parallel with further data collection, that the

connections between Beckett and artists creatively drawing on his work be not simply itemized, but

specified, supported and documented.

The project ‘Samuel Beckett and/in Contemporary Art since the 1960s’ aims in its first phase at

precisely such further data collection, specification and documentation. A considerable challenge to

this task is the programmatic objectlessness of many contemporary art practices. Simply put, the

challenge consists in the improbability of directly experiencing ephemeral Beckett-related artworks

(due to geographical, temporal, informational, etc. constraints) and, correlatively, in the scarcity,

unreliability and/or inaccessibility of their documentation. This circumstance is partly responsible

for the common impression that Beckett’s presence in contemporary art practices is less substantial

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Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

than it actually is. In fact there isn’t a major art ‘movement’ since the second half of the 20th

century

– from ‘Abstract Expressionism’ to ‘Conceptual Art’ passing through ‘Fluxus’, ‘Minimalism’, ‘Pop

Art’, ‘Art & Language/Text’, ‘Video and Performance Art’, ‘Earthworks’/‘Land Art’, ‘Mail Art’,

etc. – that doesn’t include at least one key representative working at one moment or another in

response to Beckett. Among the quoted ‘movements’, more than half rest on processual rather than

objectual conceptions of art, rejecting the validity of creative endeavors whose main or sole aim is

the production of art objects (Lippard). Similar notions of art-as-process, art-as-activity or art-as-

intervention also ground the praxis of a number of distinguished and ‘independent’ (i.e. difficultly

assignable to a ‘movement’) contemporary artist figures that have produced Beckett-related works.

Yet, in the absence of an ‘object’ of study proper, in this particular case art ‘objects’ with a

‘Beckettian’ dimension, the researcher’s task is considerably impeded.

A further challenge to the project is the fact that Beckett’s impact spans both artistic practices and

art critical-theoretical-historical discourses. Sometimes it seems that art discoursers establish

connections between artists’ works and Beckett’s oeuvre without the artists or artworks themselves

necessarily or explicitly supporting these associations. Conversely, artists may draw not (only) on

Beckett’s work directly, but (also) on its previous appropriative and transformative uses in both art

practices and discourses. The intricacy of exchanges between and mutual conditionings of artistic

practices and discourses becomes fully visible in the case of ‘Samuel Beckett and/in Contemporary

Art since the 1960s’. The project can thus function as a paradigm, i.e. a model with larger

implications for the understanding of cultural transmission across literary-artistic fields.

Given the complex and as yet unmapped state of affairs described above, the project proceeds

empirically by collecting (ideally) all available data regarding Beckett-conditioned contemporary

artworks and discourses; by describing the data; by organizing and assessing it; and by eventually

proposing, on its basis, a theoretical model. However, due to the sheer volume and dispersion of

data, the stage of theoretical modeling will very likely not be reached before a three- to four-year

time-span. Yet the activities of data collection, description, organization and assessment will be

informed by a consistent methodological reflection on best available tools and practices. In this

way, the project can already function as a methodological model, before becoming a theoretical

one.

Data collection will proceed (for it has already started) with a thorough research of abstract,

bibliographical, index, database and – public and private – archival resources on all available

supports, i.e. paper, audio-visual and electronic formats (see List of References). Art

museums/galleries’ and periodic art exhibitions’ online collections and/or archives will also be fully

searched, as will be art practitioners’ official websites. This step will be followed by the

corroboration of findings via original document consultation on original support, on-site archival

and collection research, and art practitioners’ interviewing, both in Canada and abroad. Major

Canadian locations include Edmonton, Montréal, Ottawa, Toronto and Vancouver and their

respective relevant public and private art galleries, institutions, studios, etc. Major foreign locations

include public and private contemporary art museums, galleries, institutes, organisations, studios,

etc. in the USA (New York: e.g. MOMA, Guggenheim, Whitney; Los Angeles: e.g. Getty) and

several European countries: France (e.g. Metz, Paris), Germany (e.g. Berlin, Cologne, Kassel), Italy

(e.g. Milan, Rome, Venice) and the UK (e.g. Glasgow, London). Ideally Australian, Asian and

South-American on-site verification research ought to be conducted as well. The team and

personnel of the project need not be the only ones to carry out on-site research and thus travel to all

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Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

these locations. Local volunteers with the project can become responsible for data validation.

Moreover, art practitioners’ interviewing can also take place via CIT. The next step of the project

consists in developing, on the basis of a substantial amount of data, criteria to organise, describe

and assess it (see infra), and in actually carrying out all these activities.

A further significant outcome of this empirically-oriented stage of the project is that Beckett-related

contemporary artworks that are not yet documented will actually be recorded and made available.

Artworks that are ephemeral and do not leave behind either an artefact or proper documentation,

may nonetheless be significant to further artistic and cultural developments. The ‘Samuel Beckett

and/in Contemporary Art since the 1960s’ project improves contemporary art-historical

documentation and access to it, in its specifically circumscribed area, for a range of potential uses:

in-depth academic research, research conducted by arts professionals, teaching at various levels

in/across different disciplines, consultation by the general public, exchanges and collaboration

between some or all of the above interested parties.

Previous attempts to assess the connections between Beckett and contemporary art have been

carried out not only by scholars from different fields, but also by curators. A few exhibitions that

have been organised since 2000 dealt exclusively with the topic of ‘Beckett and/in (Contemporary)

Art’. While Samuel Beckett: A Passion for Paintings curated by Fionnuala Croke at the National

Gallery of Ireland, Dublin, Ireland in 2006, on the occasion of Beckett’s centenary, showed

artworks (mainly paintings) that Beckett owned, saw and/or alluded to in his various works,

alongside artists’ books comprising his texts as well as Beckett archival material related to art

(Croke), the following shows focused mainly or solely on contemporary artists’ creative responses

to Beckett (although some of them also included artists’ books and/or archival material), sometimes

even commissioning new artworks: Samuel Beckett, Bruce Nauman, curated by Christine Hoffmann

and Michael Glasmeier with the collaboration of Gaby Hartel at the Kunsthalle Wien, Vienna,

Austria in 2000 (Folie and Glasmeier); not i, curated by Pieter Hensen at the Ormeau Baths Gallery,

Belfast and Context Gallery, Derry, Northern Ireland, UK also in 2000 (Lerm Hayes 2000);

daprèsledépeupleur/afterthelostones, curated by Michèle Thériault at the UQAM Gallery,

Montreal, Quebec, Canada in 2002 (Thériault); 18: Beckett, curated by Séamus Kealy at the

Blackwood Gallery, Mississauga, Ontario, Canada in 2006 (Kealy); I not I: Samuel Beckett, Philip

Guston, Bruce Nauman, curated by Patrick T. Murphy at the Royal Hibernian Academy, Dublin,

Ireland in 2006 (Anon); and most recently Samuel Beckett curated by Marianne Alphant and

Nathalie Léger at the Centre Georges Pompidou, Paris, France in 2007 (Alphant and Léger).

Another kind of exhibition that deals exclusively with Beckett’s reception by contemporary artists

is that of artists’ books comprising his texts. While Foirades/Fizzles: Echo and Allusion in the Art

of Jasper Johns, curated by James Cuno at the Grunwald Center for the Graphic Arts, Wight Art

Gallery, UCLA, USA in 1987 is the most comprehensive exhibition to date to display the various

stages of the making of an artist book comprising Beckett texts (Cuno), Word and Image: Samuel

Beckett and the Visual Text/ Mot et image: Samuel Beckett et le texte visuel, curated by Breon

Mitchell and Lois More Overbeck at the Robert W. Woodruff Library, Emory University,

Atlanta/GA, USA in 1999 exhibited the so far largest selection of artists’ books created on the basis

of Beckett works (Mitchell and Overbeck).

Besides exhibitions that focus, one way or another, solely on Beckett and art, a wealth of

international exhibitions, biennials, art festivals, etc. which have been organized in the past ten to

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Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

fifteen years, either included Beckett as a participating artist, especially with his TV work and Film,

or were placed under his conceptual patronage that favoured specific interpretations of his oeuvre

and/or creative processes. The two best known examples of the first category are: documenta X,

curated by Catherine David in Kassel, Germany in 1997, which screened as an artwork Beckett’s

Quadrat I & II, a TV piece that Beckett himself directed at the Süddeutscher Rundfunk in Stuttgart,

Germany in 1982 (Glasmeier 2000); and Always a Little Further, curated by Rosa Martínez at the

51st Venice Biennial, Italy in 2005, in which Beckett was both referred to in the curatorial statement

and present as an exhibitor with his shortest dramaticule Breath adapted by Greek artist Nikos

Navridis in the form of a video installation (Martínez; Grammatikopoulou). Using as their titles

quotes from Beckett, Total Object Complete with Missing Parts, curated by Andrew Renton at the

Tramway, Glasgow, UK in 2001 and Try Again, Fail Again, Fail Better, curated by Anette Kierulf

and Mark Sladen at the 4th

Nordic Biennial Momentum, Moss, Norway in 2006 best illustrate the

second category.

While quite abundant, these various types of curatorial projects offer, just like the scholarly

attempts discussed above, only partial and most of the time speculative glimpses into the complex

issue of ‘Samuel Beckett and/in Contemporary Art since the 1960s’. Although our project will

undoubtedly benefit from these various efforts to assess Beckett’s ‘legacy’ to contemporary art, it

requires at the same time that these efforts be systematised and supplemented, especially as regards

the different historical-chronological stages of artistic responses to Beckett and their conceptual,

thematic, problematic, medium-related and contextual dimensions.

Previous scholarly and curatorial contributions have, as a rule, endeavoured to circumscribe the

relationships between Beckett’s work, on the one hand, and a given contemporary artwork, artist’s

practice or art ‘movement’, on the other, by selecting and highlighting a limited number of

structural, thematic and/or media-related ‘Beckettian’ features. This selective approach made it

possible for Beckett’s work to be considered relevant for competing understandings of the same

object of inquiry. A case in point is the ‘Minimalist movement’. Both the serialist-structuralist-

rationalist interpretation of ‘Minimalism’ and its rival phenomenological-intuitionist interpretation

argue their respective position (also) by resorting to Beckett’s relevance for ‘Minimalist’ artists and

focusing only on aspects of his work that support this rather than that point of view. The same

situation holds for other divergent interactions in contemporary art, e.g. between ‘movements’ such

as ‘Abstract Expressionism’ and ‘Conceptual Art’ or between approaches such as medium-

specificity and inter-/post-mediality, with Beckett being invoked and/or appropriated,

paradoxically, on both sides of the divide. From the perspective of the ‘Beckett and/in

Contemporary Art since the 1960s’ project what is of interest and needs to be explained is precisely

the capacity of Beckett’s work to be significant for all the past, present and oftentimes contradictory

developments in contemporary art.

The project is also relevant because responses to Beckett from the field of contemporary art succeed

in casting a new light on fundamental constitutive dimensions of Beckett’s corpus and their

configurative relationships, which may otherwise be much harder to observe or even remain

unnoticed. If contemporary art responses to Beckett help to better understand contemporary art,

they at the same time help to better understand Beckett’s own creative endeavour and processes.

Some of the mutually dependent structure-, form- and medium-informing themes that contemporary

art has highlighted in Beckett by appropriating, transforming and developing them are the

following: sensation – perception – apperception – conception; structure – construct – concept –

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Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

affect; presence – memory – imagination; inside – outside; subjectivity – objectivity; I – other/s;

stasis – movement; mind – body – technology; seriality – repetition – difference; rationality – logic

– meaninglessness; language games – ‘zero degree of writing’ – babble – silence; objecthood –

dematerialization – nothingness; strategy – accident – event; entropy – decay – exhaustion –

subsistence; futility – failure – resistance; humour – anguish; origin – originality – appropriation;

text – context – intertext; tautology – autonomy – reference – self-reference; abstraction –

figuration – representation; ‘high’ culture – ‘low’ culture; spectatorship – performance – agency –

passivity; ethics – aesthetics; identity – ideology – culture – history; etc.

These i) themes can be used – along criteria such as ii) chronology by decade since the 1960s, iii)

art ‘movement’ characteristics/aesthetics and iv) art discipline/medium – as heuristic starting points

in the organisation, description and assessment of contemporary art responses to Beckett. The

following questions can further assist with the same task: What aspects of Beckett’s creative

endeavour do contemporary artists/art discoursers consider particularly relevant to their own artistic

and/or discursive enterprise? What works by Beckett do they favour and why? How precisely, i.e. at

what levels, does the transposition – from Beckett to the art field – operate, since it oftentimes

entails the passage from one medium, context and signifying system to another? What less obvious

features of Beckett’s work does contemporary art help to illuminate? How does Beckett’s oeuvre

participate in contemporary art discourses and practices?

At the present, contemporary artworks and discourses – inclusive of those that respond to Beckett –

are the objects of study of various disciplines such as art history, criticism and theory, cultural and

visual culture studies as well as visual and cultural anthropology. Beckett’s oeuvre is in its turn

tackled by various disciplines such as literary, theatre, media and film studies. The interactions

between art and literature have led to the creation of fields of inquiry such as word and image, art

and language and inter-media studies. Curatorial practices, which ground various Beckett-related

exhibitions, are mainly researched in museum and curatorial practice studies. Within each, or at

least most, of these disciplines and fields there are several methodological and theoretical models at

work, ranging from historicist and biographical approaches to formalist, structuralist,

poststructuralist-deconstructivist, cognitivist, semiotic, reader/viewer-response, feminist,

postcolonial, psychoanalytical, socio-ideological, critical-theoretical, philosophical-

phenomenological, philosophical-analytical and philosophical-aesthetical ones, to name but the best

known and most used (see for instance Bal, Bois et ali; Belting; Cheetham, Holly and Moxey;

Culler 2007 and 2011; Eagleton; Foster, Krauss et ali; Fry; Haxthausen; Kibédi Varga 1989 and

2003; Preziosi 1989 and 2009). These various models have oftentimes come into existence and co-

existence because previous models were considered insufficient to suitably account for specific

cases/ occurrences/contexts. The project ‘Samuel Beckett and/in Contemporary Art since the 1960s’

will endeavour to understand the various methodological-theoretical perspectives from within

which its objects of study – i.e. artworks and art discourses responding to Beckett – emerge or

within which they are explicitly or implicitly set/embedded/framed, before attempting to propose

new methodological-theoretical modelling. This actually means that the project will take stock of

and fully show, again in its specifically circumscribed area, methodological-theoretical debates

taking currently place in the disciplinary fields which it involves.

The Internet website-cum-portal component of the present project will be, due to the technological

capabilities of the medium, more comprehensive, versatile and accessible than the monograph and

exhibition components. It will be the first operational module of the project and it will continue to

8

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

function even after the completion of the monograph and exhibition, so as to record and assess new,

on-going responses to Beckett in contemporary art. Besides recording and assessing both historical

and contemporaneous data and thus function as a knowledge resource, the Internet module is also

intended to become an exchange platform for artists, scholars, practitioners, educators or anybody

else interested in Beckett’s work and its reception in contemporary art since the 1960s.

Beckett’s multidimensional oeuvre and its ‘legacy’ to contemporary art has been chosen as a case

study that can potentially generate both methodological and theoretical research models because of

its extreme complexity. There is no other creative figure in the 20th

century whose ‘outside legacy’

to the arts is as continuous, extensive and varied as Beckett’s. Besides artistic practices, Beckett’s

oeuvre also impacts the discourses of artists, art historians, theorists, critics and curators in ways

that need to be specified too. These discourses draw on Beckett references not only to discuss

Beckett-related artworks, but also to interpret – by analogy with oftentimes different and even

conflicting understandings of Beckett’s oeuvre – further art practices, curatorial projects and/or art

‘movements’. If a model can be devised to systematise our grasp of processes of signification,

cultural transmission and appropriation in the case of ‘Samuel Beckett and/in Contemporary Art

since the 1960s’, one can quite confidently conjecture that this model is likely to apply, with minor

revisions, to other less complex cases.

9

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

List of References

Quoted References Samuel Beckett

Beckett, Samuel. Acte sans paroles I & II. Akt ohne Worte I & II. Act without Words I & II. Text in

English, French and German, translated by Elmar Tophoven. With eighteen original linocuts

by, Hans Martin Erhardt. Stuttgart: Manus Presse, 1965.

---. Aus einem aufgegebenen Werk. From an Abandoned Work. D’un ouvrage abandonné. Text in

English, French and German, translated by Erika and Elmar Tophoven. With three original

numbered and signed etchings in colour by Max Ernst. Stuttgart: Manus Presse, 1967.

---. Beckett’s “Dream” Notebook. Edited by John Pilling. Reading: Beckett International

Foundation, 1999a.

---. Bing. Text in German, translated by Elmar Tophoven. With eight original signed blind reliefs by

Hans Martin Erhardt. Stuttgart: Manus Presse, 1970.

---. Bing. Translated by Elmar Tophoven. With twenty-four etchings and one woodcut by Georg

Baselitz. Cologne: Galerie Michael Werner, 1991.

---. Company. With thirteen original etchings by Dellas Henke. Iowa City: Iowa Center for the

Book, 1983.

---. The Complete Dramatic Works. London: Faber and Faber, 1986.

---. The Complete Short Prose, 1929-1989. Edited and with an introduction and notes by S. E.

Gontarski. New York: Grove Press, 1995.

---. Film. Complete Scenario, Illustrations, Production Shots. With an Essay on Directing Film by

Alan Schneider. New York: Grove Press, 1969.

---. Foirades/Fizzles. With thirty-three original etchings by Jasper Johns. London: Petersburg Press,

1976a.

---. The Grove Centenary Edition. Series editor: Paul Auster, 4 vols. New York: Grove Press, 2006.

---. He, Joe, Quadrat I und II, Nacht und Träume, Schatten, Geister Trio... Filme für den SDR.

DVD. Berlin: Suhrkamp, 2008.

---. Ill Seen Ill Said. With twenty-eight original copperplates by Dellas Henke. Grand Rappids/MI:

Dellas Henke, 1998.

---. Imagination Dead Imagine. With twenty-four original lithographs by Sorel Etrog. London: John

Calder, 1979.

---. L’Issue. With six original signed etchings by Avigdor Arikha. Paris: Georges Visat, 1968a.

---. Kommen und Gehen. Come and Go. Va et vient. Text in English, French and German, translated

by Erika and Elmar Tophoven. With seven original signed etchings by Hans Martin Erhardt.

Stuttgart: Manus Presse, 1968b.

---. The Letters of Samuel Beckett. Edited by George Craig, Martha Dow Fehsenfeld, Dan Gunn and

Lois More Overbeck. Cambridge: Cambridge University Press, 2009 (vol. 1), 2011 (vol. 2).

---. Au loin un oiseau. With five original signed etchings by Avigdor Arikha. New York: Double

Elephant Press, 1973.

---. The Lost Ones. With seven original signed etchings by Charles Klabunde. Stamford/CT: The

New Overbrook Press, 1984.

---. Malone meurt et Oh les beaux jours. With eight illustrations by Avigdor Arikha. Paris: Editions

Rombaldi, 1971.

---. Nohow On. With six original etchings by Robert Ryman. New York: The Limited Editions

Club, 1989a.

---. The North. With three original etchings by Avigdor Arikha. London: Enitharmon Press, 1972.

10

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

---. Nouvelles et textes pour rien. With six reproductions of signed pen and ink drawings by

Avigdor Arikha. Paris: Minuit, 1958.

---. “Part III: Words about Painters”, in Disjecta. Miscellaneous Writings and a Dramatic

Fragment. Edited by Ruby Cohn. London: John Calder, 1983 (115-152).

---. Still. Text in English and Italian, translated by Luigi Majno. With three original signed etchings

in colour, and three original black and white signed etchings on Japan, by William Stanley

Hayter. Milan: M’Arte Edizioni, 1974.

---. Stirrings Still. With one original two-colour lithograph and eight original litographs in black and

white by Louis Le Brocquy. London: John Calder; New York: Blue Moon, 1989b.

---. Text for Nothing #8. Read by Jack MacGowan, LP audio recording, Aspen: The Magazine in a

Box, nos. 5-6 “The Minimalism Issue”. Edited and designed by Brian O’Doherty (1967).

---. The Theatrical Notebooks of Samuel Beckett. Series editor: James Knowlson, 4. vols. London:

Faber and Faber, 1992, 1993, 1999b.

---. Waiting for Godot. With fourteen signed etchings by Dellas Henke. Iowa City: Iowa Center for

the Book, 1976b.

Samuel Beckett and Art

Ackerley, C. J. and S. E. Gontarski. The Grove Companion to Samuel Beckett. A Reader’s Guide to

His Works, Life, and Thought. New York: Grove Press, 2004.

Albright, Daniel. Beckett and Aesthetics. Cambridge; New York: CUP, 2003.

Alphant, Marianne and Nathalie Léger (Eds.). Objet Beckett. Catalogue of the exhibition Samuel

Beckett co-curated by Marianne Alphant and Nathalie Léger at the Centre Pompidou, Gallery

2, 14 March-25 June 2007. Paris: Centre Georges Pompidou/IMEC, 2007.

Anon. “Listings”, in Irish Arts Review 23, no. 1 (Spring 2006): 44.

Bal, Mieke. “Re-: Killing Time”, in Hans D. Christ and Iris Dressler (Eds.). Stan Douglas. Past

Imperfect: Works, 1986-2007. Catalogue of an exhibition co-curated by Hans D. Christ and

Iris Dressler in cooperation with Gudrun Inboden at the Staatsgalerie Stuttgart and

Würtembergischer Kunstverein Stuttgart, 15 September 2007-6 January 2008. Ostfildern:

Hatje Cantz, 2008 (64-93).

Bell, L. A. J. “Between Ethics and Aesthetics: The Residual in Samuel Beckett’s Minimalism”,

Journal of Beckett Studies 20, no. 1 (2011): 32-53.

Bignell, Jonathan. Beckett on Screen: The Television Plays. Manchester: Manchester University

Press, 2009.

Bruggen van, Coosje. Bruce Nauman. New York: Rizzoli, 1988.

Brater, Enoch. Beyond Minimalism: Beckett’s Late Style in the Theatre. New York: OUP, 1987.

Carville, Connor. “Autonomy and the Everyday: Beckett, Late Modernism and Post-War Visual

Art”, Samuel Beckett Today/Aujourd’hui 23 (2011): 63-80.

Chiong, Kathryn. “Nauman’s Beckett Walk”, October 86 (Autumn 1998): 63-81.

Croke, Fionnuala (Ed.). Samuel Beckett: A Passion for Paintings. Catalogue of an exhibition

curated by Fionnuala Croke in collaboration with Riann Coulter at the National Gallery of

Ireland, 15 June-17 September 2006. Dublin: National Gallery of Ireland, 2006.

Cuno, James (Ed.). Foirades/Fizzles: Echo and Allusion in the Art of Jasper Johns. Catalogue of an

exhibition curated by James Cuno at the Grunwald Center for the Graphic Arts, Wight Art

Gallery, University of California Los Angeles, 20 September-15 November 1987. Los

Angeles: Wight Art Gallery – UCLA, 1987.

Del Degan, Dario. “Playing with Paint or Painting with Play: Positioning Beckett’s Play within

Marin’s Theory of Reading Paining”, Samuel Beckett Today/Aujourd’hui 11 (2002): 237-244.

Delaporte, Marie-Laure. “Samuel Beckett/Bruce Nauman: Un nouveau lieu de création spatio-

11

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

temporel”, Samuel Beckett Today/Aujourd’hui 23 (2011): 81-93.

Dittrich, Lutz, Carola Veit and Ernest Wichner (Eds.). “Obergeschoss still closed”: Samuel Beckett

in Berlin 1936-1937. Catalogue of an exhibition at Literaturhaus Berlin. Berlin: Matthes &

Seitz, 2006.

Douglas, Stan (Ed.). Samuel Beckett: Teleplays. Catalogue of an exhibition curated by Stan Douglas

at the Vancouver Art Gallery, 1 October-3 December 1988. Vancouver: Vancouver Art

Gallery, 1988.

Douglas, Stan and Robert Enright. “Double Take”, Frieze 109 (September 2007): 168-175.

Douglas, Stan and Diana Thater. “Diana Thater in Conversation with Stan Douglas”, in Scott

Watson, Diana Thater and Carol J. Clover. Stan Douglas. London: Phaidon, 1998 (8-29).

Duthuit, Georges. The Fauvist Painters. New York: Wittenborn, Schultz, 1950.

---. “Jean-Paul Riopelle – A Painter of Awakening”. Translated by Samuel Beckett. Canadian Art

10, no. 1 (October 1952): 24-27.

Folie, Sabine and Michael Glasmeier (Eds.). Samuel Beckett, Bruce Nauman. Catalogue of an

exhibition co-curated by Christine Hoffmann and Michael Glasmeier with the academic

assistance of Gaby Hartel at the Vienna Kunsthalle, 4 February-30 April 2000. Vienna: Die

Kunsthalle, 2000.

Glasmeier, Michael. “Erschöpfte Räume. Samuel Beckett und andere Künstler”, in Angela

Lammert (Ed.). Raum und Körper in den Künsten der Nachkrigszeit. Berlin: Akademie der

Künste; Dresden: Verlag der Kunst, 1998 (246-260).

---. “Bewegter Stillstand”, in Sabine Folie and Michael Glasmeier (Eds.). Samuel Beckett, Bruce

Nauman. Catalogue of an exhibition co-curated by Christine Hoffmann and Michael

Glasmeier with the academic assistance of Gaby Hartel at the Vienna Kunsthalle, 4 February-

30 April 2000. Vienna: Die Kunsthalle, 2000 (149-159).

Graham, Dan and Ludger Gerdes. “Dan Graham Interviewed by Ludger Gerdes”, in Adachiara Zevi

(Ed.). Dan Graham. Selected Writings and Interviews on Art Works, 1965-1995. Roma: I

Libri di Zerynthia, 1995 (175-200).

Grammatikopoulou, Christina. “Restaging Beckett: Hirst, Navridis and brothers Guimarães Taking

a Breath”, Interartive 4 (November 2008): http://interartive.org/2008/11/samuel-beckett.

Hartel, Gaby. “the eyes take over”: Samuel Becketts Weg zum gesagten Bild. Eine Untersuchung

von ‘The Lost Ones’, ‘Ill Seen, Ill Said’ und ‘Stirrings Still’ im Kontext der visuellen Kunst.

Trier: Wissenschaftlicher Verlag Trier, 2004.

Herren, Graley. Samuel Beckett’s Plays on Film and Television. New York: Palgrave MacMillan,

2007.

Holt, Nancy, Lucy R. Lippard and Robert Smithson. “Out of the Past. Lucy R. Lippard Talks about

Eva Hesse with Nancy Holt and Robert Smithon”, Artforum 46, no. 6 (February 2008): 236-

250.

Inboden, Gudrun. “Giving Form to Absence”, in Hans D. Christ and Iris Dressler (Eds.). Stan

Douglas. Past Imperfect: Works, 1986-2007. Catalogue of an exhibition co-curated by Hans

D. Christ and Iris Dressler in cooperation with Gudrun Inboden at the Staatsgalerie Stuttgart

and Würtembergischer Kunstverein Stuttgart, 15 September 2007-6 January 2008. Ostfildern:

Hatje Cantz, 2008 (124-141).

Israel, Nico. “At the End of the Jetty: Beckett, Smithson, Spirals and Global Modernity”, Journal of

Beckett Studies 20, no. 1 (2011): 1-31.

Katz, Daniel. “Where Now? A Few Reflections on Beckett, Robert Smithson, and the Local”,

Samuel Beckett Today/Aujourd’hui 22 (2010): 329-340.

Kealy, Séamus (Ed.). 18: Beckett. Catalogue of an exhibition curated by Séamus Kealy at the

12

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

Blackwood Gallery, University of Toronto at Mississauga, 9 November-21 December 2006.

Mississauga: Blackwood Gallery, 2006.

Knowlson, James. Damned to Fame. The Life of Samuel Beckett. New York: Simon & Schuster,

1996.

---. Images of Beckett. Cambridge: Cambridge University Press, 2003.

Krauss, Rosalind. “Jasper Johns: The Functions of Irony”, October 2 (Summer 1976): 91-99.

---. “LeWitt in Progress”, October 6 (Autumn 1978): 46-60.

---. “The Mind/Body Problem: Robert Morris in Series”, in Robert Morris. The Mind/Body

Problem. Catalogue of an exhibition co-curated by Rosalind Krauss and Thomas Krens at the

Solomon R. Guggenheim Museum Soho, January-April 1994. New York: The Solomon R.

Guggenheim Foundation, 1994 (2-17).

---. “‘The Rock’: William Kentridge’s Drawings for Projection”, October 92 (Spring 2000): 3-35.

Labrusse, Rémi. “Beckett et la peinture. Le témoignage d’une correspondance inédite”, Critique 46,

nos. 519-520 (August-September 1990): 670-681.

Lerm Hayes, Christa-Maria. “Not I. Exhibition Review”, Circa 93 (Autumn 2000): 50-51.

---. “Nauman.. Beckett... Beckett. Nauman: The Necessity of Working in an Interdisciplinary Way”,

Circa 104 (Summer 2003): 47-50.

LeWitt, Sol. “Drawing for Come and Go by Samuel Beckett”, double-spread sheet, Harper’s

Bazaar 3093 (August 1969): 136-137.

LeWitt, Sol and Andrew Wilson. “Sol LeWitt Interviewed”, in Gabriele Detterer (Ed.). Art

Recollection: Artists’ Interviews and Statements in the Nineties. Ravenna: Danilo Montanari

& Exit & Zona Archives Editori, 1997 (153-160).

Lommel, Michael. Samuel Beckett: Synästhesie als Medienspiel. München: Wilhelm Fink Verlag,

2006.

Martínez, Rosa. “Always a Little Further”, in La Biennale di Venezia 51st International Art

Exhibition, vol. 3. Catalogue of an exhibition curated by Rosa Martínez at the 51st Venice

Biennial, Arsenale, June- September 2005. Venezia: La Biennale di Venezia & Marsilio,

2005.

McMillan, Dougald. “Samuel Beckett and the Visual Arts: The Embarrassment of Allegory”, in

Ruby Cohn (Ed.). Samuel Beckett: A Collection of Criticism. New York: McGraw-Hill Book

Co., 1975 (121-135).

Mercier, Vivian. Beckett/Beckett. New York: Oxford University Press, 1977 (88-113).

Milz, Manfred. Samuel Beckett und Alberto Giacometti: Das Innere als Oberfläche. Ein ästheticher

Dialog im Zeichen schöpferischer Entwicklungsprozesse. Würzburg: Königshausen und

Neumann, 2006.

Mitchell, Breon and Lois More Overbeck (Eds.). Word and Image: Samuel Beckett and the Visual

Text/Mot et image: Samuel Beckett et le texte visuel. Catalogue of an exhibition and

symposium at the Robert W. Woodruff Library, Emory University, Atlanta/GA, November

1999; Lilly Library, Indiana University Bloomington/IN, 20 October-18 December 1999; and

Musée des Beaux-Arts, Caen, 22 March-15 April 2000. Atlanta/GA: Emory University; Paris:

IMEC, 1999.

Morris, Robert. “Aligned with Nazca”, in Continuous Project Altered Daily. The Writings of Robert

Morris. Cambridge: MIT Press, 1993 (143-173).

Nauman, Bruce. Please Pay Attention Please: Bruce Nauman’s Words. Edited by Janet Kraynak.

Cambridge: MIT Press, 2003.

Nixon, Mark. Samuel Beckett’s German Diaries 1936-1937. London: Continuum, 2011.

Oppenheim, Lois (Ed.). Samuel Beckett and the Arts. Music, Visual Arts and Non-Print Media.

13

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

New York and London: Garland Publishing, 1999.

Oppenheim, Lois. The Painted Word: Samuel Beckett’s Dialogue with Art. Ann Arbor: University

of Michigan Press, 2000.

Quadflieg, Roswitha. Beckett Was Here: Hamburg im Tagebuch Samuel Becketts von 1936.

Hamburg: Hoffmann und Kampe, 2006.

Schaffner, Ingrid. “Circling Oblivion. Bruce Nauman through Samuel Beckett”, in Bruce Nauman:

1985-1996. Drawing, Prints and Related Works. Catalogue of ‘The 1995 Larry Aldrich

Foundation Award Exhibition’, curated by Jill Snyder at The Aldrich Museum of

Contemporary Art, 4 May-31 August 1997. Connecticut: The Aldrich Museum of

Contemporary Art, 1997 (15-31).

Smithson, Robert. “Quasi-Infinities and the Waning of Space”, Arts Magazine 41, no. 1 (November

1966): 28-31.

Taban, Carla. “Samuel Beckett: du discours descriptif, fictif et critique sur la peinture à la

contiguïté du discursif et du pictural”, Word & Image: A Journal of Verbal/Visual Enquiry

27, no. 2 (June 2011): 220-233.

---. “Transpositions de l’œuvre de Beckett dans l’art contemporain au Québec, 2000-2010”, Samuel

Beckett Today/Aujourd’hui 23 (2011): 143-161.

Thériault, Michèle. daprèsledépeupleur/afterthelostones. Catalogue of an exhibition curated by

Michèle Thériault at the UQAM Gallery Montréal, 16 January-23 February 2002. Montreal:

Carapace, 2002. Tophoven, Erika. Becketts Berlin. Berlin: Nikolai, 2005.

Tubridy, Derval. “Sounding Spaces. Aurality in Samuel Beckett, Janet Cardiff and Bruce Nauman”,

Performance Research. A Journal of the Performing Arts 12, no. 1, Special Issue “On

Beckett” (2007): 5-11.

---. “Beckett, Feldman, Salcedo… Neither”, in Daniela Caselli (Ed.). Beckett and Nothing: Trying

to Understand Beckett. Foreword by Terry Eagleton. Manchester: Manchester University

Press, 2010 (143-159).

Tuyl van, Gijs. “Condition Humaine/Corps Humain. Bruce Nauman und Samuel Beckett”, in

Christine van Assche (Ed.). Bruce Nauman. Image/Text 1966-1996. Catalogue of an

exhibition held at the Kunstmuseum Wolfsburg, 24 May-28 September 1997 and three other

locations through January 1999. Wolfsburg: Kunstmuseum Wolfsburg; Ostfildern-Ruit:

Cantz, 1997 (61-75).

Watson, Scott. “Against the Habitual”, in Scott Watson, Diana Thater and Carol J. Clover. Stan

Douglas. London: Phaidon, 1998 (32-67).

Art and Literary Theory and History

Bal, Mieke, Yve-Alain Bois, Irving Lavin, Griselda Pollock and Christopher S. Wood. “Art History

and Its Theories”, The Art Bulletin 78, no. 1 (March 1996): 6-25.

Belting, Hans. Art History after Modernism. Translated by Carolina Saltzwedel and Mitch Cohen

with additional translation by Kenneth Northcott. Chicago: University of Chicago Press,

2003.

Cheetham, Mark A., Michael Ann Holly and Keith Moxey (Eds.). The Subjects of Art History:

Historical Objects in Contemporary Perspectives. Cambridge: Cambridge University Press,

1998.

Culler, Jonathan. The Literary in Theory. Stanford: Stanford University Press, 2007.

---. Literary Theory: A very Short Introduction. 2nd

Edition. Oxford & New York: Oxford

University Press, 2011.

Eagleton, Terry. Literary Theory: An Introduction. 2nd

Edition. Minneapolis/MN: University of

Minnesota Press, 1996.

14

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

Foster, Hall, Rosalind Krauss, Yve Alain-Bois, Benjamin H. D. Buchloh and David Joselit. Art

since 1900: Modernism, Antimodernism, Postmodernism. 2nd

Revised Edition. New York:

Thames & Hudson, 2011.

Fry, Paul H. Theory of Literature. New Haven: Yale University Press, 2012.

Haxthausen, Charles W. (Ed.). The Two Art Histories: The Museum and the University.

Williamstown/ MA: Sterling and Francis Clark Art Institute; New Haven/CT: Yale University

Press, 2002.

Kibédi Varga, Áron “Criteria for Describing Word-and-Image Relations”. Poetics Today 10, no. 1

‘Art and Literature I’ (Spring 1989): 31-53.

---. “Mediality and Forms of Interpretation of Artworks”, Neohelicon 30, no. 2 (2003): 183-191.

Lippard, Lucy R. (Ed.). The Dematerialization of the Art Object from 1966 to 1972. Berkeley:

University of California Press, 1997.

Preziosi, Donald. Rethinking Art History. Meditations on a Coy Science. New Haven & London:

Yale University Press, 1989.

---. The Art of Art History. A Critical Anthology. New Edition. Oxford: Oxford University Press,

2009.

Consulted References (Selection) Samuel Beckett Criticism

Abbott, H. Porter. The Fiction of Samuel Beckett: Form and Effect. Berkeley: University of

California Press, 1973.

Bishop, Tom and Raymond Federman (Eds.). Les Cahiers de l’Herne 31 ‘Samuel Beckett’. Paris:

Éditions de l’Herne, 1976.

Branigan, Kevin. Radio Beckett: Musicality in the Radio Plays of Samuel Beckett. Oxford: Peter

Lang, 2008.

Caselli, Daniela, Beckett’s Dantes. Manchester & New York: Manchester University Press, 2005.

Cohn, Ruby. Back to Beckett. Princeton: Princeton University Press, 1973.

---. A Beckett Canon. Ann Arbor: The University of Michigan Press, 2001.

---. Samuel Beckett: The Comic Gamut. New Brunswick & New Jersey: Rutgers University Press,

1962. Connor, Steven. Samuel Beckett: Repetition, Theory and Text. Oxford & New York:

Blackwell, 1988. Davis, Robin and Lance St. John Butler (Eds.). Rethinking Beckett. London:

MacMillan, 1990.

Fitch, Brian T. Beckett and Babel. An Investigation into the Status of the Bilingual Work. Toronto:

University of Toronto Press, 1988.

Gontarski, S. E. The Intent of Undoing in Samuel Beckett’s Dramatic Texts. Bloomington: Indiana

University Press, 1985.

Harper, Howard, Douglas McMillan III and Edouard Morot-Sir (Eds.). Samuel Beckett. The Art of

Rhetoric. Chapel Hill: University of North Carolina Department of Romance Languages,

1976.

Harvey, Lawrence E. Samuel Beckett. Poet and Critic. Princeton: Princeton University Press, 1970.

Hill, Leslie. Beckett’s Fiction in Different Words. Cambridge: Cambridge University Press,

1990.

Hulle van, Dirk. The Making of Samuel Beckett’s Stirrings Still/Soubresauts and Comment

dire/What Is the Word. Brussels: University Press Antwerp, 2011.

Kalb, Jonathan. Beckett in Performance. Cambridge & New York: Cambridge University Press,

1989. Kenner, Hugh. Samuel Beckett. A Critical Study. Berkeley & Los Angeles: University

of California Press, 1968.

Laws, Catherine (Ed.). Performance Research. A Journal of the Performing Arts 12, no. 1 Special

15

Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

Issue “On Beckett” (2007).

Locatelli, Carla. Unwording the World. Samuel Beckett’s Prose Works after the Nobel Prize.

Philadelphia: University of Pennsylvania Press, 1990.

McMillan, Dougald and Martha Fehsenfeld. Beckett in the Theatre: The Author as Practical

Playwright and Director. London: John Calder; New York: Riverrun Press, 1988.

McMullan, Anna. Theatre on Trial: Samuel Beckett’s Later Drama. New York: Routledge, 1993.

Moorjani, Angela B. Abysmal Games in the Novels of Samuel Beckett. Chapel Hill:

University of North Carolina Department of Romance Languages, 1982.

Myskja, Bjørn. The Sublime in Kant and Beckett: Aesthetic Judgment, Ethics and Literature. Berlin

and New York: Walter de Gruyter, 2002.

Pilling, John. Samuel Beckett. London: Routledge & Kegan Paul, 1976.

Pilling, John (Ed.). The Cambridge Companion to Beckett. Cambridge: Cambridge University

Press, 1994.

Rabinovitz, Rubin. Innovation in Samuel Beckett’s Fiction. Urbana & Chicago: University of

IllinoisPress, 1992.

Sherzer, Dina. Structure de la trilogie de Beckett: ‘Molloy’, ‘Malone meurt’, ‘L’Innommable’. La

Haye & Paris: Mouton, 1976.

Tagliaferri, Aldo. Beckett et la surdétermination littéraire. Translated from the Italian by Nicole

Fama. Paris: Payot, 1977.

Tönning, Erik. Samuel Beckett’s Abstract Drama: Works for Stage and Screen, 1962-1985. Bern &

Oxford: Peter Lang, 2007.

Uhlmann, Anthony. Beckett and Poststructuralism. Cambridge: Cambridge University Press, 1999.

Wulf, Catharina (Ed). The Savage Eye = L’Oeil fauve. New Essays on Samuel Beckett’s Television

Plays. Amsterdam: Rodopi, 1995.

Zilliacus, Class. Beckett and Broadcasting: A Study of the Works of Samuel Beckett for and in

Radio and Television. Abo: Abo Akademi, 1976.

Samuel Beckett and Art

Applebroog, Ida. “Ida Applebroog: Process and Technology”, Art21 Interview:

http://www.art21.org/texts/ida-applebroog/interview-ida-applebroog-process-and-technology.

Armstrong, Gordon S. Samuel Beckett, W.B. Yeats, and Jack Yeats: Images and Words.

Lewisburg/PA: Bucknell University Press; London: Associated University Presses, 1990.

Beuys, Joseph and Stuart Morgan. “Interview with Joseph Beuys”, Parkett 7 (1986): 54-68.

Blistène, Bernard et ali. A Theater without Theater. Catalogue of an exhibition co-curated by

Bernard Blistène and Yann Chateigné with the collaboration of Pedro G. Romero at the

Museu d’Art Contemporani de Barcelona, 25 May-11 September 2007 and at the Museu

Colecção Berardo, Arte Moderna e Contemporânea, Lisbon, 16 November 2007- 17 February

2008. Barcelona: Museu d’Art Contemporani de Barcelona; Lisbon: Museu Colecção

Berardo, 2007.

Bochner, Mel and John Baldessari. “Outside the Box”, Artforum 45, no. 10 (Summer 2007): 101-

102.

Bogardi, Georges. “The Studio: In Her Reconfigurations of Ideas and Found Materials, Betty

Goodwin Transforms Life into Art”, Canadian Art 11, no. 3 (Fall 1994): 86-93.

Brater, Enoch. “Dada, Surrealism and the Genesis of Not I”, Modern Drama 18, no. 1 (March

1975): 49-59.

---. “The Empty Can: Samuel Beckett and Andy Warhol”, Journal of Modern Literature 3, no. 5

‘From Modernism to Post-Modernism’ (July 1974): 1255-1264.

---. “The Thinking Eye in Beckett’s Film”, Modern Language Quarterly 36, no. 2 (June 1975): 166-

16

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176.

Caws, Mary Ann. Robert Motherwell: With Pen and Brush. London: Reaktion, 2003.

Copeland, Hannah Case. Art and the Artist in the Works of Samuel Beckett. The Hague: Mouton,

1975.

Cunningham, David. “Asceticism against Colour, or Modernism, Abstraction and the Lateness of

Beckett”, New Formations 55, no. 1 (2005): 104-119.

---. “Ex Minimis: Greenberg, Modernism and Beckett’s Three Dialogues”, Samuel Beckett Today/

Aujourd’hui 13 (2003): 29-41.

Del Degan, Dario. The Staged Painting of Samuel Beckett. Unpublished Ph.D. Dissertation.

Toronto: University of Toronto, 2007.

Didi-Huberman, Georges. Atlas - How to Carry the World on One’s Back?. Catalogue of an

exhibition curated by Georges Didi-Huberman at the Museo Nacional Centro de Arte Reina

Sofia, Madrid, 26 November 2010-March 28, 2011; ZKM, Museum für Neue Kunst,

Karlsruhe, 7 May-28 August 2010; Sammlung Falckenberg, Hamburg, 24 September- 27

November 27, 2011. Madrid: Museo Nacional Centro de Arte Reina Sofía, 2010.

Frampton, Hollis. On the Camera Arts and Consecutive Matters: The Writings of Hollis Frampton.

Edited with an Introduction by Bruce Jenkins. Cambridge/MA: MIT Press, 2009.

Furlong, William. Speaking of Art: Four Decades of Art in Conversation. With an Introduction by

Mel Gooding. London: Phaidon Press, 2010.

Gale, Peggy. Artists Talk: 1969-1977. Halifax/NS: Press of the Nova Scotia College of Art and

Design, 2004.

Gidal, Peter. “Beckett & Others & Art: A System”, Studio International 188 (November 1974):

183-87. Hesse, Eva and Cindy Nemser. “An Interview with Eva Hesse”, Artforum 7, no. 9

(May 1970): 59-63.

Johannes, Christa Erika. Relationships between some Abstract Expressionist Painting and Samuel

Beckett’s Writing. Unpublished Ph.D. Dissertation. Athens/GA: University of Georgia, 1974.

Joselit, David, Joan Simon and Renata Salecl. Jenny Holzer. London: Phaidon Press, 1998.

Hale, Jane. “Framing the Unframable: Samuel Beckett and Francis Bacon”, Samuel Beckett Today/

Aujourd’hui 2 (1993): 95-101.

Harari, Dror. “Breath and the Tradition of 1960’s New Realism: Between Theatre and Art”, Samuel

Beckett Today/Aujourd’hui 22 (2010): 423-433.

Huldisch, Henriette and Shamim Momin. Whitney 2008 Biennial Exhibition. New York: Whitney

Museum of American Art; New Haven: Yale University Press, 2008.

Kelley, Mike. “Mike Kelley: Language and Psychology”, Art21 Interview:

http://www.art21.org/texts/mike-kelley/interview-mike-kelley-language-and-psychology.

Kesting, Marianne. “Die Eternisierung der Fluktuation. Über den Prozeß der Wahrnehmung bei

Beckett und Giacometti”, Das Kunstwerk: Zeitschrift für bildende Kunst 34, no. 2 (1981): 33-

45.

---. “Die Welt im Schädel: Beckett und Malewitsch”, Sprache im technischen Zeitalter 66 (1978):

114-126.

Kosuth, Joseph. “‘Texts (Waiting for-) for Nothing, Samuel Beckett, in play’ at the Sean Kelly

Gallery, New York, April 2011”, LaBiennale.tv: http://biennaleart.tv/event.php?id=16.

Kudielka, Robert. “‘An Art Unresentful of Its Insuperable Indigence’… Das Paradigma der

modernen Malerei in Becketts Poetik”, in Peter Brockmeier and Carola Veit (Eds.). Komik

und Solipsismus im Werk Samuel Becketts. Stuttgart: M & P, 1997 (163-184).

Laws, Catherine. “Feldman – Beckett – Johns: Patterning, Memory and Subjectivity”, in Björn

Heile (Ed.). The Modernist Legacy: Essays on New Music. Burlington/VT: Ashgate, 2009

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(135-158). Lippard, Lucy. Eva Hesse. New York: New York University Press, 1976.

Megged, Matti. Dialogue in the Void: Beckett and Giacometti. New York: Lumen Books, 1985.

Morris, Robert. “Writing with Davidson: Some Afterthoughts after Doing Blind Time IV: Drawing

with Davidson”, Critical Inquiry 19, no. 4 (Summer 1993): 617-627.

Oppenheim, Dennis and Suzaan Boettger. “Oral history interview with Dennis Oppenheim, July-

August 1995”, Archives of American Art, Smithsonian Institution:

http://www.aaa.si.edu/collections/interviews/oral-history-interview-dennis-oppenheim-12924.

Oppenheim, Dennis and Judith Olch Richards. “Oral History Interview with Dennis Oppenheim,

June 23-24, 2009”, Archives of American Art, Smithsonian Institution:

http://www.aaa.si.edu/collections/interviews/oral-history-interview-dennis-oppenheim-15693.

Piper, Adrian. Out of Order, Out of Sight. 2 vols. Cambridge/MA: MIT Press, 1996.

Prinz, Jessica. “Foirades/Fizzles/Beckett/Johns”, Contemporary Literature 21, no. 3 ‘Art and

Literature’ (Summer 1980): 480-510.

Richard J. Gerber, “A Review of Three Joseph Kosuth Installations: Texts (Waiting for –) for

Nothing, Samuel Beckett, in Play (2011); Titled (Art as Idea as Idea) Nothing (original

installation, Los Angeles, 1968); and ‘Ulysses,’ 18 Titles and Hours (1998), at the Sean Kelly

Gallery, Chelsea, New York, 30 March-30 April 2011”, James Joyce Quarterly 47, no. 4

(Summer 2010): 670-673.

Riley, Bridget. The Eye’s Mind. Collected Writings 1965-2009. Edited by Robert Kudielka. Revised

and Extended 2nd

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Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

Knowledge Mobilization Plan

The main knowledge mobilization strategy of the proposed project is its Internet component, since

it will be continuous, freely accessible and it will include a social media element. This component

will also be the first operational one. Operation is planned to start by the end of the project’s second

year, with subsequent ongoing development in terms of uploaded content in the third year and

beyond. The exhibition and monograph components of the project will also contribute to knowledge

mobilization, although in a less continuous fashion. They are planned to take place and respectively

be published at the end of the third year of the project. It is likely that these two components’ reach

in terms of number and type of audience (age, profession, geographical location, etc.) be more

limited than in the case of the Internet component. Nonetheless, if partner organizations will be

found, the exhibition can have international circulation. Measuring the number of people that access

the Internet and exhibition components is quite easy, via hit counting in the first case and ticket

counting in the second. The quality of the interaction between the audience and these two

components will also be evaluated, via surveys and questionnaires.

Knowledge mobilization methods will also include participation in both academic and art

professional conferences, workshops, meetings, etc. The knowledge mobilized on these occasions

will be not only outbound, from the project to the audience and peers, but also inbound, from the

audience and peers to the project. The project will have enough flexibility, at least in its first year

and a half to two years, to integrate and adapt solutions that it may not come to generate itself.

Subsequent participation in such activities of knowledge mobilization is likely to be more outbound

than inbound, at least as regards the best possible way for designing the website-cum-portal and

organizing its content. Anybody interested will be able to contribute web content, especially once

the website-portal is launched, a process which will be nonetheless moderated. Volunteers around

the world can also participate in data verification.

Further modalities of knowledge mobilization include the publication of journal articles, book

chapters and reports of at least two kinds: in-depth studies dealing with specific aspects of Beckett-

related contemporary artworks and discourses that it is neither the monograph nor the Internet

component’s function to tackle in detailed manner. The second kind of publication which also is out

of the range of the project’s three components – Internet website-cum-portal, monograph and

exhibition – and which will find its best dissemination venue in journals, book collections, etc. is

the in-depth description of the project’s various stages of development, as well as its

methodological, theoretical and logistical challenges.

The project has the capability of facilitating exchanges between individuals, organizations and

individuals and organizations both within and outside academia, that were previously unaware of

their shared interests. It can thus consolidate interest communities and facilitate the development of

new collaborative projects of which it itself need not be a direct part, other than having enabled

mutual knowledge. Pending the project’s resources it itself can collaborate in other projects that are

relevant to its scope.

The project’s overall knowledge mobilization strategy is to respond – as time and personnel

resources allow – to requests of presentation and instruction/training from any interested party, be it

art professional or academic organizations and groups, educational institutions, media, etc. It will

also endeavor, at least in its first stages, to signal its existence to these various parties. Later and if

the need arises, it can train trainers.

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Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

Expected Outcomes Summary The proposed project will generate several kinds of benefits/outcomes.

In terms of knowledge creation, the project will discover and delineate the extent of its object of

study, i.e. contemporary art works and discourses drawing on Beckett’s oeuvre. Methodologically,

it will employ and further best available approaches for data collection from both recorded and

(hitherto) unrecorded sources, in its specifically circumscribed area. It will also employ and further

best available practices for the description, organization, analysis and assessment of its object of

study. Theoretically, the project will not only lay out the methods and theories that already ground

or are embedded within its very object (see Detailed Description), but it will also eventually

propose a model for literature-arts appropriation and transmission processes.

In terms of knowledge preservation and dissemination, the project will function – especially, but

not only through its Internet website-cum-portal component – both as a hub for its object of study

and as a gateway to connected resources (such as artists’, art practitioners’, art discourses’,

galleries’, museums’, etc. websites). Furthermore, it will record and make available as yet

unrecorded and/or difficultly accessible information. If through its multi-authored monograph and

exhibition modules, the project will give a largely static account of its object of study at a given

moment in time, its Internet component will allow it to function as a ‘work in progress’ that will

keep growing with every new and pertinent (in terms that still need to be defined) Beckett-

connected artwork and discourse.

In terms of audience, the project will be relevant, as a knowledge resource, to researchers interested

in further in-depth study of particular aspects of its object. It will also be relevant to artists, art

practitioners and discoursers, as well as researches, who can use the project not only as a

knowledge resource but also as a platform for exchange (the latter especially via the Internet

component). The project can be also used for teaching purposes at various levels and it can be in

fact used by any member of the general public with an interest in it. Furthermore, assistants – both

waged/salaried and volunteers – involved in the development of the project will benefit from it in

terms of gaining various kinds of research and professional skills.

In terms of effects and implications, the project can become a model on several levels: collaboration

between researchers in various disciplines; collaboration between academia and professionals,

organizations and institutions in the field of arts; research training, turning research into practice

training and professional skills training for the assistants participating in the project and other

constituencies; as well as use of integrated digital arts & humanities and social media.

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Carla Taban – Samuel Beckett and/in Contemporary Art since the 1960s

Proposed Student Training Strategies

The project will hire 2 doctoral students and (the equivalent of) 2 undergraduate students each year.

These students will be responsible for carrying out the following duties:

- Collect data via extensive bibliographical researches in a variety of published, audio-visual,

electronic, public and private archival resources, so as to find Beckett-related contemporary

artworks and art discourses: undergraduate and graduate.

- Travel for data collection and verification (i.e. research travel): graduate.

- Record, transcribe, translate (into English, possibly also French) and annotate data:

undergraduate and graduate.

- Familiarize themselves with specific theoretical-methodological models underlying the data (as

explained in the Detailed Description): graduate.

- Participate in the process of developing criteria for organizing, describing, analyzing and

assessing the data: graduate.

- Database operation and/or creation: undergraduate and graduate.

- Write up both summaries and shorter or longer descriptions of individual Beckett-related

contemporary artworks and art discourses, as well as summaries and descriptions of groups/

classes of such, once taxonomic criteria will have been established: undergraduate and graduate.

- Participate in the elaboration and conduction of interviews with art professionals (artists and art

discoursers) on their Beckett-related work/interest: undergraduate and graduate.

- Secure image and text rights (usage and reproduction) from publishers, museums, art galleries,

artists, writers, scholars, etc.: undergraduate and graduate.

- The Internet component of the project presupposes additional duties such as website updating

and social media, possibly also participation in website design and maintenance: undergraduate

and graduate.

- The exhibition component presupposes additional duties such as lending and insurance contracts,

event organization and publicity: undergraduate and graduate.

- Travel for the purpose of participation/presentation in scholarly and art professional conferences,

meetings or workshops: undergraduate and graduate.

- Travel for the purpose of exhibition research/organization: graduate.

- Publication of research findings: graduate.

- Mentor undergraduate co-workers and volunteers on the project: graduate.

The project will also be open to students, both undergraduate and graduate, who want to volunteer

with it at the administering organization. It will also be open to volunteers around the world, via its

Internet component. Volunteers will be responsible for some of the above duties. Salaried students

– and to a lesser degree volunteers – will have the opportunity to familiarize themselves with many

aspects of knowledge creation, mobilization and implementation. The student’s activities with the

project will complement their academic training which oftentimes foregrounds mainly/only

knowledge acquisition.