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Nelson, Robert S. and Richard Shiff eds. Critical Terms for Art History. Chicago:
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University of Chicago Press, 2003. Price, Mary. The Photograph: A Strange, Confined Space. Stanford, Calif : Stanford University Press, 1994. Putnam, James. Art and Artifact: The Museum as Medium. New York, N.Y.: Thames & Hudson, 2001. Pearlman, Alison. Unpackaging Art of the 1980s. Chicago: University of Chicago Press, 2003. Ramírez, Juan.Duchamp: Love and Death, Even.London, UK: Reaktion Books, 1998. Ran, Faye. A History of Installation Art and the Development of New Art Forms: Technology and the Hermeneutics of Time and Space in Modern and Postmodern Art from Cubism to Installation. New York: Peter Lang, 2009. Stebbins Jr., Theodore E..Weston’s Weston: Portrait and Nudes. Boston, Mass.: Museum of Fine Arts, 1989. Smagula, Howard J. Currents: Contemporary Directions in the Visual Arts.Englewood Cliffs, N.J.: Prentice Hall, 1989. Stieglitz,Alfred, Weston Naef. In Focus: Alfred Stieglitz : Photographs from the J. Paul Getty Museum.Malibu, Calif.: The Museum, 1995. Schwartz, Hillel. The Culture of the Copy: Striking Likenesses, Unreasonable Facsimilies. New York : Zone Books, 1996. Stiles Kristine, Peter Howard Selz eds..Theories and Documents of Contemporary Art: A Sourcebook of Artists′ Writings. Berkeley: University of California Press, 1996. Solomon-Godeau, Abigail.Photography at the Dock: Essays on Photographic History, Institutions, and Practices.Minneapolis : University of Minnesota Press, c1991, 1997. Sandler, Irving. Art of the Postmodern Era: From the Late 1960s to the Early 1990s.Boulder, Colo.: Westview Press, 1998. Siraganian, Lisa. Modernism′s Other Work : The Art Object′s Political Life. New York: Oxford University Press, 2011. Singerman, Howard. Art History, After Sherrie Levine. Berkeley, Calif.: University of California Press, 2012. Thorp, David. Sherrie Levine. Simon Lee Gallery, First Edition edition, 2007. Wallis, Brian ed. Art after Modernism: Rethinking Representation. New York: The New Museum of Contemporary Art, 1984. Weintraub, Linda, Arthur Danto, Thomas McEvilley. Art on The Edge and Over: Searching For Art′s Meaning in Contemporary Society, 1970s-1990s. Litchfield, CT : Art Insights, Inc., 1996. Wells, Liz ed..Photography: A Critical Introduction.London ; New York : Routledge, 2004, 3rd ed.
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Weston,Edward, Brett Abbott.Edward Weston: Photographs from the J. Paul Getty Museum.Los Angeles: J. Paul Getty Museum, 2005. Warren, Lynne.Encyclopedia of Twentieth-Century Photography, 3-Volume Set.New York: Routledge, 2006. 中文書目 Edward Lucie-Smith著,于君、任家蓁、魏小莎譯,《西方八十年代藝術》(Art in the Eighties)湖南美術出版社,1992年。 Lucy Lippard編著,張正仁譯,《普普藝術》(Pop Art) 臺北市:遠流,1994年。 Achille Bonito Oliva著,毛建雄譯,《超級藝術》(Superart) 臺北市:遠流,1996年。 Jeanne Siegel編,王元貞譯,《藝聞錄:八O年代早期藝術對話》(Artwords 2: Discourse on the Early 80s) 臺北市:遠流,1996年。 Roland Barthes著,許綺玲譯,《明室:攝影札記》臺北市:臺灣攝影工作室出版,永和市:北星總經銷, 1997年。 Walter Benjamin著,許綺玲、林志明譯,《迎向靈光消逝的年代:本雅明論藝術》桂林:廣西師範大學出版社,2008年。 西文期刊 Buskirk, Martha, Sherrie Levine, Louise Lawler and Fred Wilson. “Interviews with Sherrie Levine, Louise Lawler, and Fred Wilson,” October, vol. 70 (1994): 99-112. Crimp, Douglas. “The Photographic Activity of Postmodernism,” October, vol. 15 (1980): 91-101. ---. “About Pictures: Pictures As Representation As Such,”Flash Artnos.88-89 (March to April, 1979) : 34-36. ---. “Close-Up: Indirect Answers – Douglas Crimp on Louise Lawler‟s Why Pictures Now, 1981,” Artforum vol. 5 (2012): 502-505. Drohojowska, Hunter. “No More Boring Art,” ARTnews 85 (January, 1986): 62-69. Foster, Hal. “Subversive Signs,” Art in America 70 (November, 1982): 88-92. Halley, Peter, "A Note on the New Expressionism Phenomenon," Arts Magazine 57 (March, 1983): 88-89. Larson, Kay,“Enigma variations,” New York Magazine 15 (April, 1982): 84-85. Lawler, Louise and Douglas Crimp, “Prominence Given, Authority Taken,” Grey Room, no. 4 (2001): 70-81.
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Marzorati, Gerald. “Art in the (Re)making,” Art News, vol. 85 (1986): 90–99. Owens, Craig. “Back to the Studio” Art in America 70 (January, 1982): 99-107. Ratcliff, Carter, Hayden Herrera, “Expressionism Today: An Artist Symposium” Art in America 70 (December,1982): 58-75. Tatransky, Valentine, “The Opening of Metro Pictures,” Flash Art, vol. 101 (1981): 49. Taylor, Paul. “Sherrie Levine Plays with Paul Taylor,” Flash Art, no. 135 (1987): 55-59. 中文期刊 曾少千,〈從挑戰到對話:當代西方藝術與美術館〉,國立歷史博物館編輯委員會,《1901-2002世界文化百年論文集II》,台北:國立歷史博物館,1999年,頁251-288。 謝東山,〈新表現主義的再現理論與後結構主義思想〉,《現代美術》58期,1995年,頁33-43。 碩博士論文 Alvarez, Mariola V..Re-presenting Louise Lawler: The Early Work, 1978-1985,Thesis (M.A.), University of Florida, 2005. Ball Piwetz, Stefanie Lane, The Source of Appropriation: Sherrie Levine′s "After Walker Evans" Suite, Thesis (M.A.), Texas Christian University, 2007. Tungshan Hsieh, The Critical Foundations of American Neo-expressionism, 1980-1984, Ph. D. diss., Texas Tech University, 1994. 網路資料 Franklin Furnace Archive: /franklinfurnace.org/about/index.php (2015, 5, 25accessed). Jana, Reena. “Is It Art, or Memorex?,” Wired, 2005. URL: http://archive.wired.com/culture/lifestyle/news/2001/05/43902 (2014, 11, 25 accessed). Lichtenstein, Therese.“Louise Lawler∕Allan McCollum,”Review Arts, 1984. URL:
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