Bibliography
Aagesen, D. and Rabinow, R. (2012) Matisse: In Search of True Painting. Exhibition held at The Metropolitan Museum of Art, New York, December 2012-March 2013 [Exhibition catalogue].
Arns, I.
(2020) ‘Narrative’, in Agnew, V., Lamb, J. and Tomann, J. (eds) The Routledge Handbook of Reenactment Studies: Key Terms in the Field, London, Routledge, pp. 151-155.Austin, J. L. (1962) How to Do Things with Words, Cambridge, MA, Harvard University Press.
Bangma, A. (2005) ‘Contested Terrains’, in Bagma, A., Rushton, S. and Wust, F. (eds) Experience, Memory, Re-Enactment, Rotterdam, Piet Zwart Institute, pp. 13-16.
Blackson, R. (2007) ‘Once More... with Feeling: Reenactment in Contemporary Art and Culture’, Art Journal, vol. 66, no. 1, Spring, pp. 28-40.
Bolt, B. (2004) Art Beyond Representation: The Performative Power of the Image, London, I. B. Taurus.
Butler, J. (1993) Bodies That Matter: On the Discursive Limits of Sex, New York, Routledge.
Davies, D. (2004) Art as Performance, Oxford, Blackwell.
Derrida, J. (1988) Limited, Inc. (trans. from French by J. Mehlman and S. Weber), Evanston, IL, Northwestern University Press.
Epstein, M. (1995) After the Future: The Paradoxes of Postmodernism and Contemporary Russian Culture (trans. from Russian by A. Miller-Pogacar), Amherst, University of Massachusetts Press.
Fayet, J.-F. (2017) ‘Preface’, in Fayet, J.-F., Gorin, V. and Stefanie Prezioso, S. (eds) Echoes of October: International Commemorations of the Bolshevik Revolution 1918-1990, London, Lawrence & Wishart, pp. 6-27.
Fedorov-Davydov, A. (1929a) Vystavkaproizvedenii K. S. Malevicha, Moscow, State Tretiakov Gallery.
Fedorov-Davydov, A. (1929b) ‘Vystavka P. V. Kuznetsova i ieio tolkovateli’, Iskusstvo v massy, June-August, pp. 48-51.
Gahtan, M. W. and Pegazzano, D. (2018) ‘Introductory: Monographic Exhibitions and the History of Art’, in Gahtan, M.
W. and Pegazzano, D. (eds) Monographic Exhibitions and the History of Art, New York, Routledge, pp. 1-9.Goldblatt, D. (2011) ‘Taking Art Personally: Austin, Performatives and Art’, Contemporary Aesthetics, vol. 9 [Online]. Available at hdl.handle.net/2027/ spo.7523862.0 0 09.012 (Accessed 30 January 2019).
Gutkin, I. (1999) The Cultural Origins of the Socialist Realist Aesthetic, 1890-1934, Evanston, IL, Northwestern University Press.
Harte, T. (2009) Fast Forward: The Aesthetics and Ideology of Speed in Russian Avant-Garde Culture, 1910-1930, Madison, WI, University of Wisconsin Press.
Loxley, J. (2007) Performativity, New York, Routledge.
Lutticken, S. (2005) ‘An Arena in Which to Reenact’, in Lutticken, S. (ed) Life, Once More: Forms of Reenactment in Contemporary Art, Rotterdam, Witte de With, pp. 17-60.
Malevich, K. (1911) Laundress [Gouache]. Private collection, Zurich.
Malevich, K. (1911-1912) Haymaking [Oil on canvas]. State Art Museum, Nizhni Novgorod.
Malevich, K. (1913a) Perfected Portrait of Ivan Kliun [Oil on canvas]. Russian Museum, St. Petersburg.
Malevich, K. (1913b) Cow and Violin [Oil on wood]. Russian Museum, St. Petersburg.
Malevich, K. (1913c) To Harvest (Marfa and Vanka) [Oil on canvas]. Location unknown.
Malevich, K. (1915a) Black Square [Oil on canvas]. Tretiakov Gallery, Moscow.
Malevich, K. (1915b) Suprematism (Lady: Color Masses in the 4th and 2nd Dimensions) [Oil on canvas]. Russian Museum, St. Petersburg.
Malevich, K. (1915c) Suprematism (with Black Trapezium and Red Square) [Oil on canvas]. Stedelijk Museum, Amsterdam.
Malevich, K. (1915d) ‘From Cubism and Futurism to Suprematism: The New Painterly Realism, 1915’, in Bowlt, J. E. (ed) Russian Art of the Avant-Garde: Theory and Criticism, 1902-1934, revised and enlarged ed. (trans. J. E. Bowlt), New York, Thames and Hudson (this edition 1988), pp. 116-135.
Malevich, K. (1915e) Red Square (Painterly Realism of a Peasant Woman in Two Dimensions) [Oil on canvas].
Russian Museum, St. Petersburg.Malevich, K. (1916a) Suprematism (Supremus no. 56) [Oil on canvas]. Russian Museum, St. Petersburg.
Malevich, K. (1916b) Suprematism (Supremus no. 58) [Oil on canvas]. Russian Museum, St. Petersburg.
Malevich, K. (1923a) Black Square [Oil on canvas]. Russian Museum, St. Petersburg. Malevich, K. (1923b) Black Circle [Oil on canvas]. Russian Museum, St. Petersburg. Malevich, K. (1923c) Black Cross [Oil on canvas]. Russian Museum, St. Petersburg. Malevich, K. (1928) Three Girls [Oil on wood]. Russian Museum, St. Petersburg.
Malevich, K. (1928-1929a) Suprematism [Oil on wood]. Russian Museum, St. Petersburg.
Malevich, K. (1928-1929b) Suprematist Construction of Color [Oil on wood]. Russian Museum, St. Petersburg.
Malevich, K. (1928-1929c) Laundress [Oil on wood]. Russian Museum, St. Petersburg.
Malevich, K. (1928-1929d) To Harvest (Marfa and Vanka) [Oil on canvas]. Russian Museum, St. Petersburg.
Malevich, K. (1928-1929e) Harvesting. Study for the Painting [Oil on wood]. Russian Museum, St. Petersburg.
Malevich, K. (1928-1929f) Woman Reaper (Study) [Oil on wood]. Russian Museum, St. Petersburg.
Malevich, K. (1928-1929g) Torso (Figure with Pink Face) [Oil on canvas]. Russian Museum, St. Petersburg.
Malevich, K. (1929) Haymaking [Oil on canvas]. Tretiakov Gallery, Moscow.
Munch, E. (1893) The Scream [Tempera and oil on cardboard]. National Museum, Oslo.
Munch, E. (1910) The Scream [Tempera and oil on canvas]. Munch Museum, Oslo.
October: Ten Days That Shook the World (1927) Directed by Sergei Eisenstein [Film]. USSR, Sovkino.
Robinson, W. H. (2001) ‘De Chirico Forgeries: The Treachery of the Surrealists’, IFAR Journal, vol. 4, no. 1, pp. 10-17.
Rushton, S. (2005) ‘Tweedledum and Tweedledee Resolved to Have a Battle’, in Bagma, A., Rushton, S. and Wust, F. (eds) Experience, Memory, Re-Enactment, Rotterdam, Piet Zwart Institute, pp. 5-12.
Sarabianov, D. (1988) ‘Kazimir Malevich and His Art, 1900-1930’, in Kazimir Malevich 1878-1935, Exhibition held at The Russian Museum, Leningrad, November 10-December 18, 1988; The Tretiakov Gallery, Moscow, December 29, 1988-February 10, 1989; and The Stedelijk Museum, Amsterdam, March 5, 1989-May 29, 1989, pp.
66-72. [Exhibition catalogue].Searle, J. R. (1975) A Taxonomy of Illocutionary Acts, Minneapolis, MN, University of Minnesota Press [Online]. Available at hdl.handle.net/11299/185220 (Accessed 30 January 2019).
Sturken, M. (1997) ‘Reenactment, Fantasy, and the Paranoia of History: Oliver Stone’s Docudramas', History and Theory: Studies in the Philosophy of History, vol. 36, no. 4, December, pp. 64-79.
Vakar, I. and Mikhienko, T. (2015) Kazimir Malevich: Letters and Documents, Memoirs and Criticism, 2 vols., London, Tate Publishing.
von Geldern, J. (1993) Bolshevik Festivals, 1917-1920, Berkeley, CA, University of California Press [Online]. Available at publishing.cdlib.org/ucpressebooks/ view?docId=ft467nb2w4& (Accessed 30 January 2019).
Zizek, S. (2002) ‘A Plea for Leninist Intolerance’, Critical Inquiry, vol. 28, no. 2, Winter, pp. 542-566.13