Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 1

Samuel Beckett and/in Contemporary Art since the 1960s

1. Summary

2. Detailed Description

3. Knowledge Mobilization Plan

4. Expected Outcomes Summary

5. Team-Work Plan

6. List of References

1. Summary

1.1. 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 platform 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.

1.2. 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 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.

1.3. 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

Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 2

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 art professionals,

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

exchanges and collaboration between the above.

1.4. 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.

2. Detailed Description

2.1. 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).

2.2. 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 platform on ‘Samuel Beckett and/in Contemporary Art since

the 1960s’ aims at the systematic and comprehensive mapping of Beckett’s widespread presence in

Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 3

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.

2.3. 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).

2.4. 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

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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.

2.5. 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.

2.6. 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

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

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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.

2.7. 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.

2.8. 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.

2.9. 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. The project leader and/or team need not be the only

ones to carry out on-site research and thus travel globally. Local volunteers with the project can

become responsible for data validation. Moreover, art practitioners’ interviewing can also take place

via communication and information technology. The next step of the project consists in developing,

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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.

2.10. 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.

2.11. 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).

2.12. 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,

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

of Beckett works (Mitchell and Overbeck).

2.13. 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

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.

2.14. 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.

2.15. 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’

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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.

2.16. 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 – 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.

2.17. 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?

2.18. 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,

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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.

2.19. The Internet platform 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

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.

2.20. 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.

Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 10

3. Knowledge Mobilization Plan

3.1. 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.

3.2. 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.

3.3. 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 platform, 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.

3.4. 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

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

relevant to its scope.

3.5. 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.

4. Expected Outcomes Summary

4.1. 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.

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

but not only through its Internet platform 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.

4.3. 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, team members and

non-team participants involved in the development of the project will benefit from it in terms of

gaining various kinds of research and professional skills.

Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 12

4.4. 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.

5. Team-Work Plan

5.1. The team of researchers working on the project will be responsible for carrying out the following

tasks (N.B. the list below is not exhaustive):

- 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.

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

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

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

explained in the Detailed Description).

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

assessing the data.

- Database operation and/or creation.

- 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.

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

art discoursers) on their Beckett-related work/interest.

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

artists, writers, scholars, etc.

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

and social media, possibly also participation in website design and maintenance.

Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 13

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

contracts, event organization and publicity.

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

conferences, meetings or workshops.

- Travel for the purpose of exhibition research/organization.

- Publication of research findings.

- Mentor junior co-workers and volunteers on the project.

5.2. The project will be open, via its Internet component, to non-team members around the world

who want to volunteer with it. Volunteers will be responsible for some of the above tasks. Team

members and non-team participants in the project will have the opportunity to familiarize

themselves with many aspects of knowledge creation, mobilization and implementation.

6. List of References

6.1. 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.

Carla Taban || Samuel Beckett and/in Contemporary Art since the 1960s Page 14

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

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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 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).

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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. 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

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Eagleton, Terry. Literary Theory: An Introduction. 2nd Edition. Minneapolis/MN: University of Minnesota Press, 1996.

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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

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---. The Art of Art History. A Critical Anthology. New Edition. Oxford: Oxford University Press, 2009. 6.2. 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 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.

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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

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