References – FMP


ADAMS, Robert. 1996. Beauty in photography. New York: Aperture

BARASCH Moshe.  2011. Theories of Art (from Impressionism to Kandinsky). New York & Oxon: Routlege

BENJAMIN, Walter. 2008.  The Work of Art in the Age of Mechanical Reproduction (1936). Translated by J.A. Underwood. London:Penguin

BRIGHT, Susan. 2011. Art Photography Now. London: Thames and Hudson

COTTON, Charlotte. 2014. Photography as Contemporary Art. London: Thames and Hudson

COTTON, Charlotte. 2015. Photography is Magic. New York: Aperture

CREATIVEHUB. 2019. Selling art online 2019. London: Printspace

KANDINSKY, Wassily. 1977. Concerning the Spiritual in Art. Translated by MTH Sadler. New York: Dover Publications Inc

LEACH, Brenda Lynne. 2014. Looking and Listening, Conversations between Modern Art and Music. Rowman and Littlefield. Place of publication unknown. Available online at: (accessed 31/7/19)

MAKELA, Maria and BOSWELL, PETER. 1996. The Photomontages of Hannah Hoch. Minneapolis: Walker Arts Centre. Available online: (accessed 27/4/19)

NÉRET, Gilles. 2017. Malevich. Translated by Chris Miller. Köln: Taschen

ZAKIA, Richard D. 2002. Perception & Imaging. Woburn, USA: Focal Press


COSTELLO, Diarmuid. 2018. ‘What is Abstraction in Photography?’ British Journal of Aesthetics. 58 (4) 385-400.

HODGKINSON, Tim. 1986.  ‘An Interview with Pierre Schaeffer – pioneer of Musique Concrète’.  ReR Quarterly Magazine, vol.2, no.1. Available online at: (accessed 29/5/19)

JOHNSON, Melissa A. 2008.  ‘Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt.’ (Book review) Woman’s Art Journal, vol. 29, no. 1, pp. 49–52. Available online at: JSTOR, (Accessed 22/4/19)

OTTO, Elizabeth. 2009.  ‘A ‘Schooling of the Senses’: Post-Dada Visual Experiments in the Bauhaus Photomontages of László Moholy-Nagy and Marianne Brandt.’ New German Critique, no. 107, pp. 89–131. Available online at: JSTOR, (Accesssed 22/4/19)

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RESPINI, EVE. 2013. ‘New Photography 2012 – Shirana Shahbazi’. MoMA (online). Available at: (accessed 9/5/19)

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Figure 1. HAYASHI, Masumi.1995. Gila River Relocation Camp (panoramic photo collage with Fuji Crystal Archive prints). Prison photography (online). Available at: (accessed 24/1/19)

Figure 2: MARTIN, Mary. 1969. Perspex Group on Orange (B). Available at: (accessed 5/3/19)

Figure 3: MOHOLY-NAGY, László. 1923. Z IV. Oil on canvas. In WHITFORD, Frank. 1986. Bauhaus. London: Thames and Hudson

Figure 4: KANDINSKY, Wassily. 1923. Violet, colour lithograph. In WHITFORD, Frank. 1986. Bauhaus. London: Thames and Hudson

Figure 5: ITTEN, Johannes. c.1965. Spring. Screenshot from: ITTEN, Johannes: The meeting. 2010 . In Masterworks. [Online] Berlin: Arthaus Musik. Via Falmouth OneStop. (accessed 23/4/19)

Figure 6: ITTEN, Johannes. 1916. The Meeting. Oil on Canvas. Screenshot from WikiArt Visual Art Encyclopedia. (accessed 27/4/19)

Figure 7: BRANDT, Marianne. 1928. me ii. Photocollage. Screenshot from OTTO, Elizabeth. 2005 (reference above)

Figure 8: MALAVICH, Kazimir. 1912-13. Cow and Violin. Oil on canvas. In NÉRET, Gilles. 2017. Malevich. Köln: Taschen

Figure 9: HÖCH, Hannah. 1922. Dada. Collage. In Makela and Boswell, 1996. The Photomontages of Hannah Höch. Full reference above

Figure 10: SHAHBAZI, Shirana. 2011. Composition-22-2011. 2011. Chromogenic colour print. Screenshot from MoMa (online). accessed 9/5/19)

Figure 11: HÖCH, Hannah. 1922. Poesie. Collage with ink.  Screenshot from Makala and Boswell 1996. Full reference above.

Figure 12: Screenshot from Chronicle and Echo

Figure 13: Industry poster.  1923. Photomontage of Clichés of Household Arts by Jules-Louis Breton.  Gelatin silver bromide glass plate. At Rencontres D’Arles 2019.

Figure 14: Belin, Valerie.  2017. Lady_Stroke. Pigment print. At Rencontres D’Arles 2019.