References – FMP


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

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

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

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

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)

OTTO, Elizabeth. 2005.  ‘Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt.’ Available online at: (Accessed 25/4/19).


ACTNOW.ORG. 2019. ‘Training and Consultancy in Data Protection, Freedom of Information and Surveillance Law.’ ActNow Training (online). Available at (accessed 25th January 2019)

DATA PROTECTION UAS. 2018. ‘Use of photographs and video’. University of Oxford (online). Available at:// (accessed 25th January 2019)

HUGHES, David. 2019. ‘Bauhaus movement: why a Google Doodle celebrates the 100th anniversary of the German artschool today’. (Online). Available at (accessed 12th April 2019)

ITTEN, Johannes: The meeting. 2010 . In Masterworks. [Online]. Berlin: Arthaus Musik. Available from: [Accessed 22 April 2019].

MICHALLON, Clémence. 2019. ‘Bauhaus: five things you need to know about the influential German design movement. Independent (online). Available at: (Accessed 12/4/19)

PERREN, Claudia. 2019.  ‘Bauhaus the School of Modernism’. Google Arts and Culture (online). Available at: (accessed 14/14/19)

MIT.EDU. 1997.  ‘Synesthesia and the Synesthetic Experience’. MIT (online). Available at: (accessed 4th February 2019)

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

ROTH, Alan. 2007. Re/Collecting Memory. (Documentary) Available at: (accessed January 30th 2019)

GOODALL, Howard, 2017. Sgt. Pepper’s Musical Revolution. (Documentary). Available at: (accessed March 25th 2019)

ROWLAND, Anna. 2003. Itten, Johannes. Grove Art (online).  Oxford University Press 2019. Available at:<; (accessed 22/4/19)

TEMPO, TEMPO! The Bauhaus images of Marianne Brandt. International Centre of Photography 2006. Available online at:  (accessed 22/4/190

WIKIPEDIA. 2018. Martin Chateris, Baron Chateris of Amisfield. (online). Available at:,_Baron_Charteris_of_Amisfield (accessed 21/2/19)


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.