Works cited in excerpts
Abel Morris, C. D. (1986) The slide: Image and object [Graduate thesis]. Albuquerque, NM: University of New Mexico.
Arnold. D. (2002). Facts or fragments? Visual histories in the age of mechanical reproduction. Art History 25, 450-468.
Berger, J. (1972). Ways of seeing (based on the BBC television series with John Berger). London: BBC and Penguin Books.
Binkley, T. (1997). The vitality of digital creation. Journal of Aesthetics and Art Criticism, 55 (2). Retrieved online July 9, 2004 from the University of Texas Library Online, Academic Search Premier Database.
Blaze, W. (2005). Single, song, mix, welcome to the curatorial era. Abstract Dynamics. Retrieved March 21, 2005 from http://www.abstractdynamics.org/archives/2005/01/08/ single_song_mix_welcome_to_the_curatorial_era.html “single, song, mix, welcome to the curatorial era”
Bourdieu, P. (1993). The field of cultural production: Essays on art and literature. Randal Johnson (Ed.). New York: Columbia University.
Crary, J. (1990). Techniques of the observer: On vision and modernity in the nineteenth century. Cambridge, MA: MIT Press.
Elozua, R. (2002). Stoveburner.com. Retrieved April 6, 2005: http://www.stoveburner.com
Fawcett, T. (1986). Graphic versus photographic in nineteenth-century reproduction. Art History 9, 187-212
Finnegan, C. (2001). The naturalistic enthymeme and visual argument: Photographic representation in the "skull controversy." Argumentation and Advocacy 37, 133-149.
Freitag, W. (1987). Art reproduction in the library: Notes on their history and use. In Weisberg, G., Dixon, L. and Lemke, A. (Eds.) The Documented image: Visions in art history (pp. 349-363). Syracuse, NY: Syracuse University Press.
Hamber, A. (2003). Photography in nineteenth century art publications. In Palmer, R. and Frangenberg, T. (Eds.) The rise of the image: Essays on the history of the illustrated art book (pp. 215-244). Burlington, VT: Ashgate Publishing.
Hults, L. (1996). The print in the western world: An introductory history. Madison, WI: University of Wisconsin Press
Ivins, W. (1969). Prints and visual communication. New York: DaCappo Press.
Keller, U. (2001). Visual difference: Picture atlases from Winckelman to Warburg and the rise of art history. Visual Resources 17, 179-199.
Malraux, A. (1949). Museum without walls (Psychology of Art, Vol. 1). S. Gilbert, Trans. New York: Pantheon Books.
Mitchell, W. (1992). The reconfigured eye: Visual truth in the post-photographic era. Cambridge, MA: MIT Press.
Roberts, H. E. (1994). Second hand images: the role of surrogates in artistic and cultural exchange. Visual Resources 9, 335-346.
Savedoff, B. (2000). Transforming images: How photography complicates the picture. Ithaca, NY: Cornell University Press.
Seiberling, S. (1998). Art market. In Kelly, M (Ed.) Encyclopedia of Aesthetics (pp. 141-147). New York: Oxford University Press.
Walsh, P. (2000). The Web, the milliennium, and the clerks of nostalgia: Effects of electronic media on visual studies. Thirtieth International Congress of the History of Art: Art History for the Milliennium: Time. Section 23: Digital Art History Time. Retrieved December 1, 2004 from http://www.unites.uquam.ca/AHWA/Meetings/2000.CIHA/Walsh.html