EVOLUTION IS MIGHTY GRUELIN’
A Project
Presented to the faculty of the Department of Art
California State University, Sacramento
Submitted in partial satisfaction of
the requirements for the degree of
MASTER OF ARTS
in
Art Studio
by
Leslie Kristine Philpott
SPRING
2012
EVOLUTION IS MIGHTY GRUELIN’
A Project
by
Leslie Kristine Philpott
Approved by:
__________________________________, Committee Chair
Thomas Monteith, M.F.A.
__________________________________, Second Reader
Andrew Connelly, M.F.A.
____________________________
Date
ii
Student: Leslie Kristine Philpott
I certify that this student has met the requirements for format contained in the University
format manual, and that this project is suitable for shelving in the Library and credit is to
be awarded for the project.
__________________________, Graduate Coordinator
Andrew Connelly, M.F.A.
Department of Art
iii
___________________
Date
Abstract
of
EVOLUTION IS MIGHTY GRUELIN’
by
Leslie Kristine Philpott
The question was: what is art to me? Is it possible to create art that is truly my
own? After serious commitment to the act of painting and drawing, I investigated what
art means to me. Close examination of my interests in society, culture and the natural
world revealed what motivates me.
I discovered the nature of art and a process for making it.
_______________________, Committee Chair
Thomas Monteith, M.F.A.
_______________________
Date
iv
TABLE OF CONTENTS
Page
List of Figures .............................................................................................................. vi
INTRODUCTION ...................……………………………………………………….1
What Drove Me Here .............................................................................................1
YEAR ONE ...................................................................................................................3
Crucial Discovery Number One ............................................................................ 5
Another Revelation .................................................................................................8
SUMMER BREAK AND SEMESTER THREE........................................................ 14
SEMESTER FOUR .................................................................................................... 19
CONCLUSION ........................................................................................................... 27
Bibliography ............................................................................................................... 28
v
LIST OF FIGURES
Page
1.
Pam ...................................................................……………………………… 5
2.
Moonshadow ..................................................................................................... 7
3.
Untitled ............................................................................................................. 9
4.
Untitled 02 .......................................................................................................10
5.
Untitled 03 ...................................................................................................... 11
6.
Green............................................................................................................... 13
7.
Untitled 04 ...................................................................................................... 15
8.
I-80 .................................................................................................................. 16
9.
Untitled 05 ...................................................................................................... 17
10.
Untitled 06 ...................................................................................................... 18
11.
Moonshadow 02 ...............................................................................................20
12.
Moonshadow 03 .............................................................................................. 21
13.
WSRW ............................................................................................................. 22
14.
WSRW-2c ........................................................................................................ 24
15.
Untitled 07 ...................................................................................................... 25
vi
1
INTRODUCTION
What Drove Me Here
Early in 2010, I started wondering about what I had accomplished up to that point
and what I wanted to do next. Almost 20 years earlier, in 1991, I graduated from UC
Davis with a degree in studio art, and even with degree in hand I was left with the
understanding that I did not know what art was. I had a sense of what it was, and I could
recognize it when I saw it, but a true understanding of what art was as created by me was
elusive and continued to be so, even though I worked at my craft consistently.
During the years since 1991, I continued to paint but did not really know why. I
certainly loved what I was doing, and appreciated the positive feedback from other
painters and those who were interested in my work. I sold paintings at community events
and art shows and I was the recipient of a couple of Awards of Merit at the California
State Fair Fine Arts competition, but I did not feel fully satisfied. Technically my art
passed as art. People saw it and understood the place that it came from and the context
that it lived in. I knew what I liked to paint–landscapes–and I knew what I liked to draw
the figure in an environment, but I did not understand where I belonged in my work. I
loved and admired the work of John Singer Sargent, Edvard Munch and Richard
Diebenkorn but I did not know how to make my own work. I was painting what was there
before my eyes, but something was missing and at a certain point, I had to admit that I
could not discover what that was by myself. I needed to break away from what I was
familiar with. I decided to go back to school to see if I could find out what the missing
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essential elements might be, to truly discover what art was and if I was capable of being
considered an artist.
3
YEAR ONE
I came to the Fall 2010 semester thinking that at least I understood the technique
involved in painting and that these classes would not be too difficult. It turned out,
however, that the confidence in my technical skills was overly positive in this regard:
even the basics that I thought I knew were questioned. For example, it was immediately
brought to my attention that the way I set up my painting table and easel was inefficient.
Why, if I was right-handed, was my table on the left side? I also discovered that I had
developed some bad painting habits over the years and I was made aware of these
shortcomings. For instance, I was made aware of my lack of attention to color and light.
For any painter, it is self-evident that seeing color in the environment is important
because the color relationships are much more intricate and obscure than can be invented.
These relationships would become important for me to draw on later when I needed them
in the studio. Likewise, observing light and how it behaves was what helped my work
achieve dimension and later it became helpful for me to understand how to move the eye
through the work. Unlike working in an open studio setting outside of school where I was
quite comfortable and people were supportive, I suddenly felt like a beginner, unsure of
what I was doing. I did not understand at the time how necessary it was to accept this
disorientation to open myself up to the process of learning at a level I had never
experienced before.
Another problem I discovered was this: my mission to learn whether I had both
the intellectual and emotional skills needed to be considered an artist was going to
involve a lot of talking about my work and the work of others, a sickening discovery, as I
4
have always been hindered by a distinct inability to articulate my thoughts. In both
graduate critique and painting, these basic skills were absent, and I regret, never fully
developed.
While working to strengthen the observational skills in class, I was also being
challenged during studio visits. The most common and regularly asked question was
“why,” meaning–what is the purpose behind my paintings? The answer was elusive and
the result was panic, which led to fervent painting activity and several paintings going off
in different directions.
5
Crucial Discovery Number One
During this first semester, I made an important discovery while painting my sister
reading in her backyard (fig. 1). In retrospect, this painting proved very valuable though
it did not seem so at the time. The problem I had proposed for my independent study was
the figure in a landscape. However, the real problem was this: I enjoyed the act of
painting all of the elements in the scene and I enjoyed trying to capture the light and color
but ultimately the final piece captured little interest. I tried to paint it larger but this time
even the very act of painting was unsatisfying–it felt like a chore. I was struck by the fact
that the process of making a painting was much more rewarding than my level of
satisfaction with the end result. I was focusing on color, light, and perspective, which I
thoroughly enjoyed, without a deeper understanding of what was being painted. I painted
it because it was there, not because it meant anything. Clearly, something was missing.
Figure 1, Pam, 2010, 12 x 16, oil on paper
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With the coming end of the semester and the end-of-the-year review, I did not feel
close to developing an understanding of the “why” even though confidence was growing
in regards to the “how,” as this was linked to the level of confidence in my observational
skills, which I worked on daily. The “why” was still a serious problem, but at least now I
recognized the lack of an intellectual understanding of what art might be for me. I
recognized that there was much more for me to learn.
Toward the end of this first semester, I made a painting that was more compelling
than the one of my sister in her backyard, because it involved a change in my original
idea, which turned out to be new territory for me. It was a painting of my house looking
up from the bottom of a hill (fig. 2). This vantage point seemed to offer some element
that I did not recognize in work from earlier in the semester. This painting was more than
simply a study of color and light. In particular, a sense of foreboding seemed to permeate
the scene. This came perhaps from the angle or the gloomy sky and the trees obscuring
part of the structure. The building, perched along the top of a slope, seemed abandoned
and lonely. In this painting, figure in the landscape, the original independent study intent
was replaced by something else, something not quite definable and yet compelling. What
it meant, that the figure had fallen out of the painting altogether, led to a different line of
inquiry. Perhaps this new subject matter–the structure in a rural setting–was offering
more to work with than the figure in the landscape. All of a sudden, here was a painting
that actually seemed to work in an interesting way. At this stage, recognition of, and an
attention to the end result of my work, and not just the act of creating it, was beginning to
take hold.
7
Figure 2, Moonshadow, 2011, 20 x 30, oil on canvas
Even though I felt some confidence in my paintings and what I was learning, the
end-of-the-semester review came along and caused me to doubt everything. This review
convinced me that all of my work was bad, even the paintings I was pleased with.
Desperate to find a means that would allow me to create a body of work that I could be
confident with, I wondered if perhaps I should do something different but familiar–
drawing. Over the winter break, I decided to draw the paintings that interested me most to
try to find out what it was about them that I cared about.
8
Another Revelation
Something happened early on in the spring semester graduate critique class–the
posing of a simple question that proved to be pivotal and crucial to my development as an
artist. We were asked what our personal interests were. I had never volunteered my own
thoughts or ideas in a class before. I had my interests but never brought them out in
public. I recognize now how important this was to my understanding of art. My ideas
were what was missing. I went home to seek out the ideas of others who interested me
and found them in literature. One of these books was a novel by Haruki Murakami, Hard
Boiled Wonderland and the End of the World, the source of the title for this thesis. This
novel was split into two stories that ran parallel throughout and finally became complete
in the end. I was interested in the dual nature of this storytelling. Thinking about
storytelling, I was reminded of a film I wanted to see, Nim Chimpsky, which raised
questions about nature vs. nurture. I thought the film might examine a question I have
often wondered about. What is it that motivates human and animal behavior and why do
people try to manipulate what cannot be controlled. Finally, during this semester there
was a group show in the library gallery of the work of several Chinese artists. I was
excited about the work by Li Manjin. I wanted to discuss her painting and why this piece
worked the way it did. I wondered how she had made it so successful. There was a
wholeness about it that I wanted to understand, and I started to think about what I wanted
to do in my own work.
Some serious reflection over Li Manjin’s work–its context and meaning, its sense
of wholeness–led to my first attempt at trying to paint the sense of existing in two places
9
at once. The result–two of the paintings shown here of my living room, looking out and
looking in–were not great pieces, but they were a step in the right direction (Fig. 3 & 4).
In one painting, it seemed that I knew what I wanted to do, though I had to struggle with
my skills to support the idea it was trying to convey (Fig. 3). I tried several different ways
of approaching this idea–large acrylic paintings, tiny oil paintings and very large
drawings–but the success remained elusive. Even though these works were unsuccessful,
they did help me feel that I now had a purpose, and the act of combining technique and
contemplation did much to benefit future work.
Figure 3, Untitled, 2011, 20 x 30, acrylic on paper
10
Figure 4, Untitled 02, 2011, 12 x 16, oil on paper
During the last month of the second semester, it was becoming evident that all of
the parts were beginning to come together, and with that cohesion came an understanding
of how all of the parts of the work itself were important to the whole–the idea, the
material, the process, and the finished piece. Loren Eiseley, with whom I had become
reacquainted during the dog days of my first semester, describes this experience best:
Beautiful, angular and bare the machinery of life will lie exposed, as it is
now to my view. There will be the thin, blue skeleton of a hare tumbled in
a little heap, and crouching over it I will marvel, as I marvel now, at the
wonderful correlation of parts, the perfect adaptation to purpose, the individually
vanished and yet persisting pattern which is now hopping on some other hill.
Loren Eiseley was an anthropologist and writer who wrote about time, his
wanderings in nature and the flow of a river. His work was a source of calm during
stressful times, along with another source of calm–the North Fork of the Cosumnes
River. Searching for a direction in my work, and drawing upon Loren Eiseley for
inspiration, I decided to draw something that I loved–the river. One day, I was thinking
11
about times when I had run down to the river in the evening. The day growing dark and
the mood becoming spooky after the sun tips over the horizon. I wanted to recreate this
mood in a drawing. It seemed that both parts, the charcoal drawing of the rocks and the
ground, were of equal importance. The colored ground would set the mood of the piece.
After the sun goes down, the remaining light on the granite and the way this color retains
a quality of light required a certain kind of blue with a flat finish for the ground. The
ground was made up of house-paint, acrylic paint and charcoal. During the process of
drawing, two bird shapes came into the work (Fig. 5). This drawing was something I
created after observing the rocks. These rocks suggested more than geologic layering,
perhaps a layering of space, and time and questions about where we fit into this world of
rocks, rivers and silhouetted shapes.
Figure 5, Untitled 03, 2011, 30 x 48, charcoal on painted paper
12
A similar, but much stronger, and ultimately much more significant concept came
to me on my way home from the studio one day in early spring. I was struck by a sight
while driving over the one-lane Bucks Bar Bridge that crosses the Cosumnes River. I was
overcome by the sense that I was experiencing everything all at once: color, space and
time. A familiar and yet entirely new world seemed to exist. The whole canyon was
green, the trees were green, the water was green, and in that instance, even the sky looked
a brilliant spring green. Since green had been overwhelming in this moment, I began the
next drawing by making a ground of green. After getting the right green on paper, I used
charcoal to draw what I felt I had seen (Fig. 6). By paying close attention to the actual
process of drawing this piece, I felt like I lost myself in it–in fact, I felt that I was a bird
flying in the green world. This drawing experience made me realize I was putting more
into the image–my emotional reaction of awe and wonder.
Things were starting to make sense to me at this point. My choice of green, the
choice of charcoal, the drawing of the piece and appearance of a bird frozen in time all
felt like pieces to the puzzle coming together.
13
Figure 6, Green, 2011, 48 x 60, charcoal on painted paper
14
SUMMER BREAK AND SEMESTER THREE
Over the summer, work on these drawings pointed toward a further exploration of
the sensations experienced in this environment. The Cosumnes River is young, as far as
rivers go, and its complexion changes dramatically as it flows into the valley, where it
becomes a refuge for wildlife. I spent a lot of time during the summer thinking about this
source of inspiration. One day during a hike down into the canyon, I was surprised to
startle an egret. This bird seemed so out of place among the rocks. I realized then how
little I was aware of what goes on around me. The rhythm of the river, and reflections of
the water on the rocks made me think about a rhythm in my drawings. I also thought
about the people who stood here before me over the years. After these explorations, I
went back to the studio and worked on drawings. After completing several drawings, I
researched Miwok mythologies and thought about this shared human experience. There
was a similar imagery in these mythologies and I recognized something familiar in my
work.
As the next semester began, the last of these drawings began to develop paintinglike characteristics, which necessitated the abandonment of charcoal in favor of paint.
The process of drawing felt limited–I could not work as quickly as with a paintbrush. The
drawing below, for example, suggests a clashing of sky and earth, like a stormy upheaval
(Fig. 7). During the making of this piece, I moved the charcoal around with a brush and
ultimately got out the black paint. It felt like I was breathing new life into the work by
15
using the paintbrush and decided I wanted to get back to using more color; I needed color
to express more of what I wanted say.
Figure 7, Untitled 04, 2011, 48 x 60, charcoal on painted
paper
I started to realize that I needed to have an understanding of technical skills, a
curiosity and engagement with the world, and the involvement of my emotions to create
something that felt complete. I found I wanted the paintbrush and a full-color palette to
replace the charcoal. On-site paintings became the sources for more paintings. In this
case, the painting below, I-80, which was done on-site, was an important painting for me,
as it was a source and inspiration for several paintings that followed (Fig.8). One thing
16
that carries through in the studio paintings from the paintings started in the field are the
observations of light and color. There is a rhythm that is set off using light and color, and
it feels built into this panoramic format, and this becomes an important part of the work,
moving the viewer through the painting. Other important elements, such as repeated
shapes, places under bridges, or interesting angles engage my curiosity.
Figure 8, I-80, 2011, 12 x 36, acrylic on panel
The method of using yellow, white, and black as a way to reinterpret what was started
in the field contributed to the excitement of creating this painting. It did seem a little
strange that after painting outside with a full palette, the studio version of the same scene
had to rely upon only three colors. However, the use of this particular color idea really
opened up some paths for me and allowed the piece to say more with these paintings
done in the field. (Fig. 9) The intent was for this color scheme to take me to another
realm, be it a dream-like world, a luminous nostalgic world, or an eerie place that seemed
like a lost world. This strange color combination of yellow, white and black seemed to
intensify the contrast within the painting–the natural world on the left and the man-made
world on the right. This theme of contrasting worlds, natural and man-made, originated
17
around the end of the first semester, and was seeping back in, but this time the foundation
upon which it stood was much more stable.
Figure 9, Untitled 05, 2011, 12 x 32, acrylic on paper
I understand now, when an image interests me, or has some kind of emotional impact,
I should continue working with it in the studio. I was compelled to paint this image again.
I have learned that there is often a metamorphosis of the image when it is repeated over
and over again, and relationships that I would not consciously recognize are revealed to
me in later work. The large piece, Untitled 06, began as one of two sides of a larger piece
–two panels side by side (Fig. 10). One side was full color, while the other side was not.
My interest in the dual nature of things–as observed, studied and exposed in the writings
of Haruki Murakami and Loren Eiseley, as well as seen in the field and in the studio–was
resurfacing, and I was trying to find a way to use it in my work. In this work, Untitled 06,
it was important to maintain a separate identity for each panel, to have two versions of
the same world existing side by side (Fig. 10). There was no intent to create each side as
a reflection of the other, but this was the interpretation that some people walked away
18
with, and it became necessary to separate the two paintings and make them exist on their
own. That said, the dual and related nature in both of these panels had to somehow come
together in the same painting. The task remained to discover a way to master this
challenge. In this piece, as it stands, the right side is rooted in an intensity of color that
the left side lacks. On the right, dark comes down from above, adding a greater contrast
which illuminates the sky, and gives it dimension. The world on the left side vibrates and
dissipates into a flattened sky or by contrast, the brush strokes appear to grip the ground.
A silhouette on the right wanders off toward the dark shrubs, and the pink in the
foreground on the right side, gives it a softer feeling than the dark and ragged strokes on
the left. The attempt to join these two worlds in this work led me to further discoveries in
future paintings.
Figure 10, Untitled 06, 2012, 30 x 80, acrylic on closet door
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SEMESTER FOUR
During my last semester, I was introduced to and discovered the work of a
number of artists whose work and perspective influenced me, not necessarily my work
directly, but influencing my attitude. One was Jennifer Bartlett, who uses the landscape
and the materials in a way that I feel an affinity for. For her, as a way of working, “a
medium determines how something looks, and what it is.” Her pursuit of a “particular
kind of landscape in a multitude of artistic styles” (Lewallen, 1984) is an attitude that I
find very inspiring. Bartlett is not necessarily doing what I am in interested in, but I like
her work for the fact that she uses whatever style is necessary to communicate an idea in
an individual work. Alec Soth is another one of these artists I discovered during my time
here. In an interview in Fashion Magazine (Gili, 2007) he talks about the location where
he makes his photographs:
When I took pictures in Niagara or along the Mississippi, I was not really
documenting those places. There is so much I left out. Niagara has millions of
happy vacationing families and I didn’t photograph a single one. Likewise, I
refrained from photographing skyscrapers along the Mississippi. I created my
own Niagara and my own Mississippi.
This is important to me because he is speaking about the careful selection of his
location and subject matter. He is in a place but he makes the photograph his own by his
careful choice of who and what will be in it. In my paintings, the place does influence
the work but it is only the beginning.
.
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Figure 11, Moonshadow 02, 2012, 32 x 80, acrylic on closet door
In this final semester, I chose to use on-site paintings as a starting point for my
final body of work, and in Moonshadow 02 I explore the dual nature of two places,
creating an emotional tension between the two–near and far, man-made and natural,
using two different color ideas (Fig. 11). The subject matter for this painting was taken
from a painting I did in my first semester. It was the painting that first piqued my
curiosity–with the mystery of the angle, the distance and the almost voyeuristic
viewpoint. The on-site source painting incorporated the full-color palette, but the studio
version, a much larger piece, included yellow, as well as the colors from the source
painting to set the two worlds apart–the natural one that exists in the woods, and the
unnatural, man-made one on the hill. While combining these two ideas in the studio
another part of this painting revealed itself, namely, a new shape showing another
separation between two places.
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During the course of working on the painting in the studio, a curious thing
happened–a shadowy image appeared in the work in the foreground, an image that
reminded me of past fears and nightmarish situations, of being caught between two
places. It was an image that also made me think about how the past impinges on the
present. Further work on this piece gave rise to another image reminiscent of an
accidental reflection in a photograph. Sometimes, something unexpected shows up in a
photo–this was especially the case back in the day of negative photography. This made
me think about how something unexpected can appear and change everything in the
picture. I started my painting with an idea and let it evolve into something richer, with
more mystery, than I could have imagined.
Figure 12. Moonshadow 03, 2012, 29 x 80, acrylic on panel
Another painting begun this semester from this same location was created with
the idea of a dual tension happening between two places–the man-made where the viewer
is located and the natural in the distance (Fig. 12). I also used a painting from the
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first semester as a source for this piece. The remnants of a deck left in the woods can just
barely be made out in the right middle-ground of the piece. The original intent for this
painting, a color idea it shares with Moonshadow 02, became lost in the tangle of
branches that appeared as I worked over this image. As often happens–and this is not a
bad thing–my original intentions were not met. In the course of working on the painting,
two of the trees took on a figurative form, especially the dark tree on the right, reaching
out with pale branches determined to block the way to a field of color that was intended
as a relief from the yellow in the foreground. After being involved with this painting, I
stepped back to look at the tangle of brush strokes and scumblings of color that created a
rhythmic feeling of confusion.
Figure 13, WSRW, 2012, 32 x 80, acrylic on closet door
The painting, WSRW, exemplifies the results of allowing both the senses and
contemplation to have a say in the composition of the work (Fig. 13). It started from
another on-site painting. While studying it in the studio I decided I wanted to use these
23
arches as a passageway; this passageway can be seen as a passage of time, of season, of
place, or even space. The original painting of this place began with an emotional
connection to the place that I was in when I painted it. Painting under this bridge, I was
sheltered from the sun; it was cool and there was a rhythmic sound of the cars above.
This rhythm was irregular and operated in opposition to the rhythm of the arches in front
of me. When I took the on-site painting back to the studio, a rhythm appeared in the
background of the painting–a rhythm separate from the arches. These two places, the
arches and the background, are joined but retain their own life. The textures that separate
these places are also different. The arches have a feeling of roughness to them while the
vignettes between them are sometimes smooth and glassy, and sometimes wind-whipped.
The colors are seasonal with the pink on the left reminiscent of late winter-early spring
cherry blossoms, moving through to autumnal colors on the right. The arches in the
painting remind me of civilization–Roman, medieval, and strangely enough
contemporary societies. In particular, the vignette second from the right recalls a mosaic
frieze, a wind-tousled palm tree frozen in time–the colors Mediterranean. After I
completed this piece, I went on to further explore these arches in another painting.
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Figure 14, WSRW-2c, 2012, 30 x 80, acrylic on closet door
Drawing on inspiration from WSRW (Fig. 13) and my interest in the dual worlds
created within a single painting, I made WSRW-2c about the contrast between civilization
and the natural world (Fig. 13 & 14). I used two different color ideas to separate the
middle section of the painting from the two sides. The yellow in the center is luminous
and recedes into an indistinguishable shadowy distance. This yellow has a feeling to it, a
feeling of warm nostalgia, as the imagery disappears into the haze of the distance. On the
far left side of the painting the colors feel like blustery winter, while the colors on the
right are warmer and autumnal, with shrubs and trees that reveal the colors of changing
foliage. The structures in the middle exist in different vignettes and have different
horizon lines which separate them further. Again, I am reminded of Roman civilization
with the arches; these arches, penetrating the surface of the ground and water form with a
clean precision. These arches seem almost flat and metallic in places.
25
Figure 15, Untitled 07, 2012, 60 x 80, acrylic on two closet doors
Finally, I painted this image again as large as I could in my studio, wanting to give
these dual structures the monumentality that they deserved (Fig. 15). These two structures
reach up to the sky with an unnatural elongation. The color and light collects in the center
on the right and a garden appears. Even though a lot has changed in repeatedly painting
this image, the color and light from the original painting done in the field makes an
appearance again, giving this painting a drama that grows in a natural way. In the middle
of the figure on the right, a conical pine cone-like shape emerges. The form that this
glowing cone attaches to takes on a finer quality than the figure to the left. There is an
inherent difference between the two forms. If looking at this world from an
anthropological perspective, these forms would indicate sexual dimorphism–the
26
masculine and the feminine. The masculine side is dark and a part of the sky, while the
feminine side is full of color and light. Two circular forms appear below each figure, with
the left-side one melting into its surroundings. The right-side ring forms a strong edge
and rings a void. How odd it is to look at this work and find that, unknown to me, the
figure in the landscape has made a reappearance.
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CONCLUSION
In crafting this project, I learned a lot from the discoveries I made at CSUS. The
discovery arrived at by reexamining my abilities as a painter, and understanding that
maintaining the utmost diligence in my observance of the color and light around me, is
necessary to preserving the qualities that create drama and life in a work. Another
discovery was the light bulb that went on when I realized that I did indeed have ideas to
communicate and that I just had to find a means to communicate them. Finally, I
discovered I needed to open myself up emotionally in order to give the viewer an
understanding of my perspective on the world and our place in it.
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BIBLIOGRAPHY
Eiseley, Loren. 1959. The Immense Journey, New York: Vintage Books.
Frydman, Julian/Magnum Photos. 2007. “Marta Gili and Alec Soth in Conversation.”
Fashion Magazine. p. 12-13
Lewallen, Constance 1984. BAM/PFA, Jennifer Bartlett / Matrix 73,
(Accessed on: 4/22/12) URL: http://www.bampfa.berkeley.edu/exhibition/73
Murakami, Haruki. 1993. Hardboiled Wonderland and the End of the World, New York:
Vintage Books.