Bibliographie

General books and monographs (selection)

100 Most Important Women Artists, Berlin (Germany), Taschen, 2000.
ASCOTT Roy, SHANKEN Edward A. [ed.], Telematic Embrace Visionary Theories of Art, Technology and Consciousness, University of California Press 2003, p. 93-94.
BROUDE Norma, GARRARD Mary D. [ed.], The Power of Feminist Art, New York (United States), H.N. Abrams, 1994.
CARTER Chris, GIBSON William, Art of the X-Files, London (United Kingdom), 20th Century Fox, 1999.
COTTINGHAM Laura, How Many Bad Feminists Does it Take to Change a Light bulb ? New York (United States), Sixty Percent Solution, 1994, [French version 2002].
DANTO Arthur C., Encounters and Reflections-Art in the Historical Present, New York (United States), Farrar Straus Giroux, 1990, p. 284-285.
GARCIA Miki [ed.], Now Entering Brooklyn, Public Art Fund Projects in Brooklyn, New York (United States), Public Art Fund, 2003.
INDYCH Anna, Julia Scher, Tell Me When You’re Ready, Works 1990- 1995, Cambridge, Mass. (United States), PFM Publ., 2002.
LOVEJOY Margot, Post Modern Currents, Art and Artists in the Age of Electronic Media, Upper Saddle River, N.J. (United States), Prentice Hall, 1997, P. 117, 233.
LYON David , Electronic Eye in the Sky, Minneapolis, Minn. (United States), Rise of Surveillance Society, University of Minnesota Press, 1994.
MaLLOY Judy [ed.], Women, Art & Technology, Cambridge, Mass. (United States), MIT Press, 2003, p. 21.
PARFAIT Françoise, Video, un art contemporian, Paris (France), Editions du Regard, 2001, p. 283-284.
PENLEY Constance, ROSE Andrew [ed.], Techno-Culture, Minneapolis, Minn. (United States), University of Minnesota, 1991.
RIEMSCHNEIDER Burkhard, GROSENICK Uta [ed.], Art at the Turn of the Millenium, Berlin (Germany), Taschen, 1999, p. 446-449.
RUSH Michael, Video Art, London (United Kingdom), Thames & Hudson, 2004
SCHNEIDER Caroline, WALLIS Brian [ed.], Julia Scher, Always There, New York (United States), Lukas & Sternberg Publ., 2002.
SOULILLOU Jaques [ed.], L’Impunité de l’Art, Paris (France), Editions du Seuil, 1995, p. 273-335.
WALLIS Brian [ed.], Art Matters, How the Culture Wars Changed America, New York (United States), New York University Press, 1999.


Exhibition catalogues (selection)

Auf eigene Gefahr = At your own risk, Frankfurt (Germany), Schirn Kunsthalle, 2003.
Aussendienst, Kunstprojekte in öffentlichen Räumen Hamburgs Mai 2000-Mai 2002, Hamburg (Germany), 2002.
Biennale di Venezia, Venice (Italy)
(C) Overt, Long Island City, N.Y. (United States), P.S.1 Contemporary Art Center, 1988.
Id-entity, Portraiture in the 21st Century, San Francisco, Calif. (United States), SF Camerawork, 2003.
Le choix des femmes, Dijon (France), Le Consortium, 1990.
Le principe de réalité, Nice (France), Villa Arson, 1993.
New Settlements, Copenhagen (Denmark), Nicolaj, Copenhagen Contemporary Art Center, 2001.
On patrol, Amsterdam (Netherlands), De Apple, 2005.
Orlando Museum of Art, Orlando, Fla. (United States), 2001.
Performance Anxiety, Chicago, Ill. (United States), Museum of Contemporary Art, 1997, p. 58-62.
Phantom der Lust, Visionen des Masochismus in der Kunst, Graz (Austria), Neue Galerie Graz am Landesmuseum Joanneum, 2003.
Présumés innocents, L’art contemporain et l’enfance, Bordeaux (France), capc, Musée d’art contemporain, 2000.
Roomates, Amsterdam (Netherlands), Museum van Loon, 1998.
Six feet under, Make Nice (Videobox), New York (United States), White Box, 2004.
The Art of detection, surveillance in society, Cambridge, Mass. (United States), MIT List Visual Arts Center, 1997.
The Walter Bar, New York (United States), 303 Gallery, 1993.
Vanessa Beecroft, Julia ScherHRISTOFORI Ralf, LYON David, GAUCZINSKI Helmuth, … Firewall, Münster (Germany), Ausstellungshalle ; Stuttgart (Germany), Württembergischer Kunstverein, 2004.
CRUZ Amada, NICKAS Robert, CONSEY Kevin E., Performance anxiety, Chicago, Ill. (United States), Museum of Contemporary Art, 1997.
CULLEN Kathleen, Technorama, New York (United States), Barbara Toll Fine Arts, 1992.
FROHNE Ursula A., LEVON Zekiyan Boghos, WEIBEL Peter [ed.], CTRL Space, Rhetorics of Surveillance from Bentham to Big Brother, Karlsruhe (Germany), ZKM, Zentrum für Kunst und Medientechnologie ; Cambridge, Mass. (United States), MIT Press, 2001, p. 286-291.
KÖNNEKE Achim, SCHMIDT-WULFFEN Stephan [ed.], Aussendienst, Kunstprojekte in öffentlichen Räumen Hamburgs Mai 2000-Mai 2002, Freiburg (Germany), Modo Verl., 2002.
RIDDELL Jennifer, DRUCKREY Timothy, The Art of Detection, Surveillance in Society, Cambridge (Mass.), MIT List Visual Arts Center, 1997.
SCHURMANN Wilhelm, Dirty Data, Aachen (Germany), Sammlung Schurmann, Ludwig Forum für Internationale Kunst, 1992.
WEIBEL Peter, Kontext Kunst, Graz (Austria), Neue Galerie Graz am Landesmuseum Joanneum, 1993.
WEINHART Martina, HEINZELMANN Markus [ed.], Auf eigene Gefahr = At your own risk, Frankfurt (Germany), Revolver-Archiv für aktuelle Kunst, 2003.


Articles and essays (selection)

BUNN Austin, « Machine Dreams », Time Out, n. 29, April 10-17, 1996, p. 106.
COTTINGHAM Laura, « The Feminist Continuum, Art After 1970 », The Power of Feminist Art / BROUDE Norma, GARRARD Mary D. [ed.], New York (United States), H.N. Abrams, 1994, p. 279.
DRUCKREY Timothy, « Julia Scher, Telephobic Modernity and the Ecologies of Surveillance », Art + Text, n. 54, May 1996, p. 50 –55.
HULTKRANS Andrew, « Danger Dirty Data », Artforum, September 1995, p. 74-77.
PAFLICK-HUBER Hannelore, « Julia Scher in Wunderland », netz.kunst, Nurnberg (Germany), Verlag für moderne Kunst, Jahrbuch 1998-1999, p.192-193.
ROUSE Dana E., « On the Lookout The Surveillance-inspired multimedia art of Julia Scher », Photo District News, March 2002, vol. 22, n. 3, p. 82.
SHERLINE Reid, « Securityland », Voyager, Week of June 3th, 1996.