Austin, R. & Devin, L. (2003). Artful making: What managers need to know about how artists  work. Upper Saddle River, NJ: Prentice Hall.

Bugden, E. (2016). Hybrid practices: Artist run spaces and money. In G. Amodeo (Ed.), Assay/essay:Artist run in Aotearoa New Zealand. (pp. 53-57).Wellington, New Zealand: Self published with Enjoy Public Art Gallery and The Chartwell Trust

Bathurst, R. J., & Monin, N. (2010). Shaping leadership for today: Mary Parker Follett’s aesthetic. Leadership, 6(2), 115­­–131.

Daudelin, M. W. (1996). Learning from experience through reflection. Organizational      Dynamics, 24(3), 36-48.

Dryburgh, E. (2014, December 17). Gloria: The dame of Wynyard Quarter [Blog post].  Retrieved from

Follett, M. P. (1949/1987). The essentials of leadership. In L. Urwick (Ed.), Freedom and co-ordination: Lectures in business organization (pp. 47–60). New York, NY: Garland Publishing.

Goleman, D. (2000). Leadership that gets results. Harvard Business Review, 78(2), 78–90.

Gordon, J. (2016). Is everything wrestling? Retrieved from

Hurrell, J. (2013, October 25). Venue as artistic persona. Retrieved from

Peterson, R. A. (1986). From impresario to arts administrator: Formal accountability in nonprofit cultural organisations. In P. J. DiMaggio (Ed.), Nonprofit enterprise in the arts: Studies in mission and constraint (pp. 161­–183). Oxford, England: Oxford University Press.

Schiller, H. I. (1989).  Culture, Inc.: The corporate takeover of public expression. New York, NY: Oxford University Press.







A man of his word (2013, Autumn). Art news New Zealand. 80-91

Berger, J. (2008). On drawing (third ed.). Cork, Ireland: Occasional Press.

Bergson, H. (2001). Time and free will: An essay on the immediate data of consciousness. [Kindle DX edition]. Retrieved from:

Beshty. W. (2015). Lesson: Notes for an introductory lecture. In R. Morill (Ed.), Akademie X. (pp. 14-27). London , England:  Phaidon.

Bhana, B. (2012). Bepen Bhana: Boom! Boom! Deluxe. [Exhibition catalogue]. Auckland, New Zealand: Papakura Art Gallery.

Bishop, C. (2004). Antagonism and Relational Aesthetics. October 110, Fall 2004.

Bourriaud, N. (1998). Relational aesthetics. Dijon, France: Les Presses Du Reel.

Bradley, F. (2011) Introduction. In F. Bradley (ed.) Ingrid Calame: Trace. (pp. 20-21). The Fruitmarket Gallery. Edinburgh, Scotland.

Calame, I., Roberts, S., Bradley, F. & Mclean, E. A conversation between Ingrid Calame, Shelby Roberts, Fiona Bradley and Elizabeth McLean. (2011). In F. Bradley (ed.) Ingrid Calame: Trace. (pp. 60-65). The Fruitmarket Gallery. Edinburgh, Scotland.

Clarke, R. (2012). A natural history of ghosts: 500 years of hunting for proof. Particular Books: London, England.

Coleman, G. (2012). Our weirdness is free. May No.9, June 2012.

Cordon, G. (2014) John Berger: About time . Retrieved from:

Davidson, V. (2014).Mail art as “A necessary necessity”:Edgardo Antonio Vigo’s writings, 1975-1981. Retrieved from:

Dillon, B. (2011) Constellated. In F. Bradley (ed.) Ingrid Calame: Trace. (pp.40-42). The Fruitmarket Gallery. Edinburgh, Scotland.

Evans, M., & O’Loan, O. (1999). Alternating steady state in one-dimensional flocking. Journal of Physics A: Mathematical and General, 32, (8).

Lehan, J. (Ed.) (2009).  Thomas Ruff jpeg. New York, NY: David Zwiner, & Aperture Foundation. * Co-published.

Marcin, M. (2013). Mail Art from Mexico (via the world): An erratic investigation. Retrieved from:

MoMA. (2013). Poema colectivo: Revolución and the international mail art network. Retrieved from:

Morgan, J. (2009) BBC news: Locust swarms ‘high’ on serotonin. Retrieved 11 February 2013, from:

Neumaier, O. (2004). Space, time, video, Viola. In C. Townsend (Ed.), The art of Bill Viola. (2004). (pp. 46-71). London, England: Thames & Hudson.

O Riordan, J. (2011) Bill Hicks rant in e-minor(full). Retrieved 11 February 2013, from:

Pitcher TJ and Parish JK (1993) Functions of shoaling behaviour in teleosts In: Pitcher TJ (ed) Behaviour of teleost fishes. Chapman and Hall, New York, pp 363–440

Piedmont-Palladino, S. (Ed.).(2007). Tools of the imagination. New York, NY: Princeton Architectural Press.

Stewart, S. (1993). On longing: Narratives of the miniature, the gigantic, the souvenir, the collection. Durham, NC: Duke University Press.

Swarm behaviour. (2013, February 1). In Wikipedia, The Free Encyclopedia. Retrieved 12 February, 2013, from

Syjuco, S. (2015). Lesson: A redactive pedagogy (a letter from the field). In R. Morill (Ed.), Akademie X. (pp. 284-295). London , England:  Phaidon

The Hicks Family. (2013). Retrieved 11 February 2013, from:

Townsend, C. (Ed.). (2004). The art of Bill Viola. London, England: Thames & Hudson.

Turkle, S. (Ed.) (2007) Evocative objects: Things we think with. Cambridge, MA: MIT Press.

Turkle, S. (1995). Life on the screen: Identity in the age of the internet. New York, NY: Touchstone

 Vigo, E., & Zabala, H. (1975). Arte-correo: Una nueva forma de expresión (mail art: A new form of expression). Retrieved from:

Vitamin P: New perspectives in painting. (2002). New York, NY: Phaidon

Vitamin P2: New perspectives in painting. (2011). New York, NY: Phaidon

Wainwright, J. (2004). Telling times. In C. Townsend (Ed.), The art of Bill Viola. (2004). (pp. 110-123). London, England: Thames & Hudson.

Walker, M. (2010). BBC news: How starling flocks create their aerobatic displays. Retrieved 11 February 2013, from:

Warhol, A. (1975). The philosophy of Andy Warhol. London, England: Penguin Books

Weschler, L. (1995). Mr. Wilson’s cabinet of wonder: Pronged ants, horned humans, mice on toast, and other marvels of jurassic technology. New York, NY: Pantheon Books.


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s