Henry Bond, Lacan at the Scene (Cambridge, Mass. : The MIT Press, 2009), p. 200, footnote 31; p.220. footnote 20. A snippet view is available on Google books.
Chris Townsend (ed.) Rapture: Art's Seduction by Fashion Since 1970 (London: Barbican Art Gallery/Thames and Hudson, 2002). Overview on Google books
Chris Breward & Edwina Ehrman (ed.) The London Look: Fashion from Street to Catwalk (Newhaven: Yale University Press, 2004); Overview on Google books
Julian Stallabrass, High Art Lite (London: Verso, 1999), p.133. The complete section in Stallabrass is on Google Books here [1]
Emma Dexter, "London 1990–2001." In, Iwona Blazwick (ed.) Century City: Art and Culture in the Modern Metropolis (London: Tate, 2001), p. 84. Snippet view available on Google books.
Jane Rendell, Art and Architecture: a place between (London: I.B. Tauris, 2006), p. 64. Snippet view available on Google Books.
Thierry Raspail (ed.) 3e Biennale de Lyon: installation, cinéma, vidéo, informatique (Paris: Seuil, 1995) p. 1950. Snippet view available on Google Books.
Bush, Kate. "Young British art: the YBA sensation", Artforum, June 2004, p. 91. Retrieved from findarticles.com, 14 March 2010.
Also see the comments on that issue made by David Brittain in his Obituary of fellow Creative Camera editor, i.e., David Brittain, "Peter Turner 1947–2005,"Afterimage, Sept–Oct 2005.
See, for example: Tony Naylor, "Thieves Like Us," [a story on anarchist group Decadent Action] The Face, 9/1997, p. 124–28. Facsimile available of p. 124–25Archived 5 March 2012 at the Wayback Machine; Siân Pattenden, "Fitter, happier, more productive?" The Face, 3/1998, p. 170–74. Facsimile available of p. 170–71Archived 5 March 2012 at the Wayback Machine.
Facsimiles of the pages on Bond's archive, i.e., Hirst (Issue 309, April–May 1991, pp. 2–3); Fairhurst (Issue 312, October–November 1991, pp. 2–3).
hints.hu
Nicolas Bourriaud, Relational Aesthetics (Dijon, France: les Presses du réel, 1998), p. 46. A pdf of relevant extract is available at Hints.hu
hwwilsonweb.com
vnweb.hwwilsonweb.com
See: Creative Camera issues 309/310/311/312. A comprehensive database of the magazine contents on hwwilsonweb.com (athens signin required).
Maureen Paley (ed.) On: Henry Bond, Angela Bulloch, Liam Gillick, Graham Gussin, Markus Hansen (London and Plymouth: Interim Art/Plymouth Arts Centre, 1992); also see Interim Art timelineArchived 11 October 2007 at the Wayback Machine
Ana Finel Honigman "Henry Bond in Conversation with Ana Finel Honigman,"Archived 27 September 2013 at the Wayback Machine Saatchi Gallery, 10 July 2007. To wit: "These relationships are discussed in detail in the text of my PhD thesis. They don't really function as brief anecdotes. If your interest is aroused, then please refer to the complete text."
Ana Finel Honigman "Henry Bond in Conversation with Ana Finel Honigman,"Archived 27 September 2013 at the Wayback Machine Saatchi Gallery, 10 July 2007. To wit: "These relationships are discussed in detail in the text of my PhD thesis. They don't really function as brief anecdotes. If your interest is aroused, then please refer to the complete text."
See, for example: Tony Naylor, "Thieves Like Us," [a story on anarchist group Decadent Action] The Face, 9/1997, p. 124–28. Facsimile available of p. 124–25Archived 5 March 2012 at the Wayback Machine; Siân Pattenden, "Fitter, happier, more productive?" The Face, 3/1998, p. 170–74. Facsimile available of p. 170–71Archived 5 March 2012 at the Wayback Machine.
Maureen Paley (ed.) On: Henry Bond, Angela Bulloch, Liam Gillick, Graham Gussin, Markus Hansen (London and Plymouth: Interim Art/Plymouth Arts Centre, 1992); also see Interim Art timelineArchived 11 October 2007 at the Wayback Machine
