Bibliographie

Sharp, Georgia R. B. « O desenho técnico como instrumento de comunicação museológica: uma análise a partir do Museu Paulista da Universidade de São Paulo. » Interunit Graduate Program in Museology. Master’s Dissertation in Museology, University of São Paulo, 2026.

Carboni, Nicola. « Ontological patterns for modeling art exhibitions: An initial investigation ». In Metadata and semantic research, édité par Michalis Sfakakis, Emmanouel Garoufallou, Matthew Damigos, Athena Salaba, et Christos Papatheodorou, 256‑67. Cham: Springer Nature Switzerland, 2025.

Dekker, Annet, et Gabriella Giannachi. « Doing Documentation. Editorial », 2024. https://doi.org/10.25969/MEDIAREP/23001.

Dekker, Annet, et Gabriella Giannachi. Documentation as Art: Expanded Digital Practices. 1^re éd. London: Routledge, 2022. https://doi.org/10.4324/9781003130963.

Dekker, Annet. « The Tension between Static Documentation and Dynamic Digital Art ». In Documentation as Art, par Annet Dekker et Gabriella Giannachi, 16‑26, 1^re éd. London: Routledge, 2022. https://doi.org/10.4324/9781003130963-3.

Dekker, Annet, et Gabriella Giannachi. « The Qualities and Significance of Documentation », 2022. https://doi.org/10.25969/MEDIAREP/22285.

Giannachi, Gabriella. « The use of documentation for preservation and exhibition: The cases of SFMOMA, Tate, Guggenheim, MOMA, and LIMA ». In Documentation as Art. Routledge, 2022.

Lawson, Louise, Acatia Finbow, Duncan Harvey, Hélia Marçal, Ana Ribeiro, et Lia Kramer. « Strategy for the Documentation and Conservation of Performance ». Documentation and Conservation of Performance (March 2016 – March 2021), a Time-Based Media Conservation Project at Tate, Https://Www.Tate.Org.Uk/about-Us/Projects/Documentation-Conservation-Performance/Strategy-and-Glossary, 2021. https://www.tate.org.uk/about-us/projects/documentation-conservation-performance/strategy-and-glossary.

Barbut, Clélia. « Raconter la performance : l’entretien comme cadre pour la reprise et la transmission des performances. Entretiens avec Esther Ferrer et Nil Yalter ». Intermédialités, n^o 28‑29 (20 septembre 2017). https://doi.org/10.7202/1041081ar.

Pierre, Saurisse. « L’immobilité et ses failles dans la performance des années 1990 / Immobility and its Flaws in 1990s Performance Art », n^o 115 (2017): 12‑19. https://id.erudit.org/iderudit/84380ac.

Bardiot, Clarisse. « Video recording and documentation of the performing arts: from the annotation to the visualization of metadata, the example of the Rekall software », n^o 14 (2015): 159‑68. https://hal.science/hal-02338015.

Bénichou, Anne. « Exhibiting Performance Art: a Historiographical Laboratory? Hypermedia, Heterotopia, Repertory, and Parallax », n^o 3 (2015): 81‑96. https://thema.mcq.org/index.php/Thema/article/view/65.

Parcollet, Remi, et Léa-Catherine Szacka. « Écrire l’histoire des expositions : réflexions sur la constitution d’un catalogue raisonné d’expositions ». Culture & Musées 22, n^o 1 (2013): 137‑62. https://doi.org/10.3406/pumus.2013.1755.

Jim, Alice. « An Analysis and Documentation of the 1989 Exhibition Black Wimmin: When and Where We Enter ». RACAR : Revue d’art Canadienne / Canadian Art Review 23, n^o 1‑2 (1996): 71‑83. https://doi.org/10.7202/1073294ar.

Keijzer, Vincent de. « Tradition in documenting exhibitions ». Art Documentation: Journal of the Art Libraries Society of North America 15 (1996): 21‑23.

Knez, Eugene I., et A. Gilbert Wright. « The Museum as a Communications System: An Assessment of Cameron’s Viewpoint ». Curator: The Museum Journal 13, n^o 3 (1970): 204‑12. https://doi.org/10.1111/j.2151-6952.1970.tb00404.x.

Cameron, Duncan F. « A Viewpoint: The Museum as a Communications System and Implications for Museum Education¹ ». Curator: The Museum Journal 11, n^o 1 (1968): 33‑40. https://doi.org/10.1111/j.2151-6952.1968.tb00883.x.