Westminster School of Arts

Chodzko, A., Ellard, G., Johnstone, S., Irvine, J., Orlow, U. and Panting, L. 2005. The trouble with talkies.

Carty, A. 2005. The distance and contemporaneity in exploring the practice of states: the British Archives in relation to the 1957 Oman and Muscat incident. Singapore Year Book of International Law. 9, pp. 1-11.

Campany, D. 2005. Glass camouflage: photography, objects and objectivity. in: Seelig, T. and Stahel, U. (ed.) The ecstasy of things: from functional objects to fetish in twentieth century photography Gottingen, Germany Steidl.

Shinkle, E. 2004. Boredom, repetition, inertia: contemporary photography and the aesthetics of the banal. Mosaic: a journal for the interdisciplinary study of literature. 37 (4), pp. 165-184.

Carty, A. 2004. Marxism and international law: perspectives for the American (twenty-first) century? Leiden Journal of International Law. 17 (2), pp. 247-270. https://doi.org/10.1017/S0922156504001815

Barnwell, J. 2004. Production Design: Architects of the Screen . London Wallflower Press.

Barsch, Barbara, Fischer, Ev, Qaṣ Ben-Šālôm, Yāʿēl., Orlow, Uriel, Stern, Heidi, Stih, Renata, Schnock, Frieder and Ury, Tanya 2004. "Stets gern für Sie beschäftigt ..." : [28. Januar bis 27. März 2005, ifa-Galerie Berlin]. IFA-Galerie Berlin.

White, R. 2004. Sign of a Black Planet: Hip-Hop and Globalisation. in: Davies, J., Campbell, N. and McKay, G. (ed.) Issues in Americanization and Culture Edinburgh University Press.

Bate, D. 2004. Surrealism, Communism and Photography. in: Evans, M. (ed.) Empire and Culture: Empire and culture: the French experience, 1830-1940 Palgrave Macmillan. pp. 57-70

Goddard, M. 2004. The Saragossa Manuscript. in: Hames, P. (ed.) 24 Frames: The Cinema of Central Europe London Wallflower Press. pp. 87-96

Moore, D. 2004. The Commons . London Velvet Press.

Goddard, M. 2004. Towards a Perverse Neo-Baroque Cinematic Aesthetic: Raúl Ruiz’s Poetics of Cinema. Senses of Cinema. 30 (4).

Goddard, M. 2004. The Fold, Cinema and Neo-Baroque Modernity. Traces: A Multilingual Series of Cultural Theory and Translation. 3, pp. 209-228.

Twomey, C. 2004. Heirloom.

Twomey, C. and Groom, S. 2004. Consciousness/concience. Tate Liverpool 25 May - 30 Aug 2004

Twomey, C. 2004. Consciousness/concience. in: Groom, S. (ed.) A secret history of clay: from Gauguin to Gormley Liverpool, UK Tate Liverpool in association with Tate Publishing.

Tabrizian, M. and Golding, A. 2004. The perfect crime. Elcano, Bilbao, Spain 19 May - 22 Jun 2004

Tabrizian, M. 2004. Beyond the limits: silent majority.

Tabrizian, M. 2004. Beyond the limits. London, UK Thames & Hudson.

Pucill, S., Hatfield, J. and Reynolds, L. 2004. The Question of the Subject and the Autobiographic in Artists Moving Image Practice. Filmwaves Magazine. 24 (2), pp. 5-9.

Orlow, U. and Maclennan, R. 2004. Re: the archive, the image and the very dead sheep. London, UK Double agents.

Orlow, U. 2004. A picturesque journey. Aine Art Museum, Tornio, Finland 06 Feb - 21 Mar 2004

Orlow, U. 2004. Mnemoscapes.

Orlow, U. 2004. Instead (dialogue with an absent friend). Danielle Arnaud contemporary art gallery 16 Jan 22 Feb 2004

Ingawanij, M.A. and MacDonald, R.L. 2004. The value of an impoverished aesthetic: the iron ladies and its audiences. Spectator: University of Southern California Journal of Film and Television Criticism. 24 (2), pp. 73-81.

Gray, R. and McQueen, A. 2004. Alexander McQueen in Fashion at Belsay. Belsay Hall, Northumberland 29 May - 30 Sep 2004

Carty, A. 2004. State and nation in the international law tradition: a history of French-German antagonisms and possible responses in the Spanish late medieval tradition. in: Stolleis, M. and Yanagihara, M. (ed.) East Asian and European Perspectives in the History of International Law Baden-Baden, Germany Nomos Verlag.

Carty, A. 2004. The Corfu channel case: and the missing admiralty orders. Law and Practice of International Courts and Tribunals: a practitioners' journal. 3 (1), pp. 1-35. https://doi.org/10.1163/157180301773732618

Burgin, V. and Campany, D. 2004. Los Lugares de Victor Burgin (o los placers de Vertigo a 9000 metros) / Locating Victor Burgin or Vertigo at 30000 ft. in: Ensayos Gustavo Gili. pp. 7-15

Bate, D. 2004. Voyeurism and portraiture. in: Mortensen, M., Anderson, C.R. and With, G. (ed.) Geometry of the face: photographic portraits Denmark National Museum of Photography. pp. 55-64

Bate, D. 2004. Bungled memories: Series of five photographs examining, through the conventions of the still life genre, the thesis that accidents are not necessarily 'accidents'.

Oppenheimer, J. and Cynn, C. 2003. The globalisation tapes.

Thompson, Shirley 2003. Summer notes.

Peters, T. 2003. Dissolving Boundaries: Possibilities and Challenges in British ceramic art. Ceramics in Society.

David Bate 2003. The truth of the colonies. in: Photography and Surrealism: Sexuality, Colonialism and Social Dissent Routledge.

David Bate 2003. Black object, white subject 1. in: Photography and surrealism: sexuality, colonialism and social dissent Routledge.

David Bate 2003. Fascism and exile. in: Photography and Surrealism: Sexuality, Colonialism and Social Dissent Routledge.

David Bate 2003. Sadness and sanity. in: Photography and Surrealism: Sexuality, Colonialism and Social Dissent Routledge.

David Bate 2003. The Sadean eye. in: Photography and Surrealism: Sexuality, Colonialism and Social Dissent Routledge.

David Bate 2003. The automatic image. in: Photography and Surrealism: Sexuality, Colonialism and Social Dissent Routledge.