[ Fig. 01 ] <i>Shelter</i> (video still), 1999.

Bibliography

Artist's Books
  • Cumming, Donigan. Kerr’s Suitcase. Montreal: Maquam Press, 2015, 166 pp.
  • Cumming, Donigan, and Matthieu Brouillard. Coming Through the Fog: Les rencontres de Matthieu Brouillard et de Donigan Cumming. Alma, QC, and Montreal: SAGAMIE Éditions d’art and FOFA Gallery, Concordia University, 2012, 64 pp.
  • Cumming, Donigan. Pencils, Ashes, Matches & Dust / Crayons, cendres, allumettes et poussières. Quebec City: Éditions J’ai VU, 2009, 24 pp.
  • Cumming, Donigan. Kincora. Montreal: Maquam Press, 2008, 37 pp.
  • Cumming, Donigan, and Peggy Gale. Lying Quiet. Toronto: Museum of Contemporary Canadian Art, 2004, 168 pp.
  • Cumming, Donigan. The Stage. Montreal: Maquam Press, 1991, 128 pp.
Artist's Projects
  • Donigan Cumming. Installation/Intervention, L’État d’urgence 09. Montréal, 2009.
  • Cumming, Donigan. “Untitled” from the series Kincora. “Alive: Artist Pages” in BlackFlash 26 (2008): 16a (centrefold).
  • Cumming, Donigan. “Untitled” from the series Kincora. In Cinematic Folds: The Furling and Unfurling of Images, ed. Firoza Elavia, 229-32. Toronto: Pleasure Dome, 2008.
Monographs
  • Cumming, Donigan, Robert Enright, Jeffrey Ladd, Albert Ross Smith. Donigan Cumming: The Stage. Books on Books no.19. New York: Errata Editions, 2014. 240 pp.
  • Tremblay, Élène. L’insistance du regard sur le corps éprouvé. Pathos et contre-pathos. Udine, Italy: Forum, 2013. 144 pp.
  • Choinière, France, cur. Donigan Cumming. Essay by Scott Birdwise. Montreal and Quebec City: Dazibao and VU, 2012. 92 pp. Catalogued on e-artexte.
  • Birdwise, Scott, ed. Splitting the Choir: The Moving Images of Donigan Cumming. Ottawa: Canadian Film Institute, 2011. 76 pp.
  • Birdwise, Scott. "Life Support : The Documentary Means Without End of Donigan Cumming” MA thesis, Carleton University, 2010. 108 pp.
  • Cumming, Donigan. Donigan Cumming: continuité et rupture/Continuity and Rupture. Paris: Centre culturel canadien / Ambassade du Canada à Paris, 2000. 24 pp.
  • Herzog, Hans Michael, ed. Pretty Ribbons. Zurich: Edition Stemmle, 1996. 132 pp.
  • Bogardi, Georges. Donigan Cumming: Reality and Motive in Documentary Photography III. New York: 49th Parallel, 1986.  
Solo Exhibitions Catalogues
  • Jenkner, Ingrid, ed. Donigan Cumming: Ex Votos. Essay by Jackie Davis. Halifax: MSVU Art Gallery, 2008.
  • Bédard, Catherine, cur. Donigan Cumming : La somme, le sommeil, le cauchemar. Essay by Catherine Bédard. Paris: Centre culturel canadien / Ambassade du Canada à Paris, 2006, 120 pp.
  • Coppock, Christopher, Karen MacKinnon, and Donigan Cumming, eds. Donigan Cumming: Gimlet Eye. Essay by Hugh Adams. Cardiff: Ffotogallery Wales, 2001. 72 pp.
  • Hanna, Martha, ed. Donigan Cumming: Barber’s Music / Donigan Cumming: Musique de barbier. Essay by Nicolas Renaud. Ottawa: Canadian Museum of Contemporary Photography, 1999. 10 pp.
  • Gingras, Nicole, ed. Donigan Cumming: Diverting the Image / Donigan Cumming: Détournements de l'image. Essays by Nicole Gingras and Patrick Roegiers. Windsor, ON: Art Gallery of Windsor, 1993. 85 pp. CD.
  • Langford, Martha, cur. Donigan Cumming: Reality and Motive in Documentary Photography / Donigan Cumming : La réalité et le dessein dans la photographie documentaire. Essays by Martha Langford and Robert Graham. Ottawa: Canadian Museum of Contemporary Photography, 1986. 78 pp.
Group Exhibitions and Festivals Catalogues
  • Imago Mundi – Great and North. Curated by Francesca Valente. Venice: Palazzo Loredan, 2018. Touring.
  • Photography in Canada 1960–2000 = La photographie au Canada 1960-2000. Essay by Andrea Kunard. Ottawa: Canadian Photography Institute, National Gallery of Canada, 2017.
  • Art contemporain du Québec: Guide de collection = Contemporary Art in Québec: A Guide to the Collection. Essays by Eve-Lyne Beaudry and Marie Fraser. Quebec City: Musée national de beaux-arts du Québec, 2016.
  • Cheveux chéris, frivolités et trophées. Curated by Yves Le Fur. Paris: Musée du quai Branly, 2012.
  • The Art of Caring: A Look at Life Through Photography. Essay by Cynthia Goodman. New Orleans, Louisiana, USA: New Orleans Museum of Art, 2009.
  • DARKSIDE, Part 1: Photographic Desire and Sexuality Photographed. Essay by Urs Stahel. Winterthur, Switzerland: Fotomuseum Winterthur, 2008.
  • Die Kunst des Alterns: Ein Leben Lang. Essay by Simon Marschke. Berlin: NGBK, 2008.
  • Territoires. Essay by Philippe Marcewski. Liège, Belgique: Musée d’Art Moderne et d’Art Contemporain, Biennale internationale de la Photographie et des Arts visuels de Liège, 2008.
  • Confluence: Contemporary Canadian Photography. Essay by Martha Hanna. Ottawa: Canadian Museum of Contemporary Photography, 2003.
  • The Bigger Picture: Portraits from Ottawa = Les mille et un visages d’Ottawa. Essay by Karen Love. Ottawa: Ottawa Art Gallery, 2003.
  • États des lieux: Atelier Donigan Cumming. Essays by Jean Perret and Marcy Goldberg. Nyon Switzerland: Visions du Réel, 2002.
  • The Power of Reflection. Essay by Martha Langford. Montreal: Saidye Bronfman Centre, 2001.
  • Confidences “Parce que c’était lui, parce que c’était moi”. Essay by Marie-Josée Jean. Luxembourg: Casino Luxembourg – Forum d’art contemporain, 2001.
  • Le cadre, la scène, le site. Essay by Sylvain Campeau et Mona Hakim. Mexico: Centro de la Imagen, 2002. Touring.
  • L’Image complice = The Knowing Image. Curated by Marie-Josée Jean. Montreal: VOX, centre de diffusion de la photographie, 2000.
  • Portraits intimes. Edited by Frits Giertsberg. Rotterdam: Foto Instituut of Rotterdam, 2000.
  • Immodest Gazes. Essay by Rosa Olivares. Barcelona: Fondació la Caixa, 2000.
  • World Without End. Essay by Judy Annear. Sydney: Art Gallery of New South Wales, 2000.
  • Exploding Cinema: Cinema Without Walls. Profile in catalogue. Rotterdam: 29th International Film Festival Rotterdam, 2000.
  • El cos, la llengua, les paraules, la pell: Artistes contemporains de Québec. Essay by Nicole Gingras. Quebec City and Barcelona: Musée du Québec et Centre d’art Santa Mònica de Barcelona, 1999.
  • Passage(s]: Le Fonds d’œuvres du CIAC. Montreal: Centre international d’art contemporain de Montréal for the Conseil des arts de la Communauté urbaine de Montréal, 1998.
  • The Cruel Machine. Profile and essay by Gertjan Zuilhof. Rotterdam: 27th International Film Festival Rotterdam, 1998.
  • Une aventure contemporaine, la photographie 1955-1995 : à travers la collection de la Maison européenne de la photographie. Curated by Dominique Baqué. Paris: Maison européenne de la photographie, 1996.
  • Obsessions: From Wunderkammer to Cyberspace. Edited by Bas Vroege. Enschede, Netherlands: Foto Biennale Enschede, Rijksmuseum Twenthe, 1995.
  • Morceaux Choisis du Fonds national d’art contemporain. Essay by Christine Macel. Grenoble: Centre national d’art contemporain de Grenoble, 1995.                                 
  • The Dead, Essays by Val Williams and Greg Hobson. Bradford, England, UK: National Museum of Photography, Film and Television, 1995. Touring: Horsens Museum, Horsens, Denmark; Saidye Bronfman Centre for the Arts, Montreal. A Prayer for Nettie, an installation of photography and video, nominated for the 1996 Citibank Private Bank Photography Prize.
  • The Body / Le Corps. Edited by Hans Michael Herzog. Bielefeld, Germany: Kunsthalle Bielefeld, 1994. Touring: Hausam Waldsee, Berlin.
  • Real Stories: Revisions in Documentary and Narrative Photography. Edited by Jan-Erik Lundström. Odense, Denmark: Museet for Fotokunst, 1992. Touring: Norrköpings Konstmuseum, Norrköping, Sweden; Aineen Taidemuseo, Tornio, Finland; Fotomuseum Winterthur, Winterthur, Switzerland; Museum Folkwang, Essen, Germany.
  • Beau: a reflection on the nature of beauty in photography = Beau: une réflexion sur la nature de la beauté en photographie. Edited by Martha Langford. Ottawa: Canadian Museum of Contemporary Photography = Musée canadien de la photographie contemporaine, 1992. Touring: Mois de la photo à Paris, Centre culturel canadien, Paris.
  • Strip-tease de l'intime. Curated by Gilles Dusein and Patrick Roegiers. Paris: Mois de la Photo à Paris, Galerie Urbi and Orbi, 1990.
  • Op-Positions: commitment and cultural identity in contemporary photography from Japan, Canada, Brazil, The Soviet Union and The Netherlands. Edited by Hripsime Visser and Bas Vroege. Rotterdam: Fotografie Biënnale 2 Rotterdam, Rotterdam, 1990.
  • Public Exposures: One Decade. Edited by Lorraine Johnson. Toronto: Photographers Workshop, 1990.
  • Culture Medium. Edited by Charlie Stainback. New York: International Center of Photography, 1989.                       
  • Mirabile Visu; la photographie 150 ans après. Curated and with an essay of Gaétan Gosselin. Quebec City: Les Centres d’artistes de Québec, 1989.
  • Faire Image: penser la photographie. Quebec City: Musée de la civilisation, 1989 (catalogue 1992).                        
  • Zones Critiques. Curated by Sophie Bellissent and Marcel Blouin. Montreal: Le Mois de la photo à Montréal, Maison de la Culture Mercier, 1989.
  • What is Photography? Prague: Manes Center, Union of Czechoslovak Creative Artists, 1989.
  • Power Plays: Contemporary Photography from Canada. Edited by Rob Powell. Edinburgh: Stills Gallery, 1989. Touring: Canada House, London; Ffotogallery Wales, Cardiff; Impressions Gallery, York; Posterngate Gallery, Hull, England; MacRobert Arts Centre, Stirling, Scotland; Duncan of Jordanstone College of Art, Dundee, Scotland; Eden Court Theatre, Inverness, Scotland.
  • Vivre Longtemps. Curated by Jacques Brault. Quebec City: Musée de la civilisation, 1988 (catalogue 1991).
  • Photographic Truth. Edited by Nancy Hall-Duncan. Greenwich, CT: Bruce Museum, 1988.
  • The Working Artist. Toronto: A Space, 1987. Touring.
  • Un si grand âge... Curated by Jean-Marc Vantournhoudt. Paris: Centre national de la photographie, 1987. Touring.
  • Document: Aspects of Canadian Life = Document: aspects de la vie canadienne. Exhibition brochure. Essay by David Barbour. Ottawa: National Film Board = Office national du film, 1983.
Video Collections
  • Correia, Luís, dir. Tão Perto/Tão Longe = So Close/So Far = Si Proche/Si Loin. Commissioned DVD collection. Lisbon: Lx | Filmes and Fundação Calouste Gulbenkian, 2009. Includes: Donigan Cumming, Monument, 2008.
  • Cumming, Donigan, Sylvie Roy, and Pierre Zovilé, dirs. Donigan Cumming: Controlled Disturbance. DVD. Montreal: Vidéographe, 2005. Includes: eight essays on Donigan Cumming’s video work.
  • Forget, Claude, dir. Continuité et rupture: 5 bandes de Donigan Cumming/Continuity and Rupture: 5 Tapes by Donigan Cumming. Montreal: Cinéma Libre, 1999.
Essays, Articles, Chapters, Interviews
  • Le Blanc, Florence. “Performer Proust : Locke’s Way de Donigan Cumming et La dernière bande de Samuel Beckett”. Babel: Littératures plurielles (Littératures et arts contemporains: l’hybridité à l’œuvre IV. Réécriture et intermédialité) 33 (2016) 197–211.
  • Gajan, Philippe. “Entretien avec Donigan Cumming”. 24 images 171 (2015): 25–28.
  • Hoël, Pascal. Une collection européenne de la photographie. Arles: Actes Sud, 2015. pp. 282–83, 382.
  • West, Alana. The Thames & Hudson Dictionary of Photography. Edited by Nathalie Herschdorfer. London: Thames & Hudson, 2015. pp. 113, 431.
  • Le Blanc, Florence. “Performer l’intime: le film Locke’s Way de Donigan Cumming.” Revue Chameaux 7 (2014).
  • Tremblay, Élène.  “Sensations of Dysphoria in the Encounter of Failing Bodies: The Cases of Karaoke by Donigan Cumming, Last Days by Gus Van Sant, and Drunk by Gillian Wearing.” Acta Universitatis Sapientiae, Film and Media Studies 7, no. 1 (2014): 127–139.
  • Renaud, Nicolas. “Le sourire édenté”. Hors champ, September 2012.
  • Hoolboom, Mike, and Donigan Cumming. “Reality and Motive in the Documentary.” In Practical Dreamers: Conversations with Movie Artists. Edited by Mike Hoolboom, 111–25. Toronto: Coach House Books, 2008.
  • Baconnier, Jean-Michel. “Autour du rire : Sur le travail de Donigan Cumming”. Au-delà du principe de l'art, 22 August 2007.
  • Langford, Martha. “A Forgotten Man.” Scissors, Paper, Stone: Expressions of Memory in Contemporary Photographic Art. Montreal: McGill-Queen’s University Press, 2007. pp. 57–74.
  • McFadden, J. J. Kegan. “You could tell me a story about something that has upset you a lot. Just try & remember it.” In Donigan Cumming: Episodic. Winnipeg: ace art inc., 2007. pp. 67–70.
  • Parr, Martin, and Gerry Badger. “Donigan Cumming. The Stage.” The Photobook: A History. Vol. 2. London: Phaidon, 2006. pp. 93, 117.
  • Renaud, Nicolas. “La différence et l’indomptable laideur : le récit biographique dans l’œuvre de Donigan Cumming”. Hors champ, January 2006.
  • Woodward, Kathleen. “Performing Age, Performing Gender.” National Women’s Studies Association Journal 18, no. 1 (2006): 162–89.
  • Hoolboom, Mike. “Reality and Motive in the Documentary: an interview with Donigan Cumming” mikehoolboom.com, 2006.
  • Enright, Robert. “Endgames: Donigan Cumming’s Subverted Narratives.” Border Crossings (Photography and Video Issue) 94 (2005): 20–31.
  • Koetzle, Hans-Michael. “Donigan Cumming.” Das Lexicon der Fotografen: 1900 bis heute. Munich: Veragsgruppe Droemer Knaur, 2003. pp. 100–2.
  • Campany, David. Art and Photography. London: Phaidon Press Limited, 2003. p. 56.
  • Howes, Jennifer. The Tragedy of Being: Geneviève Cadieux, Donigan Cumming, Evergon and Representation of Other Bodies, MA thesis, Carleton University, 2002.
  • Armour, Nicole. “The Comfort of Strangers: Donigan Cumming’s Videos.” Film Comment 37, no. 4 (2001).
  • Lion, Jenny, ed. Magnetic North: Canadian Experimental Video. Essay by Chris Straayer. Minneapolis and Winnipeg: Walker Art Center and Video Pool, 2000. pp. 272–87.
  • Berger, Sally. “Beyond the Absurd, Beyond Cruelty: Donigan Cumming’s Stage Realities.” In Lux: A Decade of Artists’ Film and Video, ed. Steve Reinke and Tom Taylor, 281–92. Toronto: Pleasure Dome, 2000.
  • Chin, Daryl, and Larry Qualls. “Stars Directing Our Fate: Millennium.” PAJ: A Journal of Performance and Art 64 (2000): 46–59.
  • Gattinoni, Christian. “Entretien avec Donigan Cumming.” ExpoRevue, 2000.
  • Cumming, Donigan and Nicolas Renaud. “Continuity and Rupture.” Off Screen 4, no. 2 (2000). Published in french in Hors champ, April 2000.
  • McLeod, Scott. “Posing Questions: Donigan Cumming’s Moving Stills.” Prefix Photo 1 (2000): 28–39.
  • White, Jerry.  “Donigan Cumming: The Future of Documentary Video, or the Lack Thereof.” Parachute 97 (2000): 28–33.
  • Mandolini, Carlo. “Continuité et rupture: 5 bandes de Donigan Cumming, Cumming l’agitateur”. Séquences 202 (1999): 22–23.
  • Lynds, Daniel. “Birth From Above. Donigan Cumming's Erratic Angel.” Off Screen, 1998.
  • Morose, Edward. “Being, Nothingness and Clutter.” Artichoke 10 (1998): 10–15.
  • Verreault, France, and Michelle Pelletier. “L’interprétation des œuvres d’art: proposition d’une démarche.” Revue des sciences de l’éducation 24, no. 3 (1998): 541–65.
  • Renaud, Nicolas.  “De l’abus à l’excès”. Hors champ, October 1998.
  • Lynds, Daniel.  “Cut the Parrot: BECAUSEYOUREMINEIWALKTHELINE.” Off Screen 1, no. 3 (1997).
  • Morose, Edward. “The Video of Cruelty.” Border Crossings 16, no. 2 (1997): 28–33.
  • Rooney, Sarah.  “Cut the Parrot: Truth and Dare.”  Off Screen, July 1997.
  • Gajan, Philippe.  “Comment vous dirais-je? de Louis Dionne / A Prayer For Nettie de Donigan Cumming.” 24 Images 83–84 (1996): 70.
  • Harris-Adler, Rosa. “Pictures of an Exhibitionist.” Saturday Night (Toronto), July/August 1996, 26–31.
  • Langford, Martha. “A Machine in the Grotto: The Grotesque in Photography.” JAISA: The Journal of the Association for the Interdisciplinary Study of the Arts 1, no. 2 (Spring 1996): 111–23.
  • Campeau, Sylvain. “A Session with Nettie / Séance avec Nettie : une vidéo de Bruno Carrière.” Parachute 78 (1995): 43–44.
  • Bellavance, Guy. “Donigan Cumming : Centre international d'art contemporain de Montréal”. Parachute 73 (1994): 42–44.
  • Roegiers, Patrick. “La singularité est-elle indécente? À propos de Diane Arbus et Donigan Cumming.” La photographie inquiète de ses marges, Actes du Colloque, 14–15 March 1992, 31–38. Rennes: Centre Culturel Triangle, 1993.
  • Bogardi, George. “In Camera: The Photography of Donigan Cumming/Dans l’intimité : les photographies de Donigan Cumming.” In Thirteen Essays on Photography/Treize essais sur la photographie, 66–86. Ottawa: Canadian Museum of Contemporary Photography, 1990.
  • Cron, Marie-Michèle. “La fonction sociale du photographe / Donigan Cumming”. ETC Montréal 25 (1994): 35–38.
  • Gingras, Nicole. “Donigan Cumming: Le Journal de Harry / Donigan Cumming: Harry's Diary”. CV Photo 27 (1994): 19–27.
  • Legrand, Jean-Pierre. “La mise à nu: travestissement et dévoilement.” Vie des Arts 28, no. 152 (1993): 28–33.
  • Roegiers, Patrick. “Donigan Cumming, ethnologue iconoclaste.” art press 176 (1993): 38–41.  
  • Enright, Robert. “Pretty Ribbons: Photographs by Donigan Cumming.” Border Crossings 10, no. 1 (1991): 25–33.
  • Brilliant, Richard. “Portraits: A Recurrent Genre in World Art.” In Likeness and Beyond: Portraits from Africa and the World, ed. Jean M. Borgatti and Richard Brilliant, 11–27, 24–25. New York: Center for African Art, 1990.
  • Dessureault, Pierre. “Quelques images de la collection du Musée canadien de la photographie contemporaine.” Summum 2, no. 3 (April/May 1989): 14–19.
  • Bogardi, Georges. “The Dark Visions of Donigan Cumming.” Canadian Art, 3, no. 1 (1986): 70–73.
  • Graham, Robert. “Donigan Cumming: Undoing Documentary.” Parachute 34 (1984): 19–24.
  • Gutsche, Clara. “Open Parody, Hidden Agenda: Donigan Cumming.” Vanguard, 13, no. 4 (May 1984): 21–25.

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[ Fig. 01] Video stills from top to bottom <i>Exit Interview</i>, 2014, <i>Fountain</i>, 2005, <i>Docu-Duster</i>, 2000.

Donigan Cumming Biography