Origins[1]
skipped a few years[1]
origins of national pavilions[1]
The Biennale began to select artistic directors from Italy for a central exhibition, beginning in the 1980s, and expanded the practice to non-Italians in 1995.[1] Prior to the introduction of the central exhibition as a centerpiece in 1972, the Biennale was closer to a world's fair of dissimilar exhibitions.[2]
prizes[1]
art for sale[1] kept commission on sales until 1968[2]
- Alloway, Lawrence (1968). The Venice Biennale, 1895–1968; from salon to goldfish bowl. OCLC 437606.
- Di Martino, Enzo (2005). The History of the Venice Biennale: 1895–2005: Visual Arts, Architecture, Cinema, Dance, Music, Theatre. Venezia: Papiro Arte. ISBN 978-88-901104-4-3. OCLC 62237064.
- Harris, Gareth (May 3, 2019). "The difficult business of archiving a Biennale". Financial Times. Retrieved May 27, 2019.
- May, Jan Andreas (2009). "La Biennale di Venezia: The Evolution of an Institution". In Moore, Elke aus dem; Zeller, Ursula; Institut für Auslandsbeziehungen (eds.). Germany's contributions to the Venice Biennale 1895–2007. Translated by Bohan, Ann Marie; Laurie, Eileen; Nichols, Catherine. Cologne: DuMont. pp. 17–32. ISBN 978-3-8321-9249-5. OCLC 406143089.
- Russeth, Andrew (April 17, 2019). "The Venice Biennale: Everything You Could Ever Want to Know". ARTnews. Retrieved April 22, 2019.
- Smith-Laing, Tim (May 8, 2017). "The City and the Shadow". Frieze. No. 187. ISSN 0962-0672.
- ^ a b c d e f Russeth 2019.
- ^ a b Morris, Jane (May 1, 2019). "Why is the Venice Biennale still so important?". The Art Newspaper. Retrieved May 4, 2019.