????????????????

1
???????????????????????????????????????????????

• ?????6???
• 2009?9?27? ??????
• ?????(??????)

2
?1 Gioya Steinke, Viva (1993).?????????DAM(1993),
3(2), p.43?????
3
?2 Marc Quinn, Alison Lapper(8 months)
(2000).??? 83.54065cm. London White Cube
4
?? Disability Art in London(DAIL)???????????????
????????????(LDAF)??????????????????????????????
????????????David Watson??????LDAF????????????????
????????????????????????????????????Full Body
and the Voice???????????Vanessa
Brooks???????????????????????????????????????????
??????????????????????????????????????????????????
?????????????????????????????

• ????Disability Arts in London, 1986-2008, issue
  3-203.Disability Arts Magazine, DAM, 1991-1995,
  1(1)-5(1).

5

• ????
• Arts Council England (2004) Action for Access A
  Practical Resource for Arts Organisation (second
  edition), London Arts Council England.
• Barnes, C. and Mercer, G. (2001) Disability
  Culture Assimilation or Inclusion? in Albrecht,
  G. L. et al. (eds.) The Handbook of Disability
  Studies, Thousand Oaks Sage Publications, pp.
  515-534.
• Barnes, C., Mercer, G. and Shakespeare, T. (1999)
  Exploring Disability A Sociological
  Introduction, Cambridge Polity.
  (2004)?????????????????????????????????????????
  ??????.
• Collison, C. (1993) Carolyn James and Gioya
  Steinke, DAM, 3(2), pp. 41-43.
• Crow, L. (1992) On Our Terms, Womens Art
  Magazine, (47), pp. 4-6.
• Davies, C. (1992) The DAM Interview Sian
  Vasey, DAM, 2(4), pp. 29-35.
• Hambrook, C. (2000) Pale Outline, Disability
  Arts in London, 152, pp. 24-25.
• Hunter, J. (2002) Elitism and the Ghetto,
  Disability Arts in London, 172, pp. 9-11.
• Kelly, F. (1993) Searching for Disability Arts,
  Disability Arts in London, 85, pp. 4-5.
• Lucas, V. (2002) An Interview with Alison
  Lapper, Disability Arts in London, 171, pp.
  24-25.
• Pick, J. (1992) Why Have There Been to Great
  Disabled Artists?, DAM, 3(3), pp. 18-20.

6

• Shakespeare, T. and Watson, N. (2002) The Social
  Model of Disability an Outdated Ideology?,
  Research in Social Science and Disability, Vol.
  2, pp. 9-28.
• Shamash, M. (2002) Roll Over Rodin Mike Shamash
  Talks to Mark Quinn and Assesses the Artists
  Work, Disability Arts in London, 169, pp. 10-13.
• Silverwood, A. (1994) Searching for Disability
  Arts, DAM, 4(3), pp. 2-5.
• Sutherland, A. (2003) untitled in Arts Council
  England, Celebrating Disability Arts. London
  Arts Council England, pp. 0-27.
• Sutherland, A. (2006) The Other Tradition From
  Personal Politics to Disability Arts paper based
  on personal recollections and interviews with
  Keith Armstrong et al. presented at the
  Disability Studies Association Conference at
  Lancaster University, England on Tuesday 19th
  September 2006, pp. 1-9. (http//www.leeds.ac.uk/d
  isability-studies/archiveuk) accessed on
  2009/01/07.
• Swain, J. and French, S. (2000) Towards an
  Affirmation Model of Disability, Disability
  Society, 15(4), pp. 569-582.
• Swain, J. and French, S. (2008) Affirming
  Identity in Swain, J. and French, S. (eds.)
  Disability on Equal Terms, London SAGE
  Publications, pp. 65-78.
• Swain, J., French, S. and Cameron, C. (2003)
  Controversial Issues in a Disabling Society,
  Buckingham Open University Press.