Titler merket * finnes i kompendiet KUNST 1950-2000 I (4 bind, UNIPUB) som f?s kj?pt p? AKADEMIKA. Pensum 1047 s. inkl. illustrasjoner
OVERSIKTSLITTERATUR (408 s.)
Crow, Thomas : The Rise of the Sixties, 1996. New York, N.Y. : Weidenfeld & Nicolson. ss .7-181 (174s.)
Foster, Hal : The Return of the Real, 1996. Cambridge, Mass. : MIT Press. ss.35-169 (133s.)
Krauss, Rosalind: Passages in Modern Sculpture, 1977. Cambridge, Mass. : MIT Press. ss. 69-84, 201-287 (101s.)
Art in Theory 1900-1990 An Anthology of Changing Ideas (Forkortet til AiT i pensumlisten) Ed. Charles Harrison & Paul Wood, Oxford: Blackwell, 1992. (Eller ny utgave Art in Theory 1900-2000)
PENSUM TIL HVER ENKELT FORELESNING (TEKSTER FRA KOMPENDIUM og AiT):
1. INTRODUKSJON (29 s.)
(Lese Thomas Crow, The Rise of the Sixties som inngang til emnet.)
Greenberg, Clement, “Avant-garde and Kitsch” (1939), “Towards a Newer Laocoon” (1940) og “Modernist Painting” (1961), AiT, s. 529-540, 554-560 og 754-760 / tot. 23s.
Fried, Michael, ”Three American Painters” i: AiT , 1965. s. 769-775 / 6s.
2. JACKSON POLLOCK (94 s.)
*Clark, T.J., ”The Unhappy Consciousness”, 70s. (Farewell to an Idea. Episodes from a History of Modernism, 1999. New Haven: Yale University Press. ss. 299-369)
* Krauss, Rosalind, ”Jackson Pollock’s Agency”, 9s. (Gaehtgens, Thomas W. (red.) Künstlerischer Austtausch. Akten des XXVIII. Internationalen Kongresses für Kunstgeschichte Berlin , 15.-20. Juli 1992. bd. II, ss.329-338.)
*Kaprow, Allan, ”The Legacy of Jackson Pollock”, 9s. (Essays on the Blurring of Art and Life, 1993. Berkeley: University of California Press. ss. 1-9.)
* Rosenberg, Harold, ”The American Action Painters” 6s. (1952) (The Tradition of the New, 1965/1959. New York: McGraw-Hill Book Company. ss.23-29)
3. MARCEL DUCHAMP (115s.)
(Krauss, Rosalind: Passages in Modern Sculpture, ss. 69-84)
*Jones, Amelia, “Preface”, 40s. (Postmodernism and the Engendering of Marcel Duchamp, s. xi-xviii + ss. 29-62)
*de Duve, Thierry, ”The Readymade and the Tube of Paint”, 47s. (Kant after Duchamp, 1996. Cambridge: The MIT Press. ss.147-196)
*Steihaug, Jon-Ove, ”Historien om en Fontene”, 4s. (UKS-Forum for samtidskunst nr. 1/2-1993, 1993. ss. 43-47)
*Duchamp, Marcel, ”Apropos of ’Readymades’”, (1966), 1s. (The Writings of Marcel Duchamp, Sanouillet, Michel (ed.), 1973. ss. 141-142.)
*Cabanne, Pierre, ”A Window onto Something Else”, 23s. (Dialogues with Marcel Duchamp , 1971/1967. New York: Da Capo. ss. 28-51)
4. ANDY WARHOL (47 s.)
(Foster, Hal: The Return of the Real, ss. 127-136)
*McShine, Kynaston, ”Introduction”, 10s. (Andy Warhol: A Retrospective, 1989. MoMA, New York. ss. 13-23)
*Buchloh, Benjamin H.D.: ”Andy Warhol’s One-Dimensional Art”, 22s. (Andy Warhol: A Retrospective, 1989. MoMA, New York. ss. 39-61.
*Crow, Thomas, ”Saturday Disasters: Trace and Reference in Early Warhol”, 16s. (Modern Art in the Modern Common Culture, 1996. New Haven: Yale University Press. ss.49-65.
5. JOSEPH BEUYS (70 s.)
*Borer, Alain: "A Lament for Joseph Beuys", 23s. (The Essential Joseph Beuys, Massachusetts 1997. ss. 11-34)
*Buchloh, Benjamin, "Twilights of the Idol. Preliminary Notes for a Critique”, 8s. (Artforum, Vol. 18/5, Januar 1980. ss. 35-43)
*Kuspit, Donald: "Joseph Beuys. Between Showman and Shaman", 24s. (Joseph Beuys. Diverging Critiques, Thistlewood, David red., Liverpool 1995. ss. 27-51)
6. DONALD JUDD – MINIMALISME (84 s.)
(Hal Foster: "The Crux of Minimalism" i The Return of the Real)
(Krauss, Rosalind, "The Double Negative: a new syntax for sculpture" i Passages...)
*Meyer, James: "Survey", 31s. (Minimalism, ed. James Meyer, Phaidon, 2000. ss.14-45)
*Fried, Michael: "Art and Objecthood" i : AiT, ss.822-834 / 12s.
*Judd, Donald: "Specific Objects" i: AiT, 1965. ss. 809-813 / 4s.
*Morris, Robert ”Notes on Sculpture”: Part I, II,III, i : AiT, ss. 813-823 / 10s.
*Morris, Robert, "Anti-Form", 1s. (Minimalism, ed. Meyer. ss.243-44)
*Smithson, Robert, “Entropy and the New Monuments”, (1966) 13s. (Robert Smithson: The Collected Writings, ed. Jack Flam, ss. 10-23)
*LeWitt, Sol: "Paragraphs on Conceptual Art", i : AiT, ss. 834-837 / 3s.
*Chave, Anne C: "Minimalism and the Rhetoric of Power", (Minimalism, ed. Meyer, ss. 275-285)
7. ROBERT SMITHSON – LAND ART (80s.)
* Kastner, Jeffrey: "Survey", (Land and Environmental Art, ed. Kastner/ Wallis, Phaidon, 1998, ss. 18-43.)
* Krauss, Rosalind, "Sculpture in the Expanded Field", (The Originality of the Avant-Garde and Other Modernist Myths, 1985. Cambridge, Mass.: MIT Press. s.276-291.
* Owens, Craig, "Earthwords", (October, no. 10, 1979).
*Smithson, Robert: “A sedimentation of the mind. Earth Projects, 14s. + "Spiral Jetty", 1972, 11s. (The Collected Writings, Ed. Jack Flam, University of California, 1996
*Roth, Moira, "Robert Smithson on Duchamp", 3s. (Robert Smithson: The Collected Writings, 1996)
8. GERHARD RICHTER (60s.)
*Koch, Gertrud: "The Richter-Scale of Blur", 7s. (October 62, MIT Press 1992. ss. 133-140)
*Osborne, Peter: "Painting Negation: Gerhard Richter's Negatives", 8s. (October 62, MIT Press 1992. ss. 103-111)
*Utdrag fra Hans Ulrich Obrist (red.): Gerhard Richter. The Daily Practice of Painting; Writings and Interviews 1962-1993 , a) Interview with Benjamin D.H. Buchloh, s. 132-166, b) ^Conversation with Sabine Schutz, ss. 207-218, 45s.
9. CINDY SHERMAN (74s.)
(Hal Foster, The Return of the Real, ss. 136-168)
*Mulvey, Laura, ”A Phantasmagoria of the Female Body: The Work of Cindy Sherman”, 13s. (New Left Review, no. 188, July/August, 1991. ss. 137-150)
*Krauss, Rosalind: Cindy Sherman 1975-1993, 49s. (New York: Rizzoli, 1993)
*Crimp, Douglas, ”Pictures”, 12s. (Art After Modernism, Brian Wallis ed., New York: The New Museum of Contemporary Art, 1984. ss. 175-187)