Pensum/l?ringskrav

Pensum er p? ca. 1060 sider og viser til b?ker og kompendium (KUNST 1950-2000 I-VII, Unipub) som skal v?re tilgjengelig via Akademika.

NB: Litteraturlisten og kompendiene inkluderer en rekke viktige tekster som ikke er obligatorisk pensum, men som er av stor relevans for alle som ?nsker ? lese mer. Dette gjelder ikke minst for masterstudenter som skriver oppgave innenfor dette feltet eller bachelorstudenter som planlegger en fremtidig mastergrad om nyere kunst. Pensumlisten under viser hvilke tekster som er aktuelle for hver enkelt forelesning. Titler merket ¡è finnes i KUNST 1950-2000 I-VII.

Generelt pensum og oversiktsverk

• Crow, Thomas: The Rise of the Sixties, s. 7-192
• Foster, Hal: The Return of the Real, the MIT Press, 1996 s. 35 -169, kapittel 2-5
• Art in Theory 1900-1910 An Anthology of Changing Ideas, Ed. Charles Harrison & Paul Wood, Blackwell Publishers 1992. (Forkortet til AiT i pensumlisten)

• Brun, Hans Jacob: "Etterkrigstid" i Norges Malerkunst, bd.2, s.201

videre lesning

• Krauss, Rosalind, Passages in Modern Sculpture, MIT Press 1977, s?rlig kapittel 3, 5 og 7

• Krauss Rosalind, The Originality of the Avantgarde and other Modernist Myths, MIT Press, 1985

PENSUM TIL HVER ENKELT FORELESNING:

1. INTRODUKSJON

• Crow, Thomas (1996): The Rise of the Sixties, 1996, s. 7-192

• Habermas, J¨¹rgen: ¡°Modernity¡± - An Incomplete Project¡± (1980) AiT:1000-1008

• Lyotard, Jean Francois: ¡±What Is Postmodernism?¡± (1982) AiT:1008-1015

• Greenberg, Clement: ¡°Avant-garde and Kitsch¡± (1939), AiT: 529-540

¡°Towards a Newer Laocoon¡± (1940), AiT: 554-560 ¡°Modernist Painting¡± (1961), AiT: 754-760

• Adorno, Theodor: Fra ¡±Commitment¡± (1962), AiT: 760-764

• Fried, Michael, ¡±Three American Painters¡± (1965), AiT 769-775

2. JACKSON POLLOCK

Pensum:

• ¡è Clark, T.J., ¡±The Unhappy Consciousness¡±, i Farewell to an Idea. Episodes from a History of Modernism, New Haven: Yale University Press, 1999, s. 299-369
• ¡è Krauss, Rosalind, ¡±Jackson Pollock¡¯s Agency¡±, i: Gaehtgens, Thomas W. (red.) K¨¹nstlerischer Austtausch. Akten des XXVIII. Internationalen Kongresses f¨¹r Kunstgeschichte Berlin, 15.-20. Juli 1992, bd. II, s.329-338

Videre lesning:

• ¡è Kaprow, Allan, ¡±The Legacy of Jackson Pollock¡±, i Essays on the Blurring of Art and Life, Berkeley: University of California Press, 1993, s. 1-9
• ¡è Jones, Amelia, ¡±The ¡¯Pollockian Performative¡¯ and the Revision of the Modernist Subject¡±, i Body Art. Performing the Subject, Minneapolis:University of Minnesota Press, 1998, s.53-77

• ¡è Rosenberg, Harold, ¡±The American Action Painters¡± (1952), i The Tradition of the New, New York: McGraw-Hill Book Company, 1965 (1959), s.23-29

3. MARCEL DUCHAMP

Pensum:

• ¡è Jones, Amelia, ¡°Preface¡± i Postmodernism and the Engendering of Marcel Duchamp, s. xi-xviii + s. 29-62

• ¡è De Duve, Thierry, ¡±The Readymade and the Tube of Paint¡±, i Kant after Duchamp, Cambridge: The MIT Press, 1996, s.149-196

Videre lesning:

• Krauss, Rosalind. (1977), s. 69-84 p? generelt pensum

• ¡è Duchamp, Marcel, ¡±Apropos of ¡¯Readymades¡¯¡±, 1966. I: Sanouillet; Michel (ed.), The Writings of Marcel Duchamp, 1973, s. 141-142

• ¡è Cabanne, Pierre, ¡±A Window onto Something Else¡±, i Dialogues with Marcel DuchampNew York: Da Capo, 1971/1967, s. 28-51

4. ANDY WARHOL

Pensum:

• ¡è Buchloh, Benjamin H.D., ¡±Andy Warhol¡¯s One-Dimensional Art¡±, s. 39-61

• ¡è Crow, Thomas, ¡±Saturday Disasters: Trace and Reference in Early Warhol¡±, i Modern Art in the Modern Common Culture, New Haven: Yale University Press, 1996, s.49-65

• Foster, Hal, The Return of the Real, s. 127-136.

Videre lesning:

• ¡è McShine, Kynaston, ¡±Introduction¡± Fra Andy Warhol: A Retrospective, MoMA, New York, 1989, s. 13-23

• ¡è Crimp, Douglas, ¡±Getting the Warhol We Deserve¡±, Social Text 59, Vol.17, No. 2, Summer 1999, s.49-65

• ¡è Flatley, Jonathan, ¡±Warhol Gives Good Face: Publicity and the Politics of Prosopopeia¡±, i: Jennifer Doyle et.al. Pop Out. Queer Warhol, 1996.s. 101-133

• ¡è Warhol, Andy, The Philosophy of Andy Warhol, 1975, s. 77-85, 91-103

5. DONALD JUDD ¨C MINIMAL ART

Pensum:

• ¡è Fried, Michael: "Art and Objecthood" i AiT, s.822-834

• Hal Foster: "The Crux of Minimalism", fra The Return of the Real

• ¡è Judd, Donald: "Specific Objects", 1965, i AiT, ss. 809-813,

• ¡è Morris, Robert ¡±Notes on Sculpture¡±: Part I, II,III, i AiT, ss. 813-823

Videre lesning:

• ¡è Meyer, James: "Survey", i Minimalism, ed. James Meyer, Phaidon, 2000, s.14-45

• ¡è Merleau-Ponty, Maurice: "Egenkroppens syntese" inkl. "Kroppens enhet og kunstverkets enhet" og "Den perceptuelle vane som tilegnelse av en verden", i Kroppens fenomenologi, Pax 1994, s.104-112

• ¡è Sandqvist, Tom: "Den bokstavliga gestaltens specifika objekt " og "Rommet och kroppen" i Den meningsl?sa kuben, s. 315-321 og s. 375-382

• ¡è Wollheim, Richard: "Minimal Art", oppr, 1965, Minimal Art. A Critical Anthology, ed. Gregory Battcock: s.387-400 ,

• ¡è Morris, Robert, "Anti-Form", i Minimalism, ed. Meyer, s. 243-44

• ¡è Smithson, Robert, ¡°Entropy and the New Monuments¡±, i Robert Smithson: The Collected Writings, ed. Jack Flam, s. 10-23

• ¡è LeWitt, Sol: "Paragraphs on Conceptual Art")i AiT, s. 834-837
• Krauss, Rosalind, "The Double Negative: a new syntax for sculpture", i Passages in Modern Sculpture.

• ¡è Chave, Anne C: "Minimalism and the Rhetoric of Power" i Minimalism ed. Meyer, s. 275-285

• ¡è Wallenstein, Sven-Olov: "Det utvidgade f?ltet ¨C fr?n h?gmodernism till konceptualism", i Konsten och konstbegreppet", Kungl. Konsth?gskolan, Stockholm, 1996, s.117-153

6. ROBERT SMITHSON ¨C LAND ART

Pensum:

• ¡è Craig Owens:"Earthwords", reprinted from October 1979, s. 120-132

• ¡è Krauss, Rosalind, "Sculpture in the Expanded Field" kopiert fra The Originality of the Avant-Garde and Other Modernist Myths, Cambridge, Mass.: MIT Press, 1985, s. 276-291

Videre lesning:

• ¡è Hobbs, Robert: Robert Smithson:Retrospective ,I katalog fra ARC Mus¨¦¨¦ D`Art Moderne de la Ville de Paris, 1982/83, s.11-19

• ¡è Kastner, Jeffrey: "Survey", i Land and Environmental Art, ed. Kastner/ Wallis, Phaidon, 1998, s. 18-43

• ¡è Fra Robert Smithson: The Collected Writings, Ed. Jack Flam, University of California, 1996 ¡°A sedimentation of the mind. Earth Projects, ss 100-114, "Spiral Jetty", 1972 s.143 ¨C153,

• ¡è "Robert Smithson on Duchamp", interview with Moira Roth, s. 310-313

7. JOSEPH BEUYS

Pensum:

• ¡è De Duve, Thierry: "Joseph Beuys or The Last of the Proletarians", October 45, MIT Press 1988, s. 47-62

• ¡è Kuspit, Donald: "Joseph Beuys. Between Showman and Shaman". In Thistlewood, David (red.): Joseph Beuys. Diverging Critiques. Liverpool 1995, s. 27-51

Videre lesning:

• ¡è Borer, Alain: "A Lament for Joseph Beuys". In The Essential Joseph Beuys. Massachusetts 1997, s. 11-34

• ¡è Buchloh Buchloh, Benjamin: "Twilights of the Idol. Preliminary Notes for a Critique." Artforum, Vol. 18/5, Januar 1980, s. 35-43
• ¡è Kuoni, Carin (red.):¡± Energy Plan for the Western Man.¡± Joseph Beuys in America. New York, s. 19-57

8. GERHARD RICHTER

Pensum:

• ¡è Koch, Gertrud: "The Richter-Scale of Blur", i October 62, MIT Press 1992, s. 133-140
• ¡è Osborne, Peter: "Painting Negation: Gerhard Richter's Negatives", i October 62, MIT Press 1992, s. 103-111

Videre lesning:

• ¡è Fra Hans Ulrich Obrist (red.): Gerhard Richter. The Daily Practice of Painting; Writings and Interviews 1962-1993. London, 1995

Interview with Benjamin D.H. Buchloh, s. 132-166

9. CINDY SHERMAN

Pensum:

• ¡è Mulvey, Laura, ¡±A Phantasmagoria of the Female Body: The Work of Cindy Sherman¡±, i New Left Review, no. 188, July/August, 1991, s. 137-150
• ¡è Krauss, Rosalind, Cindy Sherman 1975-1993, New York: Rizzoli, 1993, s. 17-195 (I alt 26 sider tekst)

Videre lesning:

• Foster, Hal, 1996, generelt pensum s. 136-168

• ¡è Jones, Amelia, ¡±Tracing the Subject with Cindy Sherman¡±, i Cindy Sherman: Retrospective, New York: Thames and Hudson, 1997, s. 33-53
• ¡è Jones, Amelia, Body Art. Performing the Subject, Minneapolis: University of Minnesota Press, 1998,s. 151-185
• ¡è Crimp, Douglas, ¡±Pictures¡±, i: Brian Wallis (ed.) Art After Modernism, New York: The New Museum of Contemporary Art, 1984, s. 175-187