Titler merket * er tilgjengelig i kompendiet KUNST 1950-2000 (6 bind,UNIPUB) som f?s kj?pt p? AKADEMIKA.
Titler merket ^ skal kun leses av MA-studenter.
Pensum MA-studenter: ca. 1350 s. inkl. illustrasjoner.
Pensum BA-studenter: ca. 1050 s. inkl. illustrasjoner.
GENERELT PENSUM/OVERSIKTSLITTERATUR (470 s.)
Crow, Thomas : The Rise of the Sixties, 1996. New York, N.Y. : Weidenfeld & Nicolson. ss .7-192.
Foster, Hal : The Return of the Real, 1996. Cambridge, Mass. : MIT Press. ss.35--169.
Krauss, Rosalind: Passages in Modern Sculpture, 1977. Cambridge, Mass. : MIT Press. kapittel 3, 5 og 7.
Art in Theory 1900-1990 An Anthology of Changing Ideas , (Forkortet til AiT i pensumlisten) Ed. Charles Harrison & Paul Wood 1992. Oxford : Blackwell.
^ Brun, Hans Jacob, "Etterkrigstid" i : Norges Malerkunst, bd.2, ca. 50 s..
PENSUM TIL HVER ENKELT FORELESNING (Tekster fra kompendium og AiT):
INTRODUKSJON (48 s.)
Lese Thomas Crow, The Rise of the Sixties, 1996, New York, NY: Weidenfeld & Nicolsen, som inngang til emnet.
^ Habermas, Jürgen, “Modernity” - An Incomplete Project” i: AiT, 1980 . s. 1000-1008 / 8 s..
^ Lyotard, Jean Francois, ”What Is Postmodernism?” i: AiT, 1982. s. 1008-1015 / 7 s..
Greenberg, Clement, “Avant-garde and Kitsch” (1939), “Towards a Newer Laocoon” (1940) og “Modernist Painting” (1961) i: AiT, s. 529-540, 554-560 og 754-760 / tot. 23 s..
^ Adorno, Theodor, ”Commitment” i : AiT, 1962. s. 760-764 / 4 s..
Fried, Michael, ”Three American Painters” i: AiT , 1965. s. 769-775 / 6 s..
JACKSON POLLOCK (118 s.)
*Clark, T.J., ”The Unhappy Consciousness” i : 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” i: i: 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”, i : Essays on the Blurring of Art and Life, 1993. Berkeley: University of California Press. ss. 1-9.
^ *Jones, Amelia, ”The ’Pollockian Performative’ and the Revision of the Modernist Subject”, i : Body Art. Performing the Subject, 1998. Minneapolis:University of Minnesota Press, . ss.53-77.
* Rosenberg, Harold, ”The American Action Painters” (1952), i : The Tradition of the New, 1965 (1959). New York: McGraw-Hill Book Company. ss.23-29.
MARCEL DUCHAMP (115 s.)
Krauss, Rosalind: Passages in Modern Sculpture, 1977. ss. 69-84 (oversiktslitteratur) .
*Jones, Amelia, “Preface” i : Postmodernism and the Engendering of Marcel Duchamp, s. xi-xviii + ss. 29-62.
*Steihaug, Jon-Ove, ”Historien om en Fontene” i: UKS-Forum for samtidskunst nr. 1/2-1993, 1993. ss. 43-47.
*Duchamp, Marcel, ”Apropos of ’Readymades’”, (1966) i : The Writings of Marcel Duchamp, Sanouillet, Michel (ed.), 1973. ss. 141-142.
*de Duve, Thierry, ”The Readymade and the Tube of Paint”, i : Kant after Duchamp, 1996. Cambridge: The MIT Press. ss.149-196.
*Cabanne, Pierre, ”A Window onto Something Else”, i : Dialogues with Marcel Duchamp , 1971/1967. New York: Da Capo. ss. 28-51.
ANDY WARHOL (116 s.)
*McShine, Kynaston, ”Introduction” i : Andy Warhol: A Retrospective, 1989. MoMA, New York. ss. 13-23.
*Buchloh, Benjamin H.D.: ”Andy Warhol’s One-Dimensional Art”, ss. 39-61.
*Crow, Thomas, ”Saturday Disasters: Trace and Reference in Early Warhol”, i : Modern Art in the Modern Common Culture, 1996. New Haven: Yale University Press. ss.49-65.
Foster, Hal: generelt pensum, ss. 127-136 (oversiktslitteratur).
^ *Crimp, Douglas : ”Getting the Warhol We Deserve”, Social Text 59, Vol.17, No. 2, Summer 1999. ss.49-65.
^ *Flatley, Jonathan, ”Warhol Gives Good Face: Publicity and the Politics of Prosopopeia” i: Pop Out. Queer Warhol, Jennifer Doyle et.al., 1996. ss. 101-133 .
*Warhol, Andy, utdrag fra: The Philosophy of Andy Warhol, 1975. ss. 77-85, 91-103 .
DONALD JUDD – MINIMAL ART (132 s.)
*Meyer, James: "Survey" i : Minimalism, ed. James Meyer, Phaidon, 2000. ss.14-45 .
^ *Wollheim, Richard: "Minimal Art": oppr, 1965, Minimal Art. A Critical Anthology, ed. Gregory Battcock. ss.387-400 .
*Judd, Donald: "Specific Objects" i: AiT, 1965. ss. 809-813.
*Morris, Robert ”Notes on Sculpture”: Part I, II,III, i : AiT, ss. 813-823 .
*Morris, Robert, "Anti-Form", i : Minimalism, ed. Meyer. ss.243-44.
*Smithson, Robert, “Entropy and the New Monuments”, i : Robert Smithson: The Collected Writings, ed. Jack Flam, oppr.Art Forum, 1966. ss. 10-23 .
*LeWitt, Sol: "Paragraphs on Conceptual Art")i : AiT, ss. 834-837 .
*Fried, Michael: "Art and Objecthood" i : AiT, ss.822-834 .
Krauss, Rosalind, "The Double Negative: a new syntax for sculpture" : 22 s. (oversiktslitteratur).
*Chave, Anne C: "Minimalism and the Rhetoric of Power" i : Minimalism , ed. Meyer, ss. 275-285 .
Hal Foster: "The Crux of Minimalism" : 23 s. (oversiktslitteratur).
^ * Wallenstein, Sven-Olov: "Det utvidgade f?ltet – fr?n h?gmodernism till konceptualism", i : Konsten och konstbegreppet", 1996. Kungl. Konsth?gskolan, Stockholm. s.117-153.
ROBERT SMITHSON – LAND ART (93 s.)
^ *Hobbs, Robert: Robert Smithson:Retrospective i: katalog fra ARC Muséé D`Art Moderne de la Ville de Paris, 1982/83. ss.11-19.
* Kastner, Jeffrey: "Survey", i : Land and Environmental Art, ed. Kastner/ Wallis, Phaidon, 1998. ss. 18-43.
*Krauss, Rosalind, "Sculpture in the Expanded Field" kopiert fra : The Originality of the Avant-Garde and Other Modernist Myths, 1985. Cambridge, Mass.: MIT Press. s.276-291 NB! Engelsk versjon b?r leses, og ikke den svenske oversettelsen i kompendiet. Foreleser vil skaffe kopi..
*Smithson, Robert: “A sedimentation of the mind. Earth Projects", 14s. + "Spiral Jetty", 1972, 11s. in The Collected Writings, Ed. Jack Flam, University of California, 1996
Craig Owens' "Earthwords": 12 s., (October, no. 10, 1979. NB! Foreleser skaffer kopi av komplett engelsk versjon).
^ *Morris,Robert: "Notes on Sculpture. Part 4: Beyond Objects" i : AiT , ss.868-873.
^ *"Robert Smithson on Duchamp", interview with Moira Roth, ss.310-313 :
JOSEPH BEUYS (108 s.)
*Borer, Alain: "A Lament for Joseph Beuys" i: The Essential Joseph Beuys, Massachusetts 1997. ss. 11-34 .
*Buchloh, Benjamin, "Twilights of the Idol. Preliminary Notes for a Critique." : Artforum, Vol. 18/5, Januar 1980. ss. 35-43.
*De Duve, Thierry: "Joseph Beuys or The Last of the Proletarians": October 45, MIT Press 1988. ss.47-62.
^ *Kuoni, Carin (red.): Energy Plan for the Western Man. Joseph Beuys in America, 1990. New York. ss. 19-57 .
*Kuspit, Donald: "Joseph Beuys. Between Showman and Shaman" i: Joseph Beuys. Diverging Critiques , Thistlewood, David (red.), Liverpool 1995. ss. 27-51.
GERHARD RICHTER (60 s.)
*Koch, Gertrud: "The Richter-Scale of Blur" i : October 62, MIT Press 1992. ss. 133-140.
*Osborne, Peter: "Painting Negation: Gerhard Richter's Negatives", i : October 62, MIT Press 1992. ss. 103-111.
*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 Conversation with Sabine Schutz, ss. 207-218.
CINDY SHERMAN (94 s.)
Hal Foster 1996: The Return of the Real, ss. 136-168 (oversiktslitteratur) .
*Mulvey, Laura, ”A Phantasmagoria of the Female Body: The Work of Cindy Sherman”, i : New Left Review, no. 188, July/August, 1991. ss. 137-150.
*Krauss, Rosalind: Cindy Sherman 1975-1993, New York: Rizzoli, 1993. 49 s..
^ *Jones, Amelia, ”Tracing the Subject with Cindy Sherman”, i : Cindy Sherman: Retrospective, New York: Thames and Hudson, 1997. ss. 33-53 .
*Crimp, Douglas, ”Pictures” i : Art After Modernism, Brian Wallis (ed.), New York: The New Museum of Contemporary Art, 1984. ss. 175-187.