Pensum/l?ringskrav

 

CURRICULUM KUN 2070/ 4070 ART 1950-2000

 

The mandatory reading list is about 1060 pages long and refers to books and a compendium publication (KUNST 1950-2000 I-VII, Unipub) that should be available at the Akademika bookstore.  As you will discover, the reading list and the compendium include a number of important texts that are not mandatory but of high relevance to all students who wish to go deeper into the subjects. This applies in particular to MA students who write their dissertation on postwar art or BA students planning a future MA degree on this topic. The reading list below shows which texts are relevant for each lecture. Titles marked * will be found in the compendium KUNST 1950-2000 I-VII.

GENERAL LITERATURE /TEXTBOOKS

Mandatory:

Crow, Thomas: The Rise of the Sixties, 7-192                                         

Foster, Hal: The Return of the Real, the MIT Press, 1996 35 -169, chapters 2-5          

Art in Theory 1900-1910 An Anthology of Changing Ideas, Ed. Charles Harrison & Paul Wood, Blackwell Publishers 1992. (AiT in the reading list)

Brun, Hans Jacob: "Etterkrigstid" in Norges Malerkunst, vol. 2 

Optional:

Krauss, Rosalind, Passages in Modern Sculpture, MIT Press 1977, particularly chapters 3, 5 and 7 

Krauss Rosalind, The Originality of the Avant-garde and other Modernist Myths, MIT Press, 1985                                                                                                                                                       

 

1. INTRODUCTION

Mandatory:

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

Habermas, Jürgen:  “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:  From ”Commitment” (1962), AiT: 760-764

Fried, Michael, ”Three American Painters” (1965), AiT 769-775

2. JACKSON POLLOCK

Mandatory:

*Clark, T.J., ”The Unhappy Consciousness”, in Farewell to an Idea. Episodes from a History of Modernism, New Haven: Yale University Press, 1999, 299-369                            

* Krauss, Rosalind, ”Jackson Pollock’s Agency”, in Gaehtgens, Thomas W. (ed.) Künstlerischer Austtausch. Akten des XXVIII. Internationalen Kongresses für Kunstgeschichte Berlin, July 1992, vol. II, 329-338                            

Optional:

*Kaprow, Allan, ”The Legacy of Jackson Pollock”, in Essays on the Blurring of Art and Life, Berkeley: University of California Press, 1993, 1-9                            

*Jones, Amelia, ”The ’Pollockian Performative’ and the Revision of the Modernist Subject”, in Body Art. Performing the Subject, Minneapolis: University of Minnesota Press, 1998, 53-77

* Rosenberg, Harold, ”The American Action Painters” (1952), in The Tradition of the New, New York: McGraw-Hill Book Company, 1965 (1959), 23-29                                         

 

3. MARCEL DUCHAMP

Mandatory:

*Jones, Amelia, “Preface” in Postmodernism and the Engendering of Marcel Duchamp, xi-xviii + 29-62     

*De Duve, Thierry, ”The Readymade and the Tube of Paint”, in Kant after Duchamp, Cambridge: The MIT Press, 1996, 149-196              

Optional:

Krauss, Rosalind. (1977), s. 69-84

*Duchamp, Marcel, ”Apropos of ’Readymades’”, 1966, in Sanouillet; Michel (ed.), The Writings of Marcel Duchamp, 1973, 141-142                              

*Cabanne, Pierre, ”A Window onto Something Else”, in Dialogues with Marcel Duchamp

New York: Da Capo, 1971/1967, 28-51                                                                          

4. ANDY WARHOL

Mandatory:                                                      

*Buchloh, Benjamin H.D., ”Andy Warhol’s One-Dimensional Art”, 39-61

*Crow, Thomas, ”Saturday Disasters: Trace and Reference in Early Warhol”, in Modern

Art in the Modern Common Culture, New Haven: Yale University Press, 1996, 49-65

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

Optional:

*McShine, Kynaston, ”Introduction” Fra Andy Warhol: A Retrospective, MoMA, New York, 1989, 13-23

*Crimp, Douglas, ”Getting the Warhol We Deserve”, Social Text 59, Vol.17, No. 2, Summer 1999, 49-65  

*Flatley, Jonathan, ”Warhol Gives Good Face: Publicity and the Politics of Prosopopeia”, in Jennifer Doyle et.al. Pop Out. Queer Warhol, 1996, 101-133

*Warhol, Andy, The Philosophy of Andy Warhol, 1975, 77-85, 91-103

5. DONALD JUDD – MINIMAL ART

Mandatory:

*Fried, Michael: "Art and Objecthood", AiT, 822-834              

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

*Judd, Donald: "Specific Objects", 1965, AiT, 809-813,

*Morris, Robert ”Notes on Sculpture”: Part I, II,III, AiT, 813-823

Optional:

*Meyer, James: "Survey", in Minimalism, ed. James Meyer, Phaidon, 2000, 14-45

*Merleau-Ponty, Maurice: "Egenkroppens syntese" incl. "Kroppens enhet og kunstverkets enhet" and "Den perceptuelle vane som tilegnelse av en verden", in Kroppens fenomenologi, Pax 1994, 104-112

*Sandqvist, Tom: "Den bokstavliga gestaltens specifika objekt " and "Rommet och kroppen" inDen meningsl?sa kuben, 315-321 and 375-382

*Wollheim, Richard: "Minimal  Art", 1965, Minimal Art. A Critical Anthology, ed. Gregory Battcock: 387-400

*Morris, Robert, "Anti-Form", in Minimalism, ed. Meyer, 243-44                                                                                                           

*Smithson, Robert, “Entropy and the New Monuments”, in Robert Smithson: The Collected Writings, ed. Jack Flam, 10-23

*LeWitt, Sol: "Paragraphs on Conceptual Art") AiT, 834-837       

Krauss, Rosalind, "The Double Negative: a new syntax for sculpture", in Passages in Modern Sculpture.

*Chave, Anne C: "Minimalism and the Rhetoric of Power" i Minimalism ed. Meyer, 275-285                                                                                                

* Wallenstein, Sven-Olov: "Det utvidgade f?ltet – fr?n h?gmodernism till konceptualism", in Konsten och  konstbegreppet",  Kungl. Konsth?gskolan, Stockholm, 1996, 117-153                                                                                                                        

 

6. ROBERT SMITHSON – LAND ART

Mandatory:

*Craig Owens:"Earthwords", reprinted from October 10, 1979, 120-132

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

Optional:

*Hobbs, Robert: Robert Smithson: Retrospective, ex.cat. ARC Musée d`Art Moderne de la Ville de Paris, 1982/83, 11-19                                                                                                       

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

*From Robert Smithson: The Collected Writings, Ed. Jack Flam, University of California, 1996 “A sedimentation of the mind. Earth Projects, 100-114, "Spiral Jetty", 1972, 143 –153,

*"Robert Smithson on Duchamp", interview with Moira Roth, 310-313                                                                                                                                                                    

7. JOSEPH BEUYS

Mandatory:

*De Duve, Thierry: "Joseph Beuys or The Last of the Proletarians", October 45, MIT Press 1988, 47-62

*Kuspit, Donald: "Joseph Beuys. Between Showman and Shaman", in Thistlewood, David (ed.): Joseph Beuys. Diverging Critiques. Liverpool 1995, 27-51

Optional:

*Borer, Alain: "A Lament for Joseph Beuys", in The Essential Joseph Beuys. Massachusetts 1997, 11-34

*Buchloh Buchloh, Benjamin: "Twilights of the Idol. Preliminary Notes for a Critique." Artforum, Vol. 18/5, Januar 1980, 35-43                                                                                                                                                    

*Kuoni, Carin (ed.):” Energy Plan for the Western Man.” Joseph Beuys in

America. New York, 19-57

8. GERHARD RICHTER

Mandatory:                                                                                                          

*Koch, Gertrud: "The Richter-Scale of Blur", in October 62, MIT Press 1992, 133-140                                                                                                                

*Osborne, Peter: "Painting Negation: Gerhard Richter's Negatives", in October 62, MIT Press 1992, 103-111                                             

Optional:

*From Hans Ulrich Obrist (red.): Gerhard Richter. The Daily Practice of

Painting; Writings and Interviews 1962-1993. London, 1995

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

9. CINDY SHERMAN

Mandatory:

*Mulvey, Laura, ”A Phantasmagoria of the Female Body: The Work of Cindy Sherman”, i New Left Review, no. 188, July/August, 1991, 137-150                                                       

*Krauss, Rosalind, Cindy Sherman 1975-1993, New York: Rizzoli, 1993, 17-195  (26 pages of text in all, the rest are images)   

Optional:

Foster, Hal (1996), 136-168

*Jones, Amelia, ”Tracing the Subject with Cindy Sherman”, in Cindy Sherman: Retrospective, New York: Thames and Hudson, 1997, 33-53                                          

*Jones, Amelia, Body Art. Performing the Subject, Minneapolis: University of Minnesota Press, 1998, 151-185                                                                                                       

*Crimp, Douglas, ”Pictures”, in: Brian Wallis (ed.) Art After Modernism, New York: The New Museum of Contemporary Art, 1984, 175-187

Publisert 22. okt. 2014 10:36 - Sist endret 22. okt. 2014 10:36