Titler merket * er tilgjengelig i kompendiet KUNST 1950-2000 (UNIPUB) som f?s kj?pt p? AKADEMIKA.
Litteraturlisten er p? 1500 sider inkl. bilder.
Studenter p? BA-niv? velger ut et pensum p? 1000 sider av disse 1500. Obligatorisk pensum hvert semester er artiklene som gjennomg?es i forelesningene (liste deles ut i begynnelsen av hver forelesningsrekke). Det anbefales ellers ? legge opp hele Thomas Crow, kapitler fra Rosalind Krauss og Hal Foster, i tillegg til momenter fra samtlige tekstsamlinger om enkeltkunstnere.
Studenter p? MA-niv? velger ut et pensum p? minst 1300 sider.
GENERELT PENSUM/OVERSIKTSVERK
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 1900-1910 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, ss.201.
PENSUM TIL HVER ENKELT FORELESNING:
INTRODUKSJON
Crow, Thomas : The Rise of the Sixties, 1996. New York, N.Y. : Weidenfeld & Nicolson. ss. 7-192.
Habermas, J¨¹rgen, ¡°Modernity¡± - An Incomplete Project¡± i: AiT, 1980 . s. 1000-1008.
Lyotard, Jean Francois, ¡±What Is Postmodernism?¡± i: AiT, 1982. s. 1008-1015.
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.
Adorno, Theodor, ¡±Commitment¡± i : AiT, 1962. s. 760-764.
Fried, Michael, ¡±Three American Painters¡± i: AiT , 1965. s. 769-775 .
JACKSON POLLOCK
*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.) K¨¹nstlerischer Austtausch. Akten des XXVIII. Internationalen Kongresses f¨¹r 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
Krauss, Rosalind: 1977. ss. 69-84 p? generelt pensum .
*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
*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.
*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: The Philosophy of Andy Warhol, 1975. ss. 77-85, 91-103 .
DONALD JUDD ¨C MINIMAL ART
*Meyer, James: "Survey" i : Minimalism, ed. James Meyer, Phaidon, 2000. ss.14-45 .
*Schmedling, Olga: "Samtidskunstens tidsrom", i : Kunstrommet, Byrommet, Maktrommet, red. Oddrun S?ter, 1998. Norges Å·ÖÞ±ÔÚÏßÂòÇò_Å·ÖޱͶעÍøÕ¾ÍƼö@sr?d, KULTs skriftserie nr. 102.
*Merleau-Ponty, Maurice: "Egenkroppens syntese" inkl. "Kroppens enhet og kunstverkets enhet" "Den perceptuelle vane som tilegnelse av en verden" i : Kroppens fenomenologi, 1994. Pax . ss.104-112.
*Sandqvist, Tom: "Den bokstavliga gestaltens specifika objekt " og "Rommet och kroppen" i : Den meningsl?sa kuben , hhv. ss. 315-321 og ss. 375-382.
*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.generelt pensum.
*Chave, Anne C: "Minimalism and the Rhetoric of Power" i : Minimalism , ed. Meyer, ss. 275-285 .
Hal Foster: "The Crux of Minimalism" : 23 s.generelt pensum.
* Wallenstein, Sven-Olov: "Det utvidgade f?ltet ¨C fr?n h?gmodernism till konceptualism", i : Konsten och konstbegreppet", 1996. Kungl. Konsth?gskolan, Stockholm. s.117-153.
ROBERT SMITHSON ¨C LAND ART
*Hobbs, Robert: Robert Smithson:Retrospective i: katalog fra ARC Mus¨¦¨¦ 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.
*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 ss.143 ¨C153, "Earthwords" reprinted from October 1979.
*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 :
*Gr?gaard, Stian: "Smithson inkubert" , i : Robert Smithson 1955-1973, Museet for Samtidskunst, Oslo 1999. ss. 88-122 .
JOSEPH BEUYS
Blom, Ina: Joseph Beuys, 2001. Gyldendal Norsk Forlag. 156 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
*Nestegaard, Jutta: "Gerhard Richter Mannen som ville hoppe over sin egen skygge" i : Gerhard Richter. Det umuliges kunst malerier 1964-1998, Oslo 1999. ss. 9-55.
*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
Foster 1996: generelt pensum ss. 136-168 .
*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.
*Steihaug, Jon-Ove, ¡±Case: The Interpretation of the Work of Cindy Sherman¡±, i : Abject / Informe / Trauma. Discourses on the Body in American Art of the Nineties, Oslo: ForArt, 1998. ss. 43-49.
*Krauss, Rosalind: Cindy Sherman 1975-1993, New York: Rizzoli, 1993. ss. 17-195.
*Jones, Amelia, ¡±Tracing the Subject with Cindy Sherman¡±, i : Cindy Sherman: Retrospective, New York: Thames and Hudson, 1997. ss. 33-53 .
*Jones, Amelia: Body Art. Performing the Subject, Minneapolis: University of Minnesota Press, 1998. ss. 151-185.
*Crimp, Douglas, ¡±Pictures¡± i : Art After Modernism, Brian Wallis (ed.), New York: The New Museum of Contemporary Art, 1984. ss. 175-187.
*Thorkildsen, ?smund, ¡±Hun forlot aldri huset uten ?...¡±, i : Louise Lawler, Cindy Sherman, Laurie Simmons, Kunstnernes Hus, 30.1-7.3 1993. ss. 6-29.