Tuesday always seems a big news for inexplicable reasons, in Los Angeles the Getty Research Institute found a replacement for the irreplaceable Tom Crow, who made the GRI both a scholarly powerhouse and thethe sponsor of some of the most inventive institutional shows in Los Angeles. I hope that his replacement, respected scholar Thomas W. Gaehtgens doesn't let it simmer down to bland summer school for boring scholars.
In other news, SVA hired critic David Levi Strauss to head their department in Art Criticism & Writing. Which reminds of a piece of news that no one in LA has yet spoken about, the quiet demise of Art Center's MFA in Criticism and Theory.
I visited a class their recently and the majority of the student body seemed a bit clueless, with a single exception. I see Art Center MFA in Criticism grads all over town from Michael Ned Holte, critic for Artforum to Heather Cowan, director of Patrick Painter, so the place met with some success.
The College has decided to discontinue its graduate program in Art Theory and Criticism. Although this program has played an important role in our graduate level offerings, a decision has been made to redirect both resources and energies toward our studio graduate programs. As always, Art Center continues to focus on critical thinking and theory within all of its graduate and undergraduate course offerings, and this emphasis will continue.
Though it probably goes without saying, I hope the core faculty: Bruce Hainley, Amy Gerstler, and Rosetta Brooks (all great writers) find a new and better home, hopefully in Los Angeles.
The one thing that the Art Center Graduate Degree in Criticism & Theory website has, which may come down sometime soon, is an amazing reading list, annotated by an unknown author (though given the books I think it can be none other than Bruce Hainley). I feel like it's Bruce listing off the books on his shelves.
Reading List:
Alberro, Alexander, ed. RECORDING CONCEPTUAL ART: EARLY INTERVIEWS with BARRY, HUEBLER, KALTENBACH, LeWITT, MORRIS, OPPENHEIM, SIEGELAUB, SMITHSON, and WEINER by PATRICIA
NORVELL. Berkeley: U. of California Press, 2001.
Als, Hilton. THE WOMEN. New York: Farrar, Straus and Giroux, 1996.
Augé, Marc. NON-PLACES: INTRODUCTION TO AN ANTHROPOLOGY OF SUPERMODERNITY. New York: Verso, 1995.
Ashbery, John. SELECTED PROSE. Ed. Eugene Richie. Ann Arbor: The Univeristy of Michigan Press, 2004.
[great American poet writes clear whip smart pieces about French writers and filmmakers, fellow poets, art, etc.]
Bachelard, Gaston. THE POETICS OF SPACE. Beacon Press, April 1969.
[gorgeous dreamy classic with section titles like: “the house from cellar to garret, the significance of the hut”, “nests”, “shells”, “miniature,” “drawers, chests and wardrobes.”]
Badiou, Alain. THE CENTURY. Trans. Alberto Toscano. Cambridge: Polity, Forthcoming.
Banham, P. Reyner. SCENES IN AMERICA DESERTA. Cambridge: The MIT Press, 1989. [First published in 1982 by Gibbs M. Smith.]
Barthes, Roland. A LOVER'S DISCOURSE--FRAGMENTS. Trans. Richard Howard. New York: Farrar, Straus and Giroux, 1978.
CAMERA LUCIDA: REFLECTIONS ON PHOTOGRAPHY. Trans. Richard Howard. New York: Farrar, Straus and Giroux, 1981.
THE PLEASURE OF THE TEXT. Trans. Richard Howard. New York: Farrar, Straus and Giroux, 1975.
ROLAND BARTHES. Trans. Richard Howard. New York: Farrar, Straus and Giroux, 1977.
Bataille, George. EROTISM, DEATH and SENSUALITY. Trans. by Mary Dalwood. San Francisco: City Lights Books, 1986.
Literature and Evil. Trans. by Alastair Hamilton. London: Marion Boyars, 1989.
Beckett, Samuel. KRAPP’S LAST TAPE. The Grove Press, 1960.
PROUST. New York: The Grove Press, 1957.
Benjamin, Walter. THE ARCADES PROJECT. Trans. Howard Eiland and Kevin McLaughlin. Cambridge, MA: The Belknap Press/Harvard University Press, 1999.
“The Work of Art in the Age of Mechanical Reproducibility.”
Bishop, Elizabeth. THE COMPLETE POEMS 1927-1979. New York: Farrar, Straus and Giroux, 1983.
Blanchot, Maurice. THE GAZE OF ORPHEUS AND OTHER LITERARY ESSAYS.
Preface by Geoffrey Hartman, Trans. by Lydia Davis. Edited with an afterword by P. Adams Sitney. Barrytown: Station Hill Press, 1981.
“Two Versions of the Imaginary.” From THE SPACE OF LITERATURE. Trans. Ann Smock. Lincoln: University of Nebraska Press, 1989.
THE WRITING OF THE DISASTER. Trans. by Ann Smock. Lincoln: University of Nebraska Press, 1985.
Boltanski, Luc and Gregory Elliott. THE NEW SPIRIT OF CAPITALISM. Trans. by Eve Chiapello. London: Verso, 2006.
Broyard, Anatole. WHEN KAFKA WAS THE RAGE. Clarkson Potter, 1993.
[portrait of a milieu: an amazingly written memoir from the trenches at the height of Greenwich village art scene in the late 1940s which was an intense happening time, man.]
Bydler, Charlotte. GLOBAL ARTWORLD, INC.: ON THE GLOBALIZATION OF CONTEMPORARY ART. 2004.
Cage, John. SILENCE: LECTURES AND WRITINGS. Middletown: Wesleyan University Press, 1961.
Calvino, Italo. INVISIBLE CITIES. Italian edition (original title: Le città invisibili), Torino: Giulio Einaudi editore s.p.a., 1972. English edition translated by William Weaver. New York: Harcourt Brace Jovanovich, Inc. 1974.
Carson, Anne. GLASS, IRONY AND GOD. New York: New Directions, 1995.
ECONOMY OF THE UNLOST (Reading Simonides of Keos with Paul Celan). Princeton: Princeton University Press, 1999.
Clark, T. J. FAREWELL TO AN IDEA: EPISODES FROM A HISTORY OF MODERNISM. New Haven and London: Yale University Press, 1999.
Cooper, Dennis. GOD JR. New York: Black Cat, 2005.
Davis, Lydia. BREAK IT DOWN. New York: Farrar, Straus and Giroux, 1988.
THE END OF THE STORY. New York: Farrar, Straus and Giroux, 1995.
De Certeau, Michel. THE PRACTICE OF EVERYDAY LIFE. Berkeley: University of California Press, 1984. Translated by Steven Rendall. [Originally published 1974.]
De Cervantes, Miguel. DON QUIXOTE. Countless editions.
Deleuze, Gilles. NEGOTIATIONS. Trans. Martin Joughen. New York: Columbia University Press, 1990.
Derian, James Der, ed. THE VIRILIO READER. London: Blackwell Publishers, 1998.
Dick, Phillip K. THE SIMULACRA (1964). New York: Vintage Press, 2002.
Didion, Joan. DEMOCRACY. New York, 1984.
Slouching Toward Bethlehem. New York: Dell, 1.
The White Album. New York: Simon and Schuster, 1979.969.
Dyer, Geoff. THE ONGOING MOMENT. New York: Pantheon, 2005.
[brilliant brit goes on gaga riffs about photography.]
Ellman, Richard, ed. THE ARTIST AS CRITIC: CRITICAL WRITINGS OF OSCAR WILDE. Chicago: U. of Chicago Press, 1998 (reprint).
Foucault, Michel. ETHICS: AESTHETICS, METHOD, and EPISTEMOLOGY: ESSENTIAL WORKS OF FOUCAUT, 1954-1984. Volume 2. Paul Rabinow, series editor. New York: New Press, 1997-2000.
Frampton, Hollis. CIRCLES OF CONFUSION: FILM PHOTOGRAPHY VIDEO: TEXTS 1968-1980. Rochester: Visual Studies Workshop Press, 1983.
Fried, Michael. ART AND OBJECTHOOD: ESSAYS AND REVIEWS. Chicago: University of Chicago Press, 1998.
Gass, William. ON BEING BLUE. Boston: David R. Godine, 1976.
[slim book length poeticmeditation on the color and state of being of blue by wild minded philosophy professor, essayist and fiction writer.]
Genet, Jean. FRAGMENTS OF THE ARTWORK. Stanford: Stanford University Press, 2003.
Gilbert-Rolfe, Jeremy. BEYOND PIETY: CRITICAL ESSAYS ON THE VISUAL ARTS, 1986-1993. New York: Cambridge University Press, 1995.
Greenberg, Clement. ART AND CULTURE. Boston: Beacon Press, 1961.
Groys, Boris and Zdenka Badovinac, Barbara Vanderlinden. BORIS GROYS: THE ART JUDGEMENT SHOW. Brussels: Roomade, 2002.
Hardwick, Elizabeth. AMERICAN FICTIONS. New York: Modern Library, 2001.
SLEEPLESS NIGHTS. New York: New York Review Books, 2003 (reprint).
Harris, Jonathan. THE NEW ART HISTORY: A CRITICAL INTRODUCTION. Florence, KY: Routledge, 2001.
Harrison and Wood, editors. ART IN THEORY. Blackwell Publishers, 2000.
[super hefty compendium of all kinds of art theory documents that can lead to further researches]
Hertz, Richard. JACK GOLDSTEIN AND THE CALARTS MAFIA. Ojai: Minneola Press, 2003.
Hickey, Dave. AIR GUITAR Los Angeles: Art Issues. Press, 1997.
Hickey, Dave. THE INVISIBLE DRAGON: FOUR ESSAYS ON BEAUTY. Los Angeles: Art Issues, Press, 1993.
Hoberman, J. and Edward Leffingwell, eds. WAIT FOR ME AT THE BOTTOM OF THE POOL: THE WRITINGS OF JACK SMITH. New York and London: High Risk Books, 1997.
Kelley, Mike. FOUL PERFECTION. Cambridge: MIT Press, 2003.
Kincaid, Jamaica. MY BROTHER. New York: Farrar, Straus and Giroux, 1997.
Kluge, Alexander. LEARNING PROCESSES WITH A DEADLY OUTCOME. Durham, NC: Duke University Press, 1996.
Koestenbaum, Wayne. ANDY WARHOL. New York: Viking/Penguin, 2001.
CLEAVAGE: ESSAYS ON SEX, STARS, and AESTHETICS. New York: Ballentine Books, 2000.
Krauss, Rosalind E.. THE ORIGINALITY OF THE AVANT-GARDE AND OTHER MODERNIST MYTHS. Cambridge, MA: MIT Press, 1985.
Lawrence, D. H. STUDIES IN CLASSIC AMERICAN LITERATURE. New York: Penguin (reprint), 1991.
[strange, hyper intelligent, authorative, idiosyncratic essays on Melville, and DH’s take on what being American is.]
Loos, Adolf. ORNAMENT AND CRIME: SELECTED ESSAYS. California: Ariadne Press, 1995. (originally published 1908).
Lopate, Phillip, ed. AMERICAN MOVIE CRITICS. Library of America, 2006.
[essay master collects a history of American film writing fromits beginnings to the current moment, terrific selections and intros.]
THE ART OF THE PERSONAL ESSAY. New York: Doubleday, 1997.
[indispensable essay collection from antiquity till modern times, packed with classics and gems—a personal essay bible.]
MacCannell, Dean. THE TOURIST: A NEW THEORY OF THE LEISURE CLASS. New York: Schocken Books, 1976.
Malcolm, Janet. “Profiles: A Girl of the Zeitgeist.” (Parts I and II), New Yorker October 20, 1986, 1986 October 27, 1986.
Marcus, Greil. LIPSTICK TRACES: A SECRET HISTORY OF THE 20TH CENTURY. Cambridge: Harvard University Press, 1989.
Marias, Javier. TOMORROW IN THE BATTLE THINK OF ME. Trans. Margaret Jull Costa. New York: New Directions, 2001.
McDonald, Boyd. CRUISING THE MOVIES: A SEXUAL GUIDE TO "OLDIES" ON TV. New York: Gay Presses of New York, 1985.
Stein, Gertrude. A STEIN READER. Evanston: Northwestern University Press, 1996.
Stiles, Kristine and Peter Selz, ed. THEORIES AND DOCUMENTS OF CONTEMPORARY ART: A SOURCEBOOK OF ARTISTS’ WRITINGS. Berkeley: University of California Press, 1996.
[giant book of artists’ writings, a useful mixed bag.]
Stockhausen, Karlheinz. STOCKHAUSEN ON MUSIC: LECTURES AND INTERVIEWS. Compiled by Robin Maconie. London and New York: Marion Boyars, 1989.
Szymborska, Wislawa. NONREQUIRED READING: PROSE PIECES. New York: Harcourt, 2002.
[Nobel prize winning Polish poet uses oddball books as an excuse to write small, thoughtful, gemlike essays on a variety of topics.]
Töteberg, Michael and Leo A. Lensing. THE ANARCHY OF THE IMAGINATION: Interviews, Essays, Notes—RAINER WERNER FASSBINDER. Trans. Krishna Winston. Baltimore: The Johns Hopkins University Press, 1992.
Trow, George W. S. WITHIN THE CONTEXT OF NO CONTEXT. Boston: Little, Brown and Co., 1981.
WITHIN THE CONTEXT OF NO CONTEXT. New York: Atlantic Monthly Press, 1997.
MY PILGRIM'S PROGRESS: MEDIA STUDIES, 1950-1998. New York: Pantheon Books, 1998.
Venturi, Robert; Steven Izenour; Denise Scott Brown. LEARNING FROM LAS VEGAS. Cambridge: The MIT Press, 1972.
Virilio, Paul. WAR AND CINEMA: THE LOGISTICS OF PERCEPTION. Trans. Patrick Camiller. London: Verso, 1989. see also: Derain, James der.
Vogel, Amos. FILM AS A SUBVERSIVE ART. New York: Distributed Art Publishers, 2006.
Wallace, David Foster. A SUPPOSEDLY FUN THING I’LL NEVER DO AGAIN. New York: Little Brown, 1997.
CONSIDER THE LOBSTER. New York: Little, Brown, 2005. [postmodern large cerebrumed essay god traverses various subjects, in pages heavily adorned with rich copious footnotes the way some women wear all their jewels at once on special occasions---the footnote is levated to new heights by Wallace.]
Warhol, Andy. THE PHILOSOPHY OF ANDY WARHOL. New York: Harcourt Brace Jovanovich, 1975.
Woolf, Virginia. A ROOM OF ONE’S OWN. New York: Harvest Books, 1989 (reprint).
[beautiful book length essay on women and writing from one of the finest minds the planet has produced.]
ARTIST’S WRITING - INTERVIEWS / THEORY
Alberro, Alexander, ed. RECORDING CONCEPTUAL ART: EARLY INTERVIEWS with BARRY, HUEBLER, KALTENBACH, LeWITT, MORRIS, OPPENHEIM, SIEGELAUB, SMITHSON, and WEINER by PATRICIA NORVELL. Berkeley: U. of California Press, 2001.
Cage, John. SILENCE: LECTURES AND WRITINGS. Middletown: Wesleyan University Press, 1961.
Frampton, Hollis. CIRCLES OF CONFUSION: FILM PHOTOGRAPHY VIDEO: TEXTS 1968-1980. Rochester: Visual Studies Workshop Press, 1983.
Genet, Jean. FRAGMENTS OF THE ARTWORK. Stanford: Stanford University Press, 2003.
Gilbert-Rolfe, Jeremy. BEYOND PIETY: CRITICAL ESSAYS ON THE VISUAL ARTS, 1986-1993. New York: Cambridge University Press, 1995.
Harrison and Wood, editors. ART IN THEORY. Blackwell Publishers, January 2000.
[super hefty compendium of all kinds of art theory documents that can lead to further researches]
Halpern, Daniel: Editor. WRITERS ON ARTISTS. North Point Press, January, 1988.
[collection of “belle letreistic” off the beaten path pieces about art and artists by literary writers such as Hemingway, Stein, Genet, Ralph Ellison, etc.]
Hertz, Richard. JACK GOLDSTEIN AND THE CALARTS MAFIA. Ojai: Minneola Press, 2003.
Hoberman, J. and Edward Leffingwell, eds. WAIT FOR ME AT THE BOTTOM OF THE POOL: THE WRITINGS OF JACK SMITH. New York and London: High Risk Books, 1997.
Kelley, Mike. FOUL PERFECTION. Cambridge: MIT Press, 2003.
Loos, Adolf. ORNAMENT AND CRIME: SELECTED ESSAYS. California: Ariadne Press, 1995. (originally published 1908).
Stiles, Kristine and Peter Selz, ed. THEORIES AND DOCUMENTS OF CONTEMPORARY ART: A SOURCEBOOK OF ARTISTS’ WRITINGS. Berkeley: University of California Press, 1996.
[giant book of artists’ writings, a useful mixed bag.]
Stockhausen, Karlheinz. STOCKHAUSEN ON MUSIC: LECTURES AND INTERVIEWS. Compiled by Robin Maconie. London and New York: Marion Boyars, 1989.
Töteberg, Michael and Leo A. Lensing. THE ANARCHY OF THE IMAGINATION: Interviews, Essays, Notes—RAINER WERNER FASSBINDER. Trans. Krishna Winston. Baltimore: The Johns Hopkins University Press, 1992.
Venturi, Robert; Izenour, Steven; Brown, Denise Scott. LEARNING FROM LAS VEGAS. Cambridge: MIT Press, 1972.
Warhol, Andy. THE PHILOSOPHY OF ANDY WARHOL. New York: Harcourt Brace Jovanovich, 1975.
Wittig, Monique. THE STRAIGHT MIND AND OTHER ESSAYS. Boston: Beacon Press, 1992.
AUTOBIOGRAPHY / THEORY
Als, Hilton. THE WOMEN. New York: Farrar, Straus and Giroux, 1996.
Barthes, Roland. A LOVER'S DISCOURSE--FRAGMENTS. Trans. Richard Howard. New York: Farrar, Straus and Giroux, 1978.
CAMERA LUCIDA: REFLECTIONS ON PHOTOGRAPHY. Trans. Richard Howard. New York: Farrar, Straus and Giroux, 1981.
ROLAND BARTHES. Trans. Richard Howard. New York: Farrar, Straus and Giroux, 1977.
Broyard, Anatole. WHEN KAFKA WAS THE RAGE. Clarkson Potter, 1993.
[portrait of a milieu: an amazingly written memoir from the trenches at the height of Greenwich village art scene in the late 1940s which was an intense happening time, man.]
Didion, Joan. SLOUCHING TOWARD BETHELEM New York: Dell, 1969.
THE WHITE ALBUM. New York: Simon and Schuster, 1979.
Hickey, Dave. AIR GUITAR Los Angeles: Art Issues. Press, 1997.
Kincaid, Jamaica. MY BROTHER. New York: Farrar, Straus and Giroux, 1997.
Koestenbaum, Wayne. CLEAVAGE: ESSAYS ON SEX, STARS, and AESTHETICS. New York: Ballentine Books, 2000.
Sontag, Susan, ed. A BARTHES READER. New York: Farrar, Straus and Giroux, 1982.
Trow, George W. S. WITHIN THE CONTEXT OF NO CONTEXT. Boston: Little, Brown and Co., 1981.
WITHIN THE CONTEXT OF NO CONTEXT. New York: Atlantic Monthly Press, 1997.
MY PILGRIM'S PROGRESS: MEDIA STUDIES, 1950-1998. New York: Pantheon Books, 1998.
FICTION / NON-FICTION / POETRY / THEORY
Ashbery, John. SELECTED PROSE. Ed. Eugene Richie. Ann Arbor: The Univeristy of Michigan Press, 2004.
[great American poet writes clear whip smart pieces about French writers and filmmakers, fellow poets, art, etc.]
Beckett, Samuel. KRAPP’S LAST TAPE. The Grove Press, 1960.
PROUST. New York: The Grove Press, 1957.
Bishop, Elizabeth. THE COMPLETE POEMS 1927-1979. New York: Farrar, Straus and Giroux, 1983.
Calvino, Italo. INVISIBLE CITIES. Italian edition (original title: Le città invisibili), Torino: Giulio Einaudi editore s.p.a., 1972. English edition translated by William Weaver. New York: Harcourt Brace Jovanovich, Inc. 1974.
Carson, Anne. GLASS, IRONY AND GOD. New York: New Directions, 1995.
ECONOMY OF THE UNLOST (Reading Simonides of Keos with Paul Celan). Princeton: Princeton University Press, 1999.
Cooper, Dennis. GOD JR. New York: Black Cat, 2005.
Davis, Lydia. BREAK IT DOWN. New York: Farrar, Straus and Giroux, 1988.
THE END OF THE STORY. New York: Farrar, Straus and Giroux, 1995.
De Cervantes, Miguel. DON QUIXOTE. Countless editions.
Dick, Phillip K. THE SIMULACRA (1964). New York: Vintage Press, 2002.
Didion, Joan. DEMOCRACY. New York, 1984.
Dyer, Geoff. THE ONGOING MOMENT. Pantheon, 2005.
[brilliant brit goes on gaga riffs about photography.]
Ellman, Richard, ed. THE ARTIST AS CRITIC: CRITICAL WRITINGS OF OSCAR WILDE. Chicago: U. of Chicago Press, 1998 (reprint).
Gass, William. ON BEING BLUE. Boston: David R. Godine, 1976.
[slim book length poetic meditation on the color and state of being of blue by wild minded philosophy professor, essayist and fiction writer.]
Halpern, Daniel: Editor. WRITERS ON ARTISTS. North Point Press, January, 1988.
[collection of “belle letreistic” off the beaten path pieces about art and artists by literary writers such as Hemingway, Stein, Genet, Raph Ellison, etc.]
Hardwick, Elizabeth. AMERICAN FICTIONS. New York: Modern Library, 2001.
SLEEPLESS NIGHTS. New York: New York Review Books, 2003 (reprint).
Kluge, Alexander. LEARNING PROCESSES WITH A DEADLY OUTCOME. Durham, NC: Duke University Press, 1996.
Lawrence, D. H. STUDIES IN CLASSIC AMERICAN LITERATURE. New York: Penguin, 1991 (reprint).
[strange, hyper intelligent, authorative, idiosyncratic essays on Melville, and DH’s take on what being American is.]
Lopate, Phillip, ed. AMERICAN MOVIE CRITICS. Library of America, 2006.
[essay master collects a history of American film writing from its beginnings to the current moment, terrific selections and intros.]
THE ART OF THE PERSONAL ESSAY. New York: Doubleday, 1997.
[indispensable essay collection from antiquity till modern times, packed with classics and gems—a personal essay bible.]
Marias, Javier. TOMORROW IN THE BATTLE THINK OF ME. Trans. Margaret Jull Costa. New York: New Directions, 2001.
Nabokov, Vladimir. LECTURES ON LITERATURE. Fredson Bowers, ed. New York: Harcourt, 2003 (reprint).
[Russian genius weighs in on great literature.]
Olson, Charles. CALL ME ISHMAEL. Baltimore: The Johns Hopkins University Press, 1997 (reprint).
Orwell, George. A COLLECTION OF ESSAYS. New York: Harcourt, 1970 (reprint).
[one of the elemental granddaddies of the English essay: a model of lucidity.]
Schuyler, James. THE MORNING OF THE POEM. New York: Farrar, Straus and Giroux, 1980.
Sontag, Susan. A SUSAN SONTAG READER. New York: Farrar, Straus and Giroux, 1982.
WHERE THE STRESS FALLS. New York: Farrar, Straus and Giroux, 2001.
Stein, Gertrude. A STEIN READER. Evanston: Northwestern University Press, 1996.
Szymborska, Wislawa. NONREQUIRED READING: PROSE PIECES. New York: Harcourt, 2002.
[Nobel Prize-winning Polish poet uses oddball books as an excuse to write small, thoughtful, gemlike essays on a variety of topics.]
Wallace, David Foster. A SUPPOSEDLY FUN THING I’LL NEVER DO AGAIN. New York: Little Brown, 1997.
CONSIDER THE LOBSTER. New York: Little, Brown, 2005.
[postmodern large cerebrumed essay god traverses various subjects, in pages heavily adorned with rich copious footnotes the way some women wear all their jewels at once on special occasions---the footnote is elevated to new heights by Wallace.]
Woolf, Virginia. A ROOM OF ONE’S OWN. New York: Harvest Books, 1989 (reprint).
[beautiful book length essay on women and writing from one of the finest minds the planet has produced.]
(ART) HISTORY / THEORY
Augé, Marc. NON-PLACES: INTRODUCTION TO AN ANTHROPOLOGY OF SUPERMODERNITY. New York: Verso, 1995.
Badiou, Alain. THE CENTURY. Trans. Alberto Toscano. Cambridge: Polity, Forthcoming.
Benjamin, Walter. THE ARCADES PROJECT. Trans. Howard Eiland and Kevin McLaughlin. Cambridge, MA: The Belknap Press/Harvard University Press, 1999.
“The Work of Art in the Age of Mechanical Reproducibility.”
Boltanski, Luc; and Gregory Elliott. THE NEW SPIRIT OF CAPITALISM. Trans. by Eve Chiapello. London: Verso, 2006.
Bydler, Charlotte. GLOBAL ARTWORLD, INC.: ON THE GLOBALIZATION OF CONTEMPORARY ART. 2004.
Clark, T. J. FAREWELL TO AN IDEA: EPISODES FROM A HISTORY OF MODERNISM. New Haven and London: Yale University Press, 1999.
Fried, Michael. ART AND OBJECTHOOD: ESSAYS AND REVIEWS. Chicago: University of Chicago Press, 1998.
Greenberg, Clement. ART AND CULTURE. Boston: Beacon Press, 1961.
Groys, Boris and Zdenka Badovinac, Barbara Vanderlinden. BORIS GROYS: THE ART JUDGEMENT SHOW. Brussels: Roomade, 2002.
Harris, Jonathan. THE NEW ART HISTORY: A CRITICAL INTRODUCTION. Florence, KY: Routledge, 2001.
Koestenbaum, Wayne. ANDY WARHOL. New York: Viking/Penguin, 2001.
Krauss, Rosalind E.. THE ORIGINALITY OF THE AVANT-GARDE AND OTHER MODERNIST MYTHS. Cambridge, MA: MIT Press, 1985.
MacCannell, Dean. THE TOURIST: A NEW THEORY OF THE LEISURE CLASS. New York: Schocken Books, 1976.
Malcolm, Janet. “Profiles: A Girl of the Zeitgeist.” (Parts I and II), New Yorker October 20, 1986, 1986 October 27, 1986.
McDonald, Boyd. CRUISING THE MOVIES: A SEXUAL GUIDE TO "OLDIES" ON TV. New York: Gay Presses of New York, 1985.
Marcus, Greil. LIPSTICK TRACES: A SECRET HISTORY OF THE 20TH CENTURY. Cambridge: Harvard University Press, 1989.
Nelson, Cary and Lawrence Grossberg, ed. MARXISM AND THE INTERPRETATION OF CULTURE. Urbana and Chicago: University of Illinois Press, 1988.
Nairne, Sandy. THINKING ABOUT EXHIBITIONS. Florence, KY: Routledge, 1996.
Nesbit, Molly. ATGET'S SEVEN ALBUMS. New Haven and London: Yale University Press, 1993.
THEIR COMMON SENSE. London: Black Dog Press, 2000.
Owens, Craig. BEYOND RECOGNITION. Berkeley and Los Angeles: University of California Press, 1992.
Rosen, Philip (ed.). NARRATIVE, APPARATUS, IDEOLOGY: A FILM THEORY READER. New York: Columbia University Press, 1986.
Ross, Kristin. THE EMERGENCE OF SOCIAL SPACE: RIMBAUD AND THE PARIS COMMUNE. Minneapolis, MN: University of Minnesota Press, 1989.
Said, Edward W. ORIENTALISM. New York: Vintage Books, 1979.
Schimmel, Paul, ed. OUT OF ACTIONS: BETWEEN PERFORMANCE AND THE OBJECT, 1949-1979, exh. cat. Los Angeles: MOCA, 1998.
Sitney, P. Adams. VISIONARY FILM: THE AMERICAN AVANT-GARDE 1943-2000. Third Edition. New York: Oxford University Press, 2002.
ed. FILM CULTURE READER. New York: Cooper Square Press, 1970.
Smith, Duncan. THE AGE OF OIL. New York, Slate Press, 1987.
Solnit, Rebecca. RIVER OF SHADOWS. New York: Viking, 2003.
Virilio, Paul. WAR AND CINEMA: THE LOGISTICS OF PERCEPTION. Trans. Patrick Camiller. London: Verso, 1989.
Vogel, Amos. FILM AS A SUBVERSIVE ART. New York: Distributed Art Publishers, 2006.
PHILOSOPHY / THEORY
Bachelard, Gaston. THE POETICS OF SPACE. Beacon Press, April 1969
[gorgeous dreamy classic with section titles like: “the house from cellar to garret, the significance of the hut”, “nests”, “shells”, “miniature,” “drawers, chests and wardrobes.”]
Bataille, George. EROTISM, DEATH and SENSUALITY. Trans. by Mary Dalwood. San Francisco: City Lights Books, 1986.
Literature and Evil. Trans. by Alastair Hamilton. London: Marion Boyars, 1989.
Barthes, Roland. THE PLEASURE OF THE TEXT. Trans. Richard Howard. New York: Farrar, Straus and Giroux, 1975.
Blanchot, Maurice. THE GAZE OF ORPHEUS AND OTHER LITERARY ESSAYS.
Preface by Geoffrey Hartman, Trans. by Lydia Davis. Edited with an afterword by P. Adams Sitney. Barrytown: Station Hill Press, 1981.
“Two Versions of the Imaginary.” From THE SPACE OF LITERATURE. Trans. Ann Smock. Lincoln: University of Nebraska Press, 1989.
THE WRITING OF THE DISASTER. Trans. by Ann Smock. Lincoln: University of Nebraska Press, 1985.
De Certeau, Michel. THE PRACTICE OF EVERYDAY LIFE. Berkeley: University of California Press, 1984. Translated by Steven Rendall.
[Originally published 1974.]
Deleuze, Gilles. NEGOTIATIONS. Trans. Martin Joughen. New York: Columbia University Press, 1990.
Derian, James Der, ed. THE VIRILIO READER. London: Blackwell Publishers, 1998.
Foucault, Michel. ETHICS: AESTHETICS, METHOD, and EPISTEMOLOGY: ESSENTIAL WORKS OF FOUCAUT, 1954-1984. Volume 2. Paul Rabinow, series editor. New York: New Press, 1997-2000.
Hickey, Dave. THE INVISIBLE DRAGON: FOUR ESSAYS ON BEAUTY. Los Angeles: Art Issues, Press, 1993.
Nancy, Jean-Luc. THE GROUND OF THE IMAGE. Trans. Jeff Fort. NY, NY: Fordham University Press, 2006.
Ronell, Avital. CRACK WARS: LITERATURE ADDICTION MANIA. Lincoln: U. of Nebraska Press, 1992.
STUPIDITY. Urbana and Chicago: U. of Illinois Press, 2002.
Wittig, Monique. THE STRAIGHT MIND AND OTHER ESSAYS. Boston: Beacon Press, 1992.
Thank you for giving some of the labor of our MA program more exposure. This important list of reads was generated at Bruce Hainley's request through the contributions of students, alumni and faculty. I'm happy to see it in this new context. Catherine Taft Art Center, MA Theory and Criticism
Thank you for giving some of the labor of our MA program more exposure. This important list of reads was generated at Bruce Hainley's request through the contributions of students, alumni and faculty. I'm happy to see it in this new context. Catherine Taft Art Center, MA Theory and Criticism
The Expanded Field is published by Andrew Berardini, a writer and sometimes editor from Los Angeles. He's written for Art Review, Artforum, Paper Monument,The Fillip Review, La Stampa, MOUSSE Italia, Afterall, and X-TRA, amongst others. He's taught at the Southern California Institute of Architecture and is currently editor for Check-In Architecture. He was the longtime Assistant Editor at Semiotext(e) Press, where he helped translate Jean Baudrillard's In The Shadow of the Silent Majority. He graduated from CalArts with an MFA in Writing from the School of Critical Studies. He can be contacted at andrew.berardini (at) gmail.com to perform at birthday parties, bar mitzvahs, and weddings.
Catherine Taft
Art Center, MA Theory and Criticism