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AVAG Schedule

Before the beginning of term it is recommended that you read the following: ‘Modernism and the Idea of the Avant-Garde’ in Paul Smith and Carolyn Wilde (eds), A Companion to Art Theory (Blackwell, 2002). Available online here:

(PDF Document) Group Projects

Week 1

The concept of the 'Avant-garde': Modernism and Dada

- Raymond Williams, 'When was Modernism?' in Art in Theory, p.1085 Available HERE
- Raymond Williams, 'The Analysis of Culture' in Cultural Theory and Popular Culture: A Reader, 2nd Edition, ed. John Storey (Harlow: Pearson Education Limited, 1998), pp.48-56 Available HERE or HERE
Screening: Entr'acte (René Clair, 1924, 22 mins)

Week 2

Found Footage

- Rob Yeo, ‘Cutting Through History: Found Footage in Avant-garde Filmmaking’ in Stefan Basilico (ed.) Cut: Film as Found Object in Contemporary Video (Milwaukee, WI: Milwaukee Art Museum, 2004). Available HERE.
- Eduardo Navas, 'Regressive and Reflexive Mashups in Sampling Culture' in Mashup Cultures, ed. Stefan Sonvilla-Weiss (New York: Springer-Verlag, 2010). Available here:
Screening:  Rose Hobart (Joseph Cornell, 1936, 19 mins) / A MOVIE (Bruce Connor, 1958, 12 mins) / Jack's Dream (Joseph Cornell, c1938, 4 mins), The Phoenix Portal (Soda Jerk, 2005) / The Strokes vs. Christina Aguilera - A Stroke of Genie-us (Freelance Hellraiser/Brian Mazzerella, 2001)

Further information here

Week 3

The Underground

- Richard Hamilton, 'For the Finest Art, Try Pop' in Art in Theory, 1900-2000, p.742-743. Available HERE.
- Susan Sontag, 'A Feast For Open Eyes' in The Nation, April 13, 1964. Available HERE.
- J. Hoberman, 'Crimson Creatures: the case against Flaming Creatures' in Jack Smith and His Secret Flix program notes (New York: American Museum of the Moving Image, 1997). Available HERE.
Screening: Invocation of My Demon Brother (Kenneth Anger, 1969, 11 mins) / Flaming Creatures (Jack Smith, 1963, 43 mins)

Week 4

Minimalism, Slow Cinema and the Furniture Film

- Michael Fried, 'Art and Objecthood' in Art in Theory 1900 - 2000: An Anthology of Changing Ideas, ed. Harrison and Wood (Malden, MA: Blackwell, 2002), pp. 835-846 Available HERE
Screening: excerpt from Empire (Andy Warhol, 1964) / Ruhr (James Benning, 2009) / Hand Catching Lead (Richard Serra, 1968) / Time As Activity (Dusseldorf) (David Lamelas, 1969)

Week 5

Expanded Cinema

- Brandon W. Joseph, '"My Mind Split Open": Andy Warhol's Exploding Plastic Inevitable' in Grey Room, No. 8, Summer, 2002. Available HERE.
Selected film documentation of a perfromance of Malcolm Le Grice's Horror Film 1
Andy Warhol's Exploding Plastic Inevitable (Ronald Nameth, 1966, 13 mins)


Week 7

Video as Medium/Video as Performance

- Rosalind Krauss, 'Video: The Aesthetics of Narcissism,' in October, Vol. 1 (Spring, 1976), pp. 50-64. Available HERE
Three Transitions (Peter Campus, 1973)
Two Dogs and a Ball (William Wegman, 1972)
Vertical Roll (Joan Jonas, 1972)

Week 8

Video as Object

- Janet Kraynak, 'Dependent Participation: Bruce Nauman's Environments,' in Grey Room, No. 10, Winter 2003, pp. 22-45. Available HERE
- Chrissie Iles, 'Video and Film Space,' in Space, Site, Intervention: Situating Installation Art, ed. Erika Suderburg (Minneapolis : University of Minnesota Press, 2000). Available HERE.

Week 9

Video Art and TV

- Catherine Elwes, Video Art, A Guided Tour (London: I. B. Tauris, 2006), Chapter 7 – Video Art on Television, pp. 117 – 140. Available HERE.
TV Interruptions (David Hall, 1976)
Semiotics of The Kitchen (Martha Rosler, 1975)

Week 10

Presentation of group work

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