Kurzus nemzetközi vendég- és részidős hallgatóknak

Kar

Bölcsészettudományi Kar

Szervezet

BTK Művészettörténeti Intézet

Kód

MA-ERA-IAH-L-19

Cím

Pop Goes the Eastern Bloc: The Reception of Pop Art in East-Central Europe

Tervezett félév

Tavaszi

Meghirdetve

2023/24/2

ECTS

8

Nyelv

en

Oktatás célja

Faculty: Faculty of Humanities Organization BTK Institute of Art History Code: Course Title: Pop Goes the Eastern Bloc: The Reception of Pop Art in East-Central Europe Usual semester Summer Published semester 2023/2024/2 ECTS: 4 Type of course (lecture/seminar) hours per week/semester: 2 / 28 assessment method (exam/practical grade): exam Suggested semester: Summer Learning outcomes: Course content: In the recent years there have been several attempts to extend the West-centered notion of pop art. The 2015 exhibition “The World Goes Pop” organised by Tate Modern in London, and a few months earlier Walker Art Center's “International Pop” in Minneapolis aimed to re-think the history of pop art in a global context, and to create a non-hierarchic narrative, which deconstructs the relationship between “centers” and “peripheries” in the spirit of a “horizontal art history” described by Piotr Piotrowski. These curatorial projects aimed to present local narratives side by side to present the dynamic relations between the so called “We” and the “Others”, as among others Slovenian art historian Igor Zabel had already indicated in several essays. In 2015 Budapest's Ludwig Museum extended the show “Ludwig Goes Pop” with key artworks from East Central Europe (“Ludwig Goes Pop + The East Side Story”), and created a polyphonic network of narratives, which focused on the different understandings of consumer culture and media images on the two sides of the iron curtain. The course focuses on the heterogeneous territory of East-Central Europe, and aims to present different local narratives to reflect on differences and similarities between separate localities. For creating a complex narrative of different “popisms” beyond British and American pop art we must consider whether a “Western” vocabulary of art history could be adapted to the artistic phenomena in the former Eastern Bloc, and how could we avoid the colonization of the local scenes, if we use terms of a West-centered, hegemonic art history. Such notions as cultural transfer, circulation and information flow should be re-considered to situate pop-related phenomena of such “close Others” as Hungary (László Lakner, Gyula Konkoly, Endre Tót, Sándor Altorjai, Ilona Keserü, Krisztián Frey, Imre Bak, Károly Halász and others), Czechoslovakia (Július Koller, Jana Želibská, Alex Mlynárčik, Stano Filko, Jiří Kolář), Poland (Jerzy “Jurry” Zieliński, Maria Pinińska-Bereś, Alina Szapocznikow, Jan Lenicá, Henryk Tomaszewski, Roman Cieślewicz), Estonia (Leonhard Lapin), Romania (Cornel Brudaşcu, Ion Bitzan), Yugoslavia (Tomislav Gotovac, Marko Pogačnik, Boris Bućan) and the GDR (Willy Wolff) in a broader, transnational context. The relationship between “Western” forms of “new realism” and the understanding of figuration and realism in the “Eastern Bloc” should be also analysed to confront the different cultural politics of the Cold War era, and to investigate phenomena of the Eastern side of Europe in the context of the diverse history of “Europop”. The course will start with an analysis of László Lakner’s recent retrospective exhibition titled Alter ego and a case study on Gerhard Richter’s art from the perspective of re-thinking the history of pop art, and will end with the analysis of the East-Central European receptions of photorealism in the late 1960s and early 1970s, with a special focus on such Hungarian artists as László Lakner and László Méhes. Lecturer: Dávid FEHÉR Required reading: Katalin Timár: Is Your Pop Our Pop? The History of Art as a Self-Colonizing Tool, Artmargins online, 03/16/2002 https://artmargins.com/is-your-pop-our-pop-the-history-of-art-as-a-self-colonizing-tool/ Piotr Piotrowski: In the Shadow of Yalta. The Avant-garde in Eastern Europe, 1945–1989, London: Reaktion Books, 2009, 147–177. (The chapter titled Un-Socialist Realism) https://monoskop.org/images/4/43/Piotrowski_Piotr_In_the_Shadow_of_Yalta_Art_and_the_Avant-garde_in_Eastern_Europe_1945-1989_2009.pdf John J. Curley: Gerhard Richter’s Cold War Vision, in: Gerhard Richter: Early Work, 1951-1972, Christine Mehring – Jeanne Anne Nugent – Jon L. Seydl eds., Los Angeles: The J. Paul Getty Museum, 2010, 11–35. https://www.academia.edu/26020583/_Gerhard_Richters_Cold_War_Vision_in_Gerhard_Richter_Early_Work_1951_1972_edited_by_Christine_Mehring_et_al_Los_Angeles_Getty_Publications_2010_11_35 Ludwig Goes Pop + The East Side Story, Timár Katalin ed., exh. cat., Budapest: Ludwig Múzeum – Kortárs Művészeti Múzeum, 2015 https://issuu.com/davidfeher/docs/timar_ludwig-goes-pop-full-cat David Crowley: Pop Effects in Eastern Europe under Communist Rule, in: The World Goes Pop, Jessica Morgan – Flavia Frigeri szerk., exh. cat. London: Tate Modern, 2015, 29–37. https://faktografia.com/2014/01/26/pop-effects-in-eastern-europe-under-communist-rule/ Art in Transfer in the Era of Pop. Curatorial Practices and Transnational Strategies, Annika Öhrner ed., Stockholm: Södertörn University, 2017 (especially the essays by Piotr Piotrowski, Catherine Dossin, Hiroko Ikegami) http://www.diva-portal.se/smash/get/diva2:1060138/FULLTEXT01.pdf

Tantárgy tartalma

Faculty: Faculty of Humanities Organization BTK Institute of Art History Code: Course Title: Pop Goes the Eastern Bloc: The Reception of Pop Art in East-Central Europe Usual semester Summer Published semester 2023/2024/2 ECTS: 4 Type of course (lecture/seminar) hours per week/semester: 2 / 28 assessment method (exam/practical grade): exam Suggested semester: Summer Learning outcomes: Course content: In the recent years there have been several attempts to extend the West-centered notion of pop art. The 2015 exhibition “The World Goes Pop” organised by Tate Modern in London, and a few months earlier Walker Art Center's “International Pop” in Minneapolis aimed to re-think the history of pop art in a global context, and to create a non-hierarchic narrative, which deconstructs the relationship between “centers” and “peripheries” in the spirit of a “horizontal art history” described by Piotr Piotrowski. These curatorial projects aimed to present local narratives side by side to present the dynamic relations between the so called “We” and the “Others”, as among others Slovenian art historian Igor Zabel had already indicated in several essays. In 2015 Budapest's Ludwig Museum extended the show “Ludwig Goes Pop” with key artworks from East Central Europe (“Ludwig Goes Pop + The East Side Story”), and created a polyphonic network of narratives, which focused on the different understandings of consumer culture and media images on the two sides of the iron curtain. The course focuses on the heterogeneous territory of East-Central Europe, and aims to present different local narratives to reflect on differences and similarities between separate localities. For creating a complex narrative of different “popisms” beyond British and American pop art we must consider whether a “Western” vocabulary of art history could be adapted to the artistic phenomena in the former Eastern Bloc, and how could we avoid the colonization of the local scenes, if we use terms of a West-centered, hegemonic art history. Such notions as cultural transfer, circulation and information flow should be re-considered to situate pop-related phenomena of such “close Others” as Hungary (László Lakner, Gyula Konkoly, Endre Tót, Sándor Altorjai, Ilona Keserü, Krisztián Frey, Imre Bak, Károly Halász and others), Czechoslovakia (Július Koller, Jana Želibská, Alex Mlynárčik, Stano Filko, Jiří Kolář), Poland (Jerzy “Jurry” Zieliński, Maria Pinińska-Bereś, Alina Szapocznikow, Jan Lenicá, Henryk Tomaszewski, Roman Cieślewicz), Estonia (Leonhard Lapin), Romania (Cornel Brudaşcu, Ion Bitzan), Yugoslavia (Tomislav Gotovac, Marko Pogačnik, Boris Bućan) and the GDR (Willy Wolff) in a broader, transnational context. The relationship between “Western” forms of “new realism” and the understanding of figuration and realism in the “Eastern Bloc” should be also analysed to confront the different cultural politics of the Cold War era, and to investigate phenomena of the Eastern side of Europe in the context of the diverse history of “Europop”. The course will start with an analysis of László Lakner’s recent retrospective exhibition titled Alter ego and a case study on Gerhard Richter’s art from the perspective of re-thinking the history of pop art, and will end with the analysis of the East-Central European receptions of photorealism in the late 1960s and early 1970s, with a special focus on such Hungarian artists as László Lakner and László Méhes. Lecturer: Dávid FEHÉR Required reading: Katalin Timár: Is Your Pop Our Pop? The History of Art as a Self-Colonizing Tool, Artmargins online, 03/16/2002 https://artmargins.com/is-your-pop-our-pop-the-history-of-art-as-a-self-colonizing-tool/ Piotr Piotrowski: In the Shadow of Yalta. The Avant-garde in Eastern Europe, 1945–1989, London: Reaktion Books, 2009, 147–177. (The chapter titled Un-Socialist Realism) https://monoskop.org/images/4/43/Piotrowski_Piotr_In_the_Shadow_of_Yalta_Art_and_the_Avant-garde_in_Eastern_Europe_1945-1989_2009.pdf John J. Curley: Gerhard Richter’s Cold War Vision, in: Gerhard Richter: Early Work, 1951-1972, Christine Mehring – Jeanne Anne Nugent – Jon L. Seydl eds., Los Angeles: The J. Paul Getty Museum, 2010, 11–35. https://www.academia.edu/26020583/_Gerhard_Richters_Cold_War_Vision_in_Gerhard_Richter_Early_Work_1951_1972_edited_by_Christine_Mehring_et_al_Los_Angeles_Getty_Publications_2010_11_35 Ludwig Goes Pop + The East Side Story, Timár Katalin ed., exh. cat., Budapest: Ludwig Múzeum – Kortárs Művészeti Múzeum, 2015 https://issuu.com/davidfeher/docs/timar_ludwig-goes-pop-full-cat David Crowley: Pop Effects in Eastern Europe under Communist Rule, in: The World Goes Pop, Jessica Morgan – Flavia Frigeri szerk., exh. cat. London: Tate Modern, 2015, 29–37. https://faktografia.com/2014/01/26/pop-effects-in-eastern-europe-under-communist-rule/ Art in Transfer in the Era of Pop. Curatorial Practices and Transnational Strategies, Annika Öhrner ed., Stockholm: Södertörn University, 2017 (especially the essays by Piotr Piotrowski, Catherine Dossin, Hiroko Ikegami) http://www.diva-portal.se/smash/get/diva2:1060138/FULLTEXT01.pdf

Számonkérés és értékelés

Faculty: Faculty of Humanities Organization BTK Institute of Art History Code: Course Title: Pop Goes the Eastern Bloc: The Reception of Pop Art in East-Central Europe Usual semester Summer Published semester 2023/2024/2 ECTS: 4 Type of course (lecture/seminar) hours per week/semester: 2 / 28 assessment method (exam/practical grade): exam Suggested semester: Summer Learning outcomes: Course content: In the recent years there have been several attempts to extend the West-centered notion of pop art. The 2015 exhibition “The World Goes Pop” organised by Tate Modern in London, and a few months earlier Walker Art Center's “International Pop” in Minneapolis aimed to re-think the history of pop art in a global context, and to create a non-hierarchic narrative, which deconstructs the relationship between “centers” and “peripheries” in the spirit of a “horizontal art history” described by Piotr Piotrowski. These curatorial projects aimed to present local narratives side by side to present the dynamic relations between the so called “We” and the “Others”, as among others Slovenian art historian Igor Zabel had already indicated in several essays. In 2015 Budapest's Ludwig Museum extended the show “Ludwig Goes Pop” with key artworks from East Central Europe (“Ludwig Goes Pop + The East Side Story”), and created a polyphonic network of narratives, which focused on the different understandings of consumer culture and media images on the two sides of the iron curtain. The course focuses on the heterogeneous territory of East-Central Europe, and aims to present different local narratives to reflect on differences and similarities between separate localities. For creating a complex narrative of different “popisms” beyond British and American pop art we must consider whether a “Western” vocabulary of art history could be adapted to the artistic phenomena in the former Eastern Bloc, and how could we avoid the colonization of the local scenes, if we use terms of a West-centered, hegemonic art history. Such notions as cultural transfer, circulation and information flow should be re-considered to situate pop-related phenomena of such “close Others” as Hungary (László Lakner, Gyula Konkoly, Endre Tót, Sándor Altorjai, Ilona Keserü, Krisztián Frey, Imre Bak, Károly Halász and others), Czechoslovakia (Július Koller, Jana Želibská, Alex Mlynárčik, Stano Filko, Jiří Kolář), Poland (Jerzy “Jurry” Zieliński, Maria Pinińska-Bereś, Alina Szapocznikow, Jan Lenicá, Henryk Tomaszewski, Roman Cieślewicz), Estonia (Leonhard Lapin), Romania (Cornel Brudaşcu, Ion Bitzan), Yugoslavia (Tomislav Gotovac, Marko Pogačnik, Boris Bućan) and the GDR (Willy Wolff) in a broader, transnational context. The relationship between “Western” forms of “new realism” and the understanding of figuration and realism in the “Eastern Bloc” should be also analysed to confront the different cultural politics of the Cold War era, and to investigate phenomena of the Eastern side of Europe in the context of the diverse history of “Europop”. The course will start with an analysis of László Lakner’s recent retrospective exhibition titled Alter ego and a case study on Gerhard Richter’s art from the perspective of re-thinking the history of pop art, and will end with the analysis of the East-Central European receptions of photorealism in the late 1960s and early 1970s, with a special focus on such Hungarian artists as László Lakner and László Méhes. Lecturer: Dávid FEHÉR Required reading: Katalin Timár: Is Your Pop Our Pop? The History of Art as a Self-Colonizing Tool, Artmargins online, 03/16/2002 https://artmargins.com/is-your-pop-our-pop-the-history-of-art-as-a-self-colonizing-tool/ Piotr Piotrowski: In the Shadow of Yalta. The Avant-garde in Eastern Europe, 1945–1989, London: Reaktion Books, 2009, 147–177. (The chapter titled Un-Socialist Realism) https://monoskop.org/images/4/43/Piotrowski_Piotr_In_the_Shadow_of_Yalta_Art_and_the_Avant-garde_in_Eastern_Europe_1945-1989_2009.pdf John J. Curley: Gerhard Richter’s Cold War Vision, in: Gerhard Richter: Early Work, 1951-1972, Christine Mehring – Jeanne Anne Nugent – Jon L. Seydl eds., Los Angeles: The J. Paul Getty Museum, 2010, 11–35. https://www.academia.edu/26020583/_Gerhard_Richters_Cold_War_Vision_in_Gerhard_Richter_Early_Work_1951_1972_edited_by_Christine_Mehring_et_al_Los_Angeles_Getty_Publications_2010_11_35 Ludwig Goes Pop + The East Side Story, Timár Katalin ed., exh. cat., Budapest: Ludwig Múzeum – Kortárs Művészeti Múzeum, 2015 https://issuu.com/davidfeher/docs/timar_ludwig-goes-pop-full-cat David Crowley: Pop Effects in Eastern Europe under Communist Rule, in: The World Goes Pop, Jessica Morgan – Flavia Frigeri szerk., exh. cat. London: Tate Modern, 2015, 29–37. https://faktografia.com/2014/01/26/pop-effects-in-eastern-europe-under-communist-rule/ Art in Transfer in the Era of Pop. Curatorial Practices and Transnational Strategies, Annika Öhrner ed., Stockholm: Södertörn University, 2017 (especially the essays by Piotr Piotrowski, Catherine Dossin, Hiroko Ikegami) http://www.diva-portal.se/smash/get/diva2:1060138/FULLTEXT01.pdf

Irodalomjegyzék

Faculty: Faculty of Humanities Organization BTK Institute of Art History Code: Course Title: Pop Goes the Eastern Bloc: The Reception of Pop Art in East-Central Europe Usual semester Summer Published semester 2023/2024/2 ECTS: 4 Type of course (lecture/seminar) hours per week/semester: 2 / 28 assessment method (exam/practical grade): exam Suggested semester: Summer Learning outcomes: Course content: In the recent years there have been several attempts to extend the West-centered notion of pop art. The 2015 exhibition “The World Goes Pop” organised by Tate Modern in London, and a few months earlier Walker Art Center's “International Pop” in Minneapolis aimed to re-think the history of pop art in a global context, and to create a non-hierarchic narrative, which deconstructs the relationship between “centers” and “peripheries” in the spirit of a “horizontal art history” described by Piotr Piotrowski. These curatorial projects aimed to present local narratives side by side to present the dynamic relations between the so called “We” and the “Others”, as among others Slovenian art historian Igor Zabel had already indicated in several essays. In 2015 Budapest's Ludwig Museum extended the show “Ludwig Goes Pop” with key artworks from East Central Europe (“Ludwig Goes Pop + The East Side Story”), and created a polyphonic network of narratives, which focused on the different understandings of consumer culture and media images on the two sides of the iron curtain. The course focuses on the heterogeneous territory of East-Central Europe, and aims to present different local narratives to reflect on differences and similarities between separate localities. For creating a complex narrative of different “popisms” beyond British and American pop art we must consider whether a “Western” vocabulary of art history could be adapted to the artistic phenomena in the former Eastern Bloc, and how could we avoid the colonization of the local scenes, if we use terms of a West-centered, hegemonic art history. Such notions as cultural transfer, circulation and information flow should be re-considered to situate pop-related phenomena of such “close Others” as Hungary (László Lakner, Gyula Konkoly, Endre Tót, Sándor Altorjai, Ilona Keserü, Krisztián Frey, Imre Bak, Károly Halász and others), Czechoslovakia (Július Koller, Jana Želibská, Alex Mlynárčik, Stano Filko, Jiří Kolář), Poland (Jerzy “Jurry” Zieliński, Maria Pinińska-Bereś, Alina Szapocznikow, Jan Lenicá, Henryk Tomaszewski, Roman Cieślewicz), Estonia (Leonhard Lapin), Romania (Cornel Brudaşcu, Ion Bitzan), Yugoslavia (Tomislav Gotovac, Marko Pogačnik, Boris Bućan) and the GDR (Willy Wolff) in a broader, transnational context. The relationship between “Western” forms of “new realism” and the understanding of figuration and realism in the “Eastern Bloc” should be also analysed to confront the different cultural politics of the Cold War era, and to investigate phenomena of the Eastern side of Europe in the context of the diverse history of “Europop”. The course will start with an analysis of László Lakner’s recent retrospective exhibition titled Alter ego and a case study on Gerhard Richter’s art from the perspective of re-thinking the history of pop art, and will end with the analysis of the East-Central European receptions of photorealism in the late 1960s and early 1970s, with a special focus on such Hungarian artists as László Lakner and László Méhes. Lecturer: Dávid FEHÉR Required reading: Katalin Timár: Is Your Pop Our Pop? The History of Art as a Self-Colonizing Tool, Artmargins online, 03/16/2002 https://artmargins.com/is-your-pop-our-pop-the-history-of-art-as-a-self-colonizing-tool/ Piotr Piotrowski: In the Shadow of Yalta. The Avant-garde in Eastern Europe, 1945–1989, London: Reaktion Books, 2009, 147–177. (The chapter titled Un-Socialist Realism) https://monoskop.org/images/4/43/Piotrowski_Piotr_In_the_Shadow_of_Yalta_Art_and_the_Avant-garde_in_Eastern_Europe_1945-1989_2009.pdf John J. Curley: Gerhard Richter’s Cold War Vision, in: Gerhard Richter: Early Work, 1951-1972, Christine Mehring – Jeanne Anne Nugent – Jon L. Seydl eds., Los Angeles: The J. Paul Getty Museum, 2010, 11–35. https://www.academia.edu/26020583/_Gerhard_Richters_Cold_War_Vision_in_Gerhard_Richter_Early_Work_1951_1972_edited_by_Christine_Mehring_et_al_Los_Angeles_Getty_Publications_2010_11_35 Ludwig Goes Pop + The East Side Story, Timár Katalin ed., exh. cat., Budapest: Ludwig Múzeum – Kortárs Művészeti Múzeum, 2015 https://issuu.com/davidfeher/docs/timar_ludwig-goes-pop-full-cat David Crowley: Pop Effects in Eastern Europe under Communist Rule, in: The World Goes Pop, Jessica Morgan – Flavia Frigeri szerk., exh. cat. London: Tate Modern, 2015, 29–37. https://faktografia.com/2014/01/26/pop-effects-in-eastern-europe-under-communist-rule/ Art in Transfer in the Era of Pop. Curatorial Practices and Transnational Strategies, Annika Öhrner ed., Stockholm: Södertörn University, 2017 (especially the essays by Piotr Piotrowski, Catherine Dossin, Hiroko Ikegami) http://www.diva-portal.se/smash/get/diva2:1060138/FULLTEXT01.pdf

Ajánlott irodalom

Faculty: Faculty of Humanities Organization BTK Institute of Art History Code: Course Title: Pop Goes the Eastern Bloc: The Reception of Pop Art in East-Central Europe Usual semester Summer Published semester 2023/2024/2 ECTS: 4 Type of course (lecture/seminar) hours per week/semester: 2 / 28 assessment method (exam/practical grade): exam Suggested semester: Summer Learning outcomes: Course content: In the recent years there have been several attempts to extend the West-centered notion of pop art. The 2015 exhibition “The World Goes Pop” organised by Tate Modern in London, and a few months earlier Walker Art Center's “International Pop” in Minneapolis aimed to re-think the history of pop art in a global context, and to create a non-hierarchic narrative, which deconstructs the relationship between “centers” and “peripheries” in the spirit of a “horizontal art history” described by Piotr Piotrowski. These curatorial projects aimed to present local narratives side by side to present the dynamic relations between the so called “We” and the “Others”, as among others Slovenian art historian Igor Zabel had already indicated in several essays. In 2015 Budapest's Ludwig Museum extended the show “Ludwig Goes Pop” with key artworks from East Central Europe (“Ludwig Goes Pop + The East Side Story”), and created a polyphonic network of narratives, which focused on the different understandings of consumer culture and media images on the two sides of the iron curtain. The course focuses on the heterogeneous territory of East-Central Europe, and aims to present different local narratives to reflect on differences and similarities between separate localities. For creating a complex narrative of different “popisms” beyond British and American pop art we must consider whether a “Western” vocabulary of art history could be adapted to the artistic phenomena in the former Eastern Bloc, and how could we avoid the colonization of the local scenes, if we use terms of a West-centered, hegemonic art history. Such notions as cultural transfer, circulation and information flow should be re-considered to situate pop-related phenomena of such “close Others” as Hungary (László Lakner, Gyula Konkoly, Endre Tót, Sándor Altorjai, Ilona Keserü, Krisztián Frey, Imre Bak, Károly Halász and others), Czechoslovakia (Július Koller, Jana Želibská, Alex Mlynárčik, Stano Filko, Jiří Kolář), Poland (Jerzy “Jurry” Zieliński, Maria Pinińska-Bereś, Alina Szapocznikow, Jan Lenicá, Henryk Tomaszewski, Roman Cieślewicz), Estonia (Leonhard Lapin), Romania (Cornel Brudaşcu, Ion Bitzan), Yugoslavia (Tomislav Gotovac, Marko Pogačnik, Boris Bućan) and the GDR (Willy Wolff) in a broader, transnational context. The relationship between “Western” forms of “new realism” and the understanding of figuration and realism in the “Eastern Bloc” should be also analysed to confront the different cultural politics of the Cold War era, and to investigate phenomena of the Eastern side of Europe in the context of the diverse history of “Europop”. The course will start with an analysis of László Lakner’s recent retrospective exhibition titled Alter ego and a case study on Gerhard Richter’s art from the perspective of re-thinking the history of pop art, and will end with the analysis of the East-Central European receptions of photorealism in the late 1960s and early 1970s, with a special focus on such Hungarian artists as László Lakner and László Méhes. Lecturer: Dávid FEHÉR Required reading: Katalin Timár: Is Your Pop Our Pop? The History of Art as a Self-Colonizing Tool, Artmargins online, 03/16/2002 https://artmargins.com/is-your-pop-our-pop-the-history-of-art-as-a-self-colonizing-tool/ Piotr Piotrowski: In the Shadow of Yalta. The Avant-garde in Eastern Europe, 1945–1989, London: Reaktion Books, 2009, 147–177. (The chapter titled Un-Socialist Realism) https://monoskop.org/images/4/43/Piotrowski_Piotr_In_the_Shadow_of_Yalta_Art_and_the_Avant-garde_in_Eastern_Europe_1945-1989_2009.pdf John J. Curley: Gerhard Richter’s Cold War Vision, in: Gerhard Richter: Early Work, 1951-1972, Christine Mehring – Jeanne Anne Nugent – Jon L. Seydl eds., Los Angeles: The J. Paul Getty Museum, 2010, 11–35. https://www.academia.edu/26020583/_Gerhard_Richters_Cold_War_Vision_in_Gerhard_Richter_Early_Work_1951_1972_edited_by_Christine_Mehring_et_al_Los_Angeles_Getty_Publications_2010_11_35 Ludwig Goes Pop + The East Side Story, Timár Katalin ed., exh. cat., Budapest: Ludwig Múzeum – Kortárs Művészeti Múzeum, 2015 https://issuu.com/davidfeher/docs/timar_ludwig-goes-pop-full-cat David Crowley: Pop Effects in Eastern Europe under Communist Rule, in: The World Goes Pop, Jessica Morgan – Flavia Frigeri szerk., exh. cat. London: Tate Modern, 2015, 29–37. https://faktografia.com/2014/01/26/pop-effects-in-eastern-europe-under-communist-rule/ Art in Transfer in the Era of Pop. Curatorial Practices and Transnational Strategies, Annika Öhrner ed., Stockholm: Södertörn University, 2017 (especially the essays by Piotr Piotrowski, Catherine Dossin, Hiroko Ikegami) http://www.diva-portal.se/smash/get/diva2:1060138/FULLTEXT01.pdf

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