Bettina Funcke

Essays

The Culture of Inflammation: Wade Guyton. Two Decades, Museum Ludwig (lecture), 2020

Defocalizing: Don't Just Give Me Figuration, Please!, Jenanette Mundt, 2019

Are Those Real Poems or Did You Write Them Yourself? Art Against Art, 2018

Be with the Trouble: Cultural Appropriation in America, Die Springerin, (Deutsche) 2018

Be with the Trouble: Cultural Appropriation in America, Die Springerin (English) 2018

Robert Whitman in the 21st Century, in Legacy of E.A.T.: Collaboration and Interaction, Museum of Modern and Contemporary Art, Seoul, 2018

Placing the Present in Relation to the Present, in Now - Tomorrow - Flux: An Anthology on the Museum of Contemporary Art, Migros Museum 2017

Reclaimed Zones: Guyton's Rooms, Wade Guyton, Petzel, New York, 2017

Has the Readymade Lost Its Power?, Spike, 2017

Copying: A Primer, Mousse #49, 2015

Not Objects so Much As Images: A Response to Graham Harman’s “Greenberg, Duchamp, and the Next Avant-Garde, Speculations, 2014

Shift to Liquid: Sarah Morris, 2013

So While in One Sense She Shares a Space with the Animal, in Another She Doesn’t: Elad Lassry, 2010

Luchas Desplazadas: Sobre Rancière y el Mundo del Arte, 2010

They Like to Look at Pictures: Richard Phillips, 2009

If Josh Were… On Josh Smith, 2009

Verortetes Ringen: Jacques Rancière und die Politik der Kunst, 2008

You See? Gerard Byrne’s Reconstructions, 2008

Joseph Beuys: Charlatanism as Media Strategy, 2008

Over hetgevaar van beelden: Wade Guyton, 2008

Readymade Operations: On the Difference between Readymades and Appropriation, 2008

Displaced Struggles. Jacques Rancière’s Politics of Art, 2007

On the Risk of Images: Wade Guyton, 2007

Robert Whitman’s Local Report and Other Telecommunication Projects, 2007

Erinnerungen an die Poetik des Anfangens, 2007

Revealed in Reproduction: Christopher Wool’s Books and Paintings, 2006

La Passion Pop, 2005

From Dusk ‘til Dawn: T. J. Wilcox, 2005

Andy Warhol’s Aufhebungen: Spuren einer Produktionsformel in der heutigen Kunstlandschaft in New York, 2004
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