English 101 WAA

Silverton, Peter. "I Was a Teenage Sex Pistol". London: Reynolds & Hearn LTD, 2006. Print. This book is about the image of The Sex Pistols and how their intentions were "clear cut" when it came to style. The likes of Johnny Rotten, not John Lydon, was a household name. Whether it was because they were allowed to play or not allowed to play The Sex Pistols were becoming very popular.

Rosemblum, R. Picasso and the War Years: 1937-1945. New York: Thames and Hudson Inc., 1998. Print. Picasso's political choices are referred to. Picasso was apart of the the Spanish Republic. According to Picasso, while the painting hung in the Museum of Modern Art in New York, it was not a political piece it was simply a depiction of the horrible events of the bombing of the village of Guernica. However, later Picasso told one of his friends that Guernica is a political statement that hangs "in the middle of New York City" (Rosemblum 73). Nazi Germany ignored Picasso's works and called it "the work of a either a lunatic or a of a four-year-old" (Rosemblum 72), although it was a political statement to Nazi Germany and what they did to damage Picasso's homeland of Spain.

van Hensbergen, G. Guernica: The Biography of a Twentieth-Century Icon. New York: Bloomsbury Publishing, 2004. Print. Guernica is still seen as a political work of art today. Guernica not only depicted the brutal bombings and aftermath of that April day but it is a depiction of what is yet to come. The horror of Guernica can still be seen in modern times; such as the attack on the Twin Towers in New York (van Hensbergen 1) and the war in Iraq (van Hensbergen 2). Many well known political figures refer to Guernica and it's political message in many speeches and addresses because its message is still relevant today.

This article is about the different effects that American "glamour" has had on other parts of the world. It focuses on post World War II when glamour became a more prominent factor in society. This article says the American film industry is much to blame for this new found attention on glamour. This article specifically focuses on Italy and the effects that glamour had on mass consumption of material possessions. Gundle, Stephen. "Hollywood Glamour and Mass Consumption in Postwar Italy." Journal of Cold War Studies, vol. 4, No. 3 (2002): 95-118. Web. 30 Oct 2010.

Schwartz, Alexandra.  "Andy Warhol and 'Flash'".  MoMa.  The Museum of Modern Art, 1974. 6. Print.

Stimson, Blake.  "Andy Warhol's Red Beard".  The Art Bulletin, vol. 83, No. 3 (Sep., 2001): 527-547. Print.\n\nThis book is about Andy Warhol's change of style between 1948 and 1949.  Warhol painted as he wished, but when challenged by his art professors, he began to take their advice and paint as they advised.  During Warhol's last year at the Carnegie Institute of Technology was when he took their criticism seriously and instigated this change in his art.

McCarthy, David.  "Andy Warhol's Silver Elvises: Meaning through Context at the Ferus Gallery in 1963".  The Art Bulletin, vol. 88, No. 2 (2006): 354-372.  Print. This article focuses on Andy Warhol's influence across the country.  He had recently emerged as one of the most prominent pop artists from coast to coast.  It talks about his anticipation of the display of his second exhibition at the prominent Ferus Gallery in Los Angeles.  It also talks about how although he was an artist highly associated with particular style, each piece of his artwork held its own.

Dyer, Jennifer.  "The Metaphysics of the Mundane: Understanding Andy Warhol's Serial Imagery".  Artibus et Historiae, vol. 25, No. 49 (2004): 33-47. Print.

Paul, Bergin.  "Andy Warhol: The Artist as Machine".  Art Bulletin, vol. 26, No. 4 (1967): 359-363. Print. This book discusses the complexities behind Andy Warhol's character.  It discusses how Warhol has managed to keep his personal life out of the media and therefore remains much a mystery to the public.  People are left to interpret his personality through his artwork.  Warhol is often associated with the Campbell's soup can, and paintings of automobile accidents.  

Duchting, Hajo. Pablo Picasso. Munich, 2008. Print. This is a book with a lot of information about Pablo Picasso. I recently ordered it from OhioLink and have not received it yet. I can not provide a whole of information on this source for that reason.

Lacayo, Richard. "PICASSO'S PROGENY." Time 168.16 (2006): 78-79. Academic Search Complete. EBSCO. Web. 16 Nov. 2010. The article has several great qualities. The first being that it gives a chronology of some of his works. The best part about this article is that it shows his influence on other artists. More specifically speaking his cubism being an influence on different artists.

"1983 Islington Squatter Punk Documentary." Posted by Kaaos82. YouTube. 25 May 2006. Web. 30 Nov. 2010. .

Norden, Martin F. "The Avant-Garde Cinema of the 1920s: Connections to Futurism, Precisionism, and Suprematism." Leonardo 17.2 (1984): 108-12. JSTOR. Web. 16 Nov. 2010.

Dailey, Dan. "The Good Grandees." Mayo Clinic Proceedings 80.8 (2005): 978. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.

Loss, Archie. "Vile Bodies, Vorticism and Italian futurism." Journal of Modern Literature 18.1 (1992): 155. Academic Search Complete. EBSCO. Web. 16 Nov. 2010.\n\n

Robbins, Daniel J. "Sources of Cubism and Futurism." Art Journal 41.4 (1981): 324. Academic Search Complete. EBSCO. Web. 16 Nov. 2010. This article discusses the similar origins of both futurism and cubism. These two movement have many similar techniques in their art so it only makes sense that they would sprout from a common seed. The seed that is discussed it that of symbolism and how it started these two movments.

Mikić, Vesna. "Musics Futurista - The Art of Noises. Music and Words from the Italian Futurists Movement 1909-1935, Including Original Recordings by Marinetti/Russolo/Pratella (Salon LTMCD 2401, 2006)." New Sound: International Magazine for Music 34 (2009): 111-113. Academic Search Complete. EBSCO. Web. 15 Nov. 2010. A review of a C.D. of futurist music which was done in line with the futurist manifesto that was written by Marinetti. Some of the tracks also include pieces of Marinetti's actual speaches which, according to the article, give the C.D. an unarguably Futuristic tone.

Mitchell, David. "Marinetti, Futurist and Fascist." History Today 25.10 (1975): 704. Academic Search Complete. EBSCO. Web. 15 Nov. 2010. Contains many connections between Facism and Futurism as the title indicates. These include how they targeted the young as there median for revolution, their goal of destroying old customs, and there focusing on the future rather tha the past.

Ve Poljanski, Branko. "Dialogue Marinetti - Poljanski." New Sound: International Magazine for Music 34 (2009): 3-5. Academic Search Complete. EBSCO. Web. 15 Nov. 2010. In English traslation of a conversation between Marinetti, the founder of futurism, and Poljanski, i leaded in Zenitistm in France. The two men respect each other but the converstion does get tense at one moment and then they talk things out. Things end well.

Glazer, Diane L. "AMONG FRIENDS: ITALIAN FUTURISM COMES TO AMERICA." New Sound: International Magazine for Music 34 (2009): 62-75. Academic Search Complete. EBSCO. Web. 1 Nov. 2010. This article is the description of the first Futurist artist in America and how Futurism changed when it came over from Italy. It is mostly an analysis of "the first American futurist", Joseph Stella, and a "futurist composer", Edgar Varese. The author also compares these American futurists with the founding Italian futurist, Filippo Marinetti.

Glazer, Diane L. "Among Friends: Italian Futurism Comes to America." New Sound: International Magazine for Music 34 (2009): 62-75. Web. 28 Oct. 2010. This article is about the arrival and spread of Italian Futurist ideas throughout the New York City culture in the early 20th century. It goes into detail the lives of the first American Futurist painter, Joseph Stella and a composer by the name of Edgard Varèse. In the article, the lives of these two artists are analyzed from the perspective of the work that they created. Through their works a friendship was made. Through this friendship and contribution to the art community Futurism grew through New York.