10/02/21 ELCS6005: Raging Broom of Madness: Futurism and Modernity | University College London
ELCS6005: Raging Broom of Madness: View Online Futurism and Modernity
Not all books listed are in the UCL Library. You may need to use the library at the Estorick Gallery or the Art History Library at the Victoria and Albert Museum. I can issue students letters for these institutions on request.
1.
Benjamin, W.: The Work of Art in the Age of Mechanical Reproduction. In: Illuminations. Cape, London (1970).
2.
Berman, M.: All that is solid melts into air. Simon and Schuster, New York (1982).
3.
Kern, S.: The culture of time and space, 1880-1918: with a new preface. Harvard University Press, Cambridge, Mass (2003).
4.
Braun, E., Rosenthal, N., Celant, G., Asor Rosa, A., Royal Academy of Arts (Great Britain): Italian art in the 20th century: painting and sculpture 1900-1988. Royal Academy of Arts, London (1989).
5.
Foster, H.: Art since 1900: modernism, antimodernism, postmodernism. Thames & Hudson, London (2004).
6.
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Facos, M., Hirsh, S.L.: Art, culture, and national identity in fin-de-siècle Europe. Cambridge University Press, Cambridge (2003).
7.
Gilloch, G., Benjamin, W.: Myth and metropolis: Walter Benjamin and the city. Polity Press, in association with Blackwell Publishers, Cambridge (1996).
8.
Kolocotroni, V., Goldman, J., Taxidou, O.: Modernism. Edinburgh University Press, Edinburgh (2004).
9.
Lynton, N.: The story of modern art. Phaidon, Oxford (1989).
10.
Poggioli, R.: The theory of the avant-garde. Belknap, Cambridge, Mass (1968).
11.
Webber, A.: The European avant-garde 1900-1940. Polity Press, Cambridge (2004).
12.
Scott, B.K., Broe, M.L.: The gender of modernism: a critical anthology. Indiana University Press, Bloomington (1990).
13.
Schnapp, J.T., Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Wolfsonian-Florida International University: Revolutionary tides: the art of the political poster 1914-1989. Skira in association with the Iris & B. Gerald Cantor Center for Visual Arts at Stanford University, Milan (2005).
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14.
Tate Modern, http://www.tate.org.uk/modern/.
15.
Estorick Collection, http://www.estorickcollection.com/home.php.
16.
MoMA (NYC), http://www.moma.org/.
17.
Guggenheim (NYC), http://www.guggenheim.org/.
18.
Centre Pompidou, http://www.centrepompidou.fr/.
19.
MART (Rovereto), http://www.mart.trento.it/.
20.
Museo del novecento (Milan), http://www.museodelnovecento.org/index.php?id=0.
21.
Getty Museum (Los Angeles), http://www.getty.edu/index.html.
22.
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Yale University, Modernism Lab, http://modernism.research.yale.edu/index.php.
23.
Beinecke Rare Book and Manuscript Library, http://www.library.yale.edu/beinecke/.
24.
Modernist Journals Project:, http://dl.lib.brown.edu/mjp//journals.html.
25.
Futurism and the Past Project, http://www.futurismandthepast.com/page6.htm.
26.
Hulten, P.: Futurism and futurisms. Thames and Hudson, London (1992).
27.
Humphreys, R., Tate Gallery: Futurism. Tate Gallery, London (1999).
28.
Marinetti, F.T., Berghaus, G.: Critical writings. Farrar, Straus, and Giroux, New York (2006).
29.
Martin, M.W.: Futurist art and theory 1909-1915. Clarendon P (1968).
30.
Perloff, M.: The futurist moment: avant-garde, avant guerre, and the language of rupture. University of Chicago Press, Chicago (1986).
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31.
Tisdall, C., Bozzolla, A.: Futurism. Thames and Hudson, London (1977).
32.
Poggi, C.: Inventing futurism: the art and politics of artificial optimism. Princeton University Press, Princeton, N. J. (2009).
33.
Blum, C.S.: The other modernism: F.T. Marinetti’s futurist fiction of power. University of California Press, Berkeley (1996).
34.
Elia, A. D’: L’universo futurista: una mappa, dal quadro alla cravatta. Edizioni Dedalo, Bari (1988).
35.
Rhodes, C.: Primitivism and modern art. Thames & Hudson, London (1994).
36.
Mattioli, G., Fergonzi, F., Peggy Guggenheim Collection: The Mattioli Collection: masterpieces of the Italian avant-garde : catalogue raisonné. Skira, Milano (2003).
37.
Berghaus, G.: Futurism and the technological imagination. Rodopi, Amsterdam (2009).
38.
Berghaus, G.: International futurism in arts and literature. Walter de Gruyter, Berlin (2000).
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39.
Apollonio, U.: Futurist manifestos. Thames and Hudson, London (1973).
40.
Marinetti, F.T.: The Founding and Manifesto of Futurism 1909. In: Modernism. Edinburgh University Press, Edinburgh (2004).
41.
Marinetti, F.T.: Le Futurisme. Le Figaro. 55th year, 3rd Series, 1–1 (20)AD.
42.
Danchev, A.: 100 artists’ manifestos: [from the Futurists to the Stuckists]. Penguin, London (2011).
43.
Berghaus, G., Society for Italian Studies: The genesis of futurism: Marinetti’s early career and writings 1899-1909. Society for Italian Studies, Leeds (1995).
44.
Poggi, C.: Inventing futurism: the art and politics of artificial optimism. Princeton University Press, Princeton, N. J. (2009).
45.
Perloff, M.: Manifesto as art. In: The futurist moment: avant-garde, avant guerre, and the language of rupture. University of Chicago Press, Chicago (1986).
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46.
Tobia, B.: Una patria per gli italiani: spazi, itinerari, monumenti nell’Italia unita (1870-1900). Laterza, Roma (1991).
47.
Michalski, S.: Public monuments: art in political bondage, 1870-1997. Reaktion Books, London (1998).
48.
Korner, A.: Chapter 10 Conclusions and epilogue: Modernity, the political power of culture and the collapse of liberal democracy. In: Politics of culture in liberal Italy: from unification to fascism. pp. 263–284. Routledge, New York (2009).
49.
Marinetti, F.T., Boccioni, U., Carra, C., Russolo, L.: Against Passeist Venice. In: Futurism: an anthology. pp. 67–70. Yale University Press, New Haven, Conn (2009).
50.
Berghaus, G.: Futurism and politics: between anarchist rebellion and fascist reaction, 1909-1944. Berghahn Books, Providence, R.I. (1996).
51.
Gherado, D.: Chapter 6 Inventing the Palazzo del Corte in Ferrara. In: Donatello among the Blackshirts: history and modernity in the visual culture of Fascist Italy. Cornell University Press, Ithaca (2005).
52.
Ruskin, J.: The stones of Venice. Smith, Elder, and Co, London (1873).
53.
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Ryynanen, M.: Aesthetcs and Mobility: Learning from Venice. Contemporary Aesthetics. 3, (2005).
54.
Boccioni, U., Carra, C., Balla, G., Severini, G., Russolo, L.: Manifesto of futurist painters. In: Futurist manifestos. Thames and Hudson, London (1910).
55.
Boccioni, U., Carra, C., Balla, G., Severini, G., Russolo, L.: Futurist painting: technical manifesto. In: Futurist manifestos. Thames and Hudson, London (1910).
56.
Piantoni, G., Pingeot, A., Galleria nazionale d’arte moderna (Italy), Musée d’Orsay: Italies, 1880-1910: l’art italien à l'épreuve de la modernité. Édition de la Réunion des musées nationaux, Paris (2001).
57.
Greene, V., Deutsche Guggenheim Berlin, Solomon R. Guggenheim Museum: Divisionism, neo-impressionism: Arcadia & anarchy. Guggenheim Museum, New York (2007).
58.
Fraquelli, S., Riopelle, C., Bezzola, T., National Gallery (Great Britain), Kunsthaus Zürich: Radical light: Italy’s divisionist painters, 1891-1910. National Gallery Company, London (2008).
59.
Rosso, M., Schwarz, D., Kunstmuseum Winterthur, Wilhelm Lehmbruck Museum Duisburg: Medardo Rosso. Richter, Düsseldorf (2004).
60.
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Cooper, H., Hecker, S., Lie, H., Pullen, D., Rosso, M.: Medardo Rosso: second impressions. Yale University Press, New Haven (2003).
61.
Robinson, S.B., Balla, G.: Giacomo Balla, divisionism and futurism, 1871-1912. UMI Research Press, Ann Arbor, Mich (1981).
62.
Lista, G., Estorick Collection: Futurism & photography. Merrell, London (2001).
63.
Scharf, A.: Art and photography. [With illustrations.]. Allen Lane, The Penguin Press, London (1968).
64.
Scharf, A.: Art and photography. Penguin, Harmondsworth (1974).
65.
Miller, J., Estorick Collection: On the move: visualising action. Estorick Foundation, London (2010).
66.
Regnani, G.: Futurism and Photography. In: Futurism and the technological imagination. Rodopi, Amsterdam (2009).
67.
Poggi, C.: Inventing futurism: the art and politics of artificial optimism. Princeton University Press, Princeton, N. J. (2009).
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68.
Braun, M.: Picturing time. University of Chicago Press, Chicago (1992).
69.
Nead, L.: The haunted gallery: painting, photography, film c.1900. Yale University Press, New Haven, Conn (2007).
70.
Pelizzari, M.A.: Photography and Italy. Reaktion Books, London (2011).
71.
McClelland, J.S.: The crowd and the mob: from Plato to Canetti. Unwin Hyman, London (1989).
72.
Le Bon, G.: The crowd: a study of the popular mind. Ernest Benn, London (1896).
73.
Schnapp, J., Harrison, R.: A conversation with Professor Jeffrey Schnapp about the phenomenon of crowds, November 29, 2005 5:00 - 6:00pm, (2005).
74.
Schnapp, J.T., Tiews, M.: Crowds. Stanford University Press, Stanford, Calif (2006).
75.
Timms, E., Kelley, D.: Unreal city: urban experience in modern European literature and art. Manchester University Press, Manchester (1985).
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76.
Poggi, C.: Chapter 2 La folla/follia. In: Inventing futurism: the art and politics of artificial optimism. Princeton University Press, Princeton, N. J. (2009).
77.
Poggi, C.: Chapter 3 Umberto Boccion’e The City Rises. In: Inventing futurism: the art and politics of artificial optimism. Princeton University Press, Princeton, N. J. (2009).
78.
Martin, M.W.: Futurism, Unanimism and Apollinaire. Art Journal. 28, 258–268.
79.
Malvano, L.: De « la fiumana dell’Umanità assetata di giustizia » à la foule consensuelle du fascisme : à propos de la représentation de la foule en peinture. Laboratoire italien. 95–110 (1)AD. https://doi.org/10.4000/laboratoireitalien.331.
80.
Veroli, P.: Loie Fuller’s Serpentine Dance and Futurism. In: Futurism and the technological imagination. Rodopi, Amsterdam (2009).
81.
Bishop, C.: Bring the noise. Tate Etc. 30–43.
82.
Russolo, L.: The Art of noises. In: Futurist manifestos. Thames and Hudson, London (1973).
83.
Sant’Elia, A.: Manifesto of futurist architecture (11 July 1914). In: Futurist manifestos.
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Thames and Hudson, London (1973).
84.
Banham, R.: Theory and design in the first machine age. MIT Press, Cambridge, Mass (1980).
85.
Banham, R.: Sant’Elia. In: Design by choice. Academy, London (1981).
86.
Meyer, E. da C.: The work of Antonio Sant’Elia: retreat into the future. Yale University Press, New Haven (1995).
87.
Doordan, D.P.: Building modern Italy: Italian architecture, 1914-1936. Princeton Architectural Press, New York (1988).
88.
Whyte, I.B.: Futurist architecture. In: International futurism in arts and literature. pp. 353–372. Walter de Gruyter, Berlin (2000).
89.
Woollen, P.: Automobiles and art. In: Autopia: cars and culture. Reaktion, London (2002).
90.
Banham, R.: Arts in Society: ‘Fiat: the Phantom of Order’. New society. 72, 86–88 (18)AD.
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91.
Fraser, M., Kerr, J.: Motopia: Cities, Cars and Architecture. In: Autopia: cars and culture. Reaktion, London (2002).
92.
Berghaus, G.: Futurism and the technological imagination: poised between machine cult and machine angst. In: Futurism and the technological imagination. pp. 1–40. Rodopi, Amsterdam (2009).
93.
Turner, C.: Imagination takes flight. Tate Arts and Culture.
94.
Bartram, A.: Futurist typography and the liberated text. British Library, London (2005).
95.
Orban, C.E.: The culture of fragments: word and images in futurism and surrealism. Rodopi, Amsterdam (1997).
96.
Poggi, C.: In defiance of painting: cubism, futurism, and the invention of collage. Yale University Press, New Haven (1992).
97.
Wilson, S., De Chassy, E., Royal Academy of Arts (Great Britain), Museo Guggenheim Bilbao: Paris: capital of the arts, 1900-1968. Royal Academy of Arts, London (2002).
98.
Carra, C.: The painting of sounds, noises and smells (11 August 1913). In: Futurist
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manifestos. Thames and Hudson, London (1973).
99.
White, 1940-, J.J.: Literary futurism : aspects of the first avantgarde. Clarendon, Oxford (1990).
100.
Marinetti, F.T., Marinetti, L., Napier, E.R., Studholme, B.R.: Selected poems and related prose. Yale University Press, New Haven, Conn (2002).
101.
Dondi, L., De Maria, L.: Marinetti e i futuristi. Garzanti, Milano (1994).
102.
Apollinaire, G.: L’anti-tradition futuriste. In: Marinetti e i futuristi. Garzanti, Milano (1994).
103.
Ottinger, D., Coen, E., Gale, M., Centre Georges Pompidou, Scuderie Papali al Quirinale, Tate Modern (Gallery): Futurism. Centre Pompidou, Paris (2009).
104.
Berger, J.: Cubism. In: The moment of Cubism: and other essays. Weidenfeld and Nicolson, London (1969).
105.
Antliff, M., Leighten, P.D.: Cubism and culture. Thames & Hudson, London (2001).
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106.
Altshuler, B.: Chapter 2 Cubism meets the public. In: The avant-garde in exhibition: new art in the 20th century. Harry N. Abrams, New York (1994).
107.
Altshuler, B.: Les Peintres Futuristes Italiens, Paris, 1912. In: Salon to biennial: exhibitions that made art history : 1863-1959. Phaidon, London (2008).
108.
Marinetti, F.T.: War, the sole cleanser of the world. In: Critical writings. Farrar, Straus, and Giroux, New York (2006).
109.
Marinetti, F.T.: Electric war. In: Critical writings. Farrar, Straus, and Giroux, New York (2006).
110.
Marinetti, F.T.: Battle weight + smell. In: Selected poems and related prose. Yale University Press, New Haven, Conn (2002).
111.
Poggi, C.: Metallized Flesh: Futurism and the Masculine Body. Modernism/modernity. 4, 19–43 (1997). https://doi.org/10.1353/mod.1997.0056.
112.
Howlett, J., Mengham, R.: The violent muse: violence and the artistic imagination in Europe, 1910-1939. Manchester University Press, Manchester (1994).
113.
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Thompson, M.: The white war: life and death on the Italian front, 1915-1919. Faber, London (2008).
114.
Virilio, P.: War and cinema: the logistics of perception. Verso, London (1989).
115.
Bourke, J.: An intimate history of killing: face-to-face killing in twentieth-century warfare. Basic Books, [New York] (1999).
116.
Spackman, B.: Chapter 1 Rhetorics of virility: D’Annunzio, Marinetti, Mussolini, Benjamin. In: Fascist virilities: rhetoric, ideology, and social fantasy in Italy. University of Minnesota Press, Minneapolis (1996).
117.
Lyttelton, A., Parmée, D.: Italian fascisms, from Pareto to Gentile. Cape, London (1973).
118.
Berghaus, G.: International futurism in arts and literature. Walter de Gruyter, Berlin (2000).
119.
White, J.J.: Futurism and German expressionism. In: International futurism in arts and literature. Walter de Gruyter, Berlin (2000).
120.
Lunn, F.: City of Angles. Kirchner. RA: The magazine for the friends of the Royal Academy. (2003).
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121.
Miall, N., Supported by the RA Exhibition Patrons Group: Kirchner: Expressionaism and the City: Dresden and Berlin 1905-1918: Sackler Wing 28 June – 21 September 2003: an introduction to the exhibition for teachers and students. Royal Academy of Arts, Education Department, London (2003).
122.
Altshuler, B.: Chapter 5 The Last Futurist Exhibition, Petrograd, December 1915-January 1916. In: The avant-garde in exhibition: new art in the 20th century. Harry N. Abrams, New York (1994).
123.
Milner, J., Estorick Collection, Hatton Gallery: A slap in the face!: futurists in Russia. Philip Wilson, London (2007).
124.
Markov, V.: Russian futurism : a history. MacGibbon & Kee, London (1969).
125.
Gramsci, A.: Marinetti the revolutionary? In: Selections from cultural writings. Lawrence and Wishart, London.
126.
Perloff, N., Pultz, A.: Tango with Cows: Book Art of the Russian Avant-Garde, 1910-1917. Getty Research Institute, Los Angeles, CA (2009).
127.
Marchio, R.: The Vortex in the machine: futurism in England. In: International futurism in arts and literature. Walter de Gruyter, Berlin (2000).
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128.
Hultén, P., Palazzo Grassi, Futurismo & futurismi (Exhibition) (1986 : Venice, Italy): Futurism & futurisms. Thames and Hudson, London (1987).
129.
Perloff, M.: The futurist moment: avant-garde, avant guerre, and the language of rupture. University of Chicago Press, Chicago (1986).
130.
Balla, G., Depero, F.: Futurist Reconstruction of the Universe. In: Futurist manifestos. Thames and Hudson, London (1915).
131.
Schnapp, J.T. (Jeffrey T.: Propeller Talk. Modernism/modernity. 1, 153–178 (1994). https://doi.org/10.1353/mod.1994.0063.
132.
Schnapp, J.T.: The Fabric of Modern Times. Critical Inquiry. 24, 191–245 (1997).
133.
Schnapp, J.T.: The Romance of Caffeine and Aluminum. Critical Inquiry. 28, 244–269 (2001).
134.
Dottori, G., Duranti, M.: Gerardo Dottori: catalogo generale ragionato. Effe, Perugia (2006).
135.
Berghaus, G.: Futurism, Dada, and Surrealism. In: International futurism in arts and
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literature. Walter de Gruyter, Berlin (2000).
136.
Antonello, P.P.: Beyond futurism: Bruno Munari’s ‘Useless Machines’. In: Futurism and the technological imagination. Rodopi, Amsterdam (2009).
137.
Levi, E.: Futurist influences on early twentieth-century music. In: International futurism in arts and literature. Walter de Gruyter, Berlin (2000).
138.
Poggi, C.: Chapter 7 Return of the repressed: vicissitudes of the futurist machine aesthetic under fascism. In: Inventing futurism: the art and politics of artificial optimism. Princeton University Press, Princeton, N. J. (2009).
139.
Pelizzari, M.A.: Chapter 5 Italian modernities. In: Photography and Italy. Reaktion Books, London (2011).
140.
Severini, G.: The life of a painter: the autobiography of Gino Severini. Princeton University Press, Princeton, N.J. (1995).
141.
Hanson, A.C., Severini, G., Yale University, Kimbell Art Museum: Severini futurista, 1912-1917. Yale University Art Gallery, New Haven, Conn (1995).
142.
Venturi, L.: Gino Severini. De Luca, [Roma] (1961).
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143.
Severini, G., Fonti, D., Peggy Guggenheim Collection: Gino Severini: la danza, 1909-1916. Skira, Milano (2001).
144.
Severini, G., Fonti, D., Auditorium Parco della Musica (Rome, Italy): Luce + velocità + rumore: la città futurista di Gino Severini. Skira, Milano (2005).
145.
Severini, G., Fraquelli, S., Green, C., Graves Art Gallery (Sheffield, England), Estorick Collection, Ashmolean Museum, National Touring Exhibitions: Gino Severini: from futurism to classicism. Hayward Gallery, London (1999).
146.
Balla, G., Depero, F., Crispolti, E., Scudiero, M.: Balla, Depero: ricostruzione futurista dell’universo. Fonte d’Abisso edizioni, Modena (1989).
147.
Robinson, S.B., Balla, G.: Giacomo Balla, divisionism and futurism, 1871-1912. UMI Research Press, Ann Arbor, Mich (1981).
148.
Coen, E., Metropolitan Museum of Art (New York, N.Y.): Umberto Boccioni. Metropolitan Museum of Art, New York (1988).
149.
Golding, J.: Boccioni, Unique forms of continuity in space. Tate Gallery, Millbank, London (1985).
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150.
Boccioni, U., Fezzi, E.: Umberto Boccioni. A. Martello, Milano (1973).
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