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Williams is one of the poets Altieri identifies with "a Modernist Constructivist aesthetics sharply opposed to the idealized immediacy that impressionism shared with imagism" (115). Modernist Poetry and the Limitations of Materialist Theory: The Importance of Constructivist Values. [Extracted from the article]

The article explores the exhibition dubbed the "Red Show" at Charles Egan Gallery in New York City in December 1954. The exhibition showed the works of painter Robert Rauschenberg, and a group of friends including musician John Cage, choreographer Merce Cunningham, and dancer Carolyn Brown. It notes the argument of Michael Fried in his essay "Art and Objecthood" on the dangerous influence of the theater upon modernist art, claiming it constituted an abrogation of medium specificity.

The author analyzes art and modernism and proposes a parallel account of visual modernism. Topics discussed include modernism as an expression of social modernity and modernity as an enduring social state, intensification of mobility in light modernity, and functions of the providential faith of heavy-modern life.

The article discusses what is termed the gas mask aesthetic in Japanese modern art during the 20th century. It references the photograph "Gas Mask Parade, Tokyo" and other images by photographer Horino Masao, discusses the gas mask as a symbol of anonymous Japanese citizens and weapons technology, and examines the Japanese civil air defense policy of the 1930s.

The article explores the integration of the literary's historical accounts and visual arts through the paintings of Salvador Dali. The author proposed that amidst the existence of multiple modernisms within the field of visual arts, there also exists a hegemonic mainstream of modernist production which cannot be decentered by any historical revision without having the occurred events essentially misrepresented. And this hegemonic mainstream brings out a centripetal force on the contemporaneous practices' plurality, suggesting that, through having a direct or oblique link to the mainstream, alternative modernisms can be best understood.

This article focuses on Oskar Kokoschka, a doll painter and modernist artist. When Alma Mahler, Kokoschka's lover married another man, in response, he commissioned the creation of a life-size doll to match Mahler's exact proportions. Kokoschka provoked rumor and scandal as he escorted his doll to the opera, held parties in its honor, and hired a maid to dress and service it. The doll met its unnatural demise when one of Kokoschka's parties got out of hand. Police questioned Kokoschka in the morning about a murder; a beheaded and bloody body was reportedly seen outside his home. Evidently it was the naked, wine-splattered doll, which had somehow lost its head during the revelries of the previous evening. This was the story that Kokoschka and his critics, both then and now, loved to tell. Indeed, much less discussed than the doll episode are the three portraits Kokoschka painted of the doll, and their connection to it. The first, Woman in Blue, 1919, is still considered Kokoschka's masterpiece of this period, though it is seldom analyzed in detail; and the two latter, Painter with Doll, 1920-2 1, and At the Easel, 1922, are among Kokoschka's numerous self-portraits, and rarely noted by critics.