Relevant bibliographies by topics / Art, American Words in art

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Art, American Words in art'

Author: Grafiati
Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Art, American Words in art"

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Coombes, Rebecca. "Relative values: the words about ‘non-western’ art." Art Libraries Journal 20, no. 3 (1995): 19–25. http://dx.doi.org/10.1017/s0307472200009469.

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A survey of holdings of non-Western art in British, and some North American, art libraries has by and large confirmed that it is poorly represented, and that contemporary non-Western art is especially neglected. Libraries’ freedom to acquire material in this broad area may be restricted or defined by curricula, the interests of clients, and the availability of material, yet libraries which allow themselves to be thus constrained present a distorted and impoverished view of world art. Library classification schemes tend to favour Western art, with non-Western art sometimes being relegated to ‘crafts’ or ‘anthropology’, while subject descriptors sometimes employ inappropriate terminology.
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Cagulada, Elaine. "Persistence, Art and Survival." Canadian Journal of Disability Studies 9, no. 4 (2020): 50–70. http://dx.doi.org/10.15353/cjds.v9i4.668.

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 A world of possibility spills from the relation between disability studies and Black Studies. In particular, there are lessons to be gleaned from the Black Arts Movement and Black aesthetic about conjuring the desirable from the undesirable. Artists of the Black Arts Movement beautifully modeled how to disrupt essentialized notions of race, where they found “new inspiration in their African ancestral heritage and imbued their work with their experience as blacks in America” (Hassan, 2011, p. 4). Of these artists, African-American photographer Roy DeCarava was engaged in a version of the Black aesthetic in the early 1960s, where his photography subverted the essentialized African-American subject. My paper explores DeCarava’s work in three ways, namely in how he, (a) approaches art as a site for encounter between the self and subjectivity, (b) engages with the Black aesthetic as survival and communication, and (c) subverts detrimental conceptions of race through embodied acts of listening and what I read as, ‘a persistent hereness.’ I interpret a persistent hereness in DeCarava’s commitment to presenting the unwavering presence of the non-essentialized African-American subject. The communities and moments he captures are here and persistently refuse, then, to disappear. Through my exploration of the Black Arts Movement in my engagement with DeCarava’s work, and specifically through his and Hughes’ (1967) book, The Sweet Flypaper of Life, we are invited to reimagine disability-as-a-problem condition (Titchkosky, 2007) and deafness as an ‘excludable type’ (Hindhede, 2011) differently. In other words, this journey hopes to reveal what the Black Arts Movement and Black aesthetic, through DeCarava, can teach Deaf and disability studies about moving with art as communication, survival, and a persistent hereness, such that different stories might be unleashed from the stories we are already written into.
 
 
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Ipsen, Max. "Danish Sixties Avant-Garde and American Minimal Art." Nordlit 11, no. 1 (2007): 169. http://dx.doi.org/10.7557/13.1758.

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Denmark is peripheral in the history of minimalism in the arts. In an international perspective Danish artists made almost no contributions to minimalism, according to art historians. But the fact is that Danish artists made minimalist works of art, and they did it very early.Art historians tend to describe minimal art as an entirely American phenomenon. America is the centre, Europe the periphery that lagged behind the centre, imitating American art. I will try to query this view with examples from Danish minimalism. I will discuss minimalist tendencies in Danish art and literature in the 1960s, and I will examine whether one can claim that Danish artists were influenced by American minimal art.
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Flores, Patrick D. "Towards a Lexicon of Inclinations: Words Forming Worlds in Southeast Asia." Asian Diasporic Visual Cultures and the Americas 3, no. 1-2 (2017): 35–53. http://dx.doi.org/10.1163/23523085-00302003.

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This article sketches out the implications of certain terms from the field of Southeast Asian discourse that refer in different ways to the notion of the “international.” These include “developmental,” “regionality/regionalist,” “reality/realism,” “Asian-African,” and “exploding galaxy.” These terms enable the local to incline outward or to widen its latitude. A discussion of these terms may lead to a fuller understanding of the relationship between the local and the global, the Euro-American and the post-colony. This reflection on terms also affords an opportunity to initiate play on words, probing the paradoxes involved in the production of phrases. A constellation of words and phrases proposes a methodology of translating other art histories and other histories of art histories. It indexes a particular way of knowing and a study of the world, one that may be able to surmount notions of hybridity and the limits of the negation of the Western norm.
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Da Costa Nunes, Jadviga M. "The Naughty Child in Nineteenth-Century American Art." Journal of American Studies 21, no. 2 (1987): 225–47. http://dx.doi.org/10.1017/s0021875800029182.

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During the first half of the nineteenth century many Americans began to promote the visual arts as a means of defining and fostering national identity. One highly significant consequence of this new aesthetic was the rise of a native genre art which depicted uniquely “American” customs and characters. Focussing upon and interpreting the daily world of average citizens in an emphatically optimistic and ideal manner, these works of art celebrated the virtue, vigor, simplicity, resourcefulness and republicanism of American society. They tended chiefly to represent rural American activities – maple sugaring, quilting frolics, scenes of harvest and the like – and to rely upon a standard cast of characters – the farmer, the housewife, the peddler, the trapper, for example – each of whom exemplified a particular trait or traits that seemed distinctly “American.”
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Trondman, Mats. "Horace Pippins konst." Educare - vetenskapliga skrifter, no. 1 (March 20, 2020): 109–43. http://dx.doi.org/10.24834/educare.2020.1.6.

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The article focuses on the African-American painter Horace Pippin (1888-1946). By using a cultural sociologically informed approach it connects his life – how Pippin became an artist –and art – what his art can mean to us – with the aim of understanding how an art for art’s sake (konstens egenvärde) can be related to, yes, even make up the presupposition for, an art for art’s surplus value (konstens mervärde) concerning issues of race, politics, the arts and diversity. The guiding question is what we can learn from the African-American philosopher Cornell West’s analysis of the meaning of Pippin’s art, which in turn is deeply informed by the sociologist W.E.B Du Bois’ (1868-1963) concept of “double consciousness”; how Pippin paints an African-American everyday life beyond the white gaze. Through such an understanding of Pippin’s, in his own words, “art’s life history, that is my art”, the article also provides an idea of what sociology of art and art didactics might be.
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Allen, Gwen L. "Art Periodicals and Contemporary Art Worlds (Part I): A Historical Exploration." ARTMargins 5, no. 3 (2016): 35–61. http://dx.doi.org/10.1162/artm_a_00157.

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This essay explores the role of art periodicals in art worlds past and present. It examines the histories of Artforum and October within the context of the North American art world of the 1960s and 1970, and contextualizes these publications within a larger field of publishing practices, including self-published Salon pamphlets, little magazines, and artists' periodicals. It explores how the distribution form of the periodical affects the politics of art criticism, and considers how art magazines have served as sites of critical publicity, mediating publics and counterpublics within the art world. It also reflects on the role of magazines and newer online media in the contemporary, globalized art world.
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Zakharov, Vladimir N. "The Idea of Ethnopoetics in Contemporary Research." Проблемы исторической поэтики 18, no. 3 (2020): 7–19. http://dx.doi.org/10.15393/j9.art.2020.8382.

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<p>In recent decades, ethnopoetics has become one of the new philological disciplines. Its idea first appeared in the treatise of Nicolas Boileau “The Art of Poetry” (1674), in which the classicist theorist formulated the requirement of local and historical color in art. His rule was followed by many poets, playwrights and novelists of Modern history. In Anglo-American criticism, the term ethnopoetics was introduced in 1968. Jerome Rotenberg, who, along with Dennis Tedlock and Dell Himes, founded the principles and methods of studying American Indian poetry. In the 2000s. this concept has entered encyclopedic dictionaries in English and other European languages, but this word is still not in Russian terminological dictionaries. So far, the concept of poetics, which restricts the semantics of words forming a term, has received recognition. Already in the process of formation of ethnopoetics, its subject was expanded at the expense of middle Eastern and Jewish folklore, and later the oral creativity of other peoples. The word formation model (ἔθνος/ ethnos + ποιητική/poetics) cancels limited interpretations of the term. In modern usage, the term ethnopoetics is used in a wide range of meanings that have not yet been marked by lexicographers, but convey the full semantics of the words forming the term. The idea of ethnopoetics gave rise to not one, but several of its concepts. The author of the article develops his earlier understanding of ethnopoetics as a discipline that should study the national identity of the oral and written text, describe in the categories of poetics the specific things that make national literature national. It is characterized by concepts and conceptospheres, they form the mentality, reveal the cultural code of national literatures. The analysis of ethnopoetics opens up great opportunities in the comparative analysis of thesauri of different authors and their works.</p>
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Cameron, Catherine M. "Fighting with Words: American Composers' Commentary on Their Work." Comparative Studies in Society and History 27, no. 3 (1985): 430–60. http://dx.doi.org/10.1017/s0010417500011518.

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In the past few decades, there has been an explosion of literature concerning the changes taking place in American art music. In many cases, this literature is the work of the very people who are making those changes, the composers of new music. Much of their commentary is written in a manifesto style reminiscent of avant-garde movements of the early twentieth century. The dominant topic concerns the changes composers feel are needed to revolutionize American music.
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Stulov, Yu V. "IDEOLOGY, RACE, AND ART: JAMES BALDWIN’S LEGACY." Bulletin of Udmurt University. Series History and Philology 29, no. 5 (2019): 853–58. http://dx.doi.org/10.35634/2412-9534-2019-29-5-853-858.

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In the 1950s-60s the outstanding African American writer James Baldwin took an active part in the events of the so-called Black Revolution in the USA, which had a tremendous effect on the country’s social and political life for the following years. African American people of art got strongly divided into two camps on the ideological issues. Baldwin belonged to the integrationists who did not separate their fate from the fate of America and insisted on the decisive measures to be taken by the US administration to change the attitude towards the black population. His position as well as his works written at that period aroused severe criticism on the part of the Black radicals. Time took care of it, but Baldwin’s lesson is important for understanding the problems of the connection between ideology and art.
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Dissertations / Theses on the topic "Art, American Words in art"

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Bush, Lawrence Ray. "More than Words: Rhetorical Devices in American Political Cartoons." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/3924.

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This thesis argues that literary theory applied to political cartoons shows that cartoons are reasoned arguments. The rhetorical devices used in the cartoons mimic verbal devices used by essayists. These devices, in turn, make cartoons influential in that they have the power to persuade readers while making them laugh or smile. It also gives examples of literary theorists whose works can be applied to political cartooning, including Frederick Saussure, Mikhail Bakhtin, and Wolfgang Iser. Not only do those theorists' arguments apply to text, they also apply to pictorial representations. This thesis also discusses changes in the cartoon art form over the 250 years that American political cartoons have existed. Changes have occurred in both the way text and pictorial depictions have been presented by artists. This thesis makes some attempt to explain why the changes occurred and whether they have been for the better.
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Tolley, Rebecca. "Review of Self-Taught Art: The Culture and Aesthetic of American Vernacular Art." Digital Commons @ East Tennessee State University, 2002. https://dc.etsu.edu/etsu-works/5710.

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King, Jodey Corben. "The warrior's words : seeking the American soldier in non-fictional military literature." Thesis, Montana State University, 2004. http://etd.lib.montana.edu/etd/2004/king/KingJ04.pdf.

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Tolley, Rebecca. "Review of Drawing on America’s Past: Folk Art, Modernism, and the Index of American Design." Digital Commons @ East Tennessee State University, 2003. https://dc.etsu.edu/etsu-works/5717.

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Wells, Robert Allen. "David Diamond as Song Composer: A Survey of Selected Vocal Works of David Diamond With a Theoretical and Stylistic Analysis of Six Early Songs, The Midnight Meditation, and Hebrew Melodies." University of Cincinnati / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1163480150.

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Saunders, Jacob A. "Creative prespective [sic] and works of Jake Saunders." Virtual Press, 2007. http://liblink.bsu.edu/uhtbin/catkey/1371475.

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The primary objective of this creative project was to produce a professional grade body of work, which clearly expresses the author's perspective and concerns. The works were executed in the traditional mediums of woodcut, etching, drypoint, and drawing. The second objective was to further explore these mediums and their potential in contemporary art.<br>Department of Art
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Guerrero-Rippberger, Sara Angel. "30° from the Northern Tropic : art, region and collective practices from urban Latin American and Arab worlds." Thesis, University of the Arts London, 2017. http://ualresearchonline.arts.ac.uk/12038/.

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This thesis investigates the socially imagined representation of two areas of the global South, through the lens of contemporary art. It traces the historicisation of urban Latin America and the Arab world along a timeline of critical lenses, questioning their construction as imagined sites. Re-occurring tropes from exhibition spaces acting as representations of the global South on a macro-level are contrasted with observations from a local level, in an ethnographic study of nineteen artist groups of four capital cities of Latin America and the Arab world. The research draws upon sociological methodologies of research, arts methodologies and historicisation to chart the scope and function of these groups against the backdrop of the global art-institution’s so-called geographic turn and it’s romanticisation of the precarious state as the new avant-garde. Moving away from the traditional cartography of art and social history, this thesis offers an expanded concept of collectivity and social engagement through art, and the artist group as unit of social analysis in urban space. Putting these ideas into dialogue, artist-led structures are presented as counter-point to collective exhibitions and to the collectivity of national identity and citizenship. An abundance of artist groups in the art scene of each city represents an informal infrastructure in which a mirror image of inner-workings of the city and art world become visible through this zone of discourses in conflict. This unorthodox exploration of art, region, and collective expression launches into the possibility of new constellations of meaning, tools to recapture the particulars of everyday experience in the unfolding of large narratives. Examining the place of collective art practices in the socio-political history of the city, this intervention into current theory around the role of art from the global South traces the currents and counter-currents of the art-institution and its structures of representation re-enacted in places of display and public discourse -- the museum, the news, the gallery, the biennial,the street and the independent art space.
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Weiss, Katherine. "“Samuel Beckett and History,” “Samuel Beckett and the Art of Failure,” and “Modern American Drama and the Greeks”." Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/etsu-works/5596.

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Caves, Awndrea Shar, and Awndrea Shar Caves. "Creating the Language of Peace: Peace, War, and Art in the Works of Maxine Hong Kingston." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/625371.

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In Creating the Language of Peace: Peace, War, and Art in the Works of Maxine Hong Kingston, I explore how this Chinese American writer pursues the creation of peace in her writings and life. These chapters explore Kingston's discussion of war and her determination to create a language of peace through creative non-fiction, fiction, and poetry. Her works draw our attention to the ubiquity of war in our lives and furthers her endeavor to highlight this as well as her struggle for peace against the backdrop of an American pro-war political landscape. Creating the Language of Peace will be the first book length treatment of these topics across Kingston's career. It also considers Kingston's oft-expressed intention to create peace through artistic means, in her case, through writing. This dissertation will fill the gap in research and analysis, refocusing the discussion on the themes and issues Kingston has repeatedly indicated are vital to understanding her work: peace, war, art, and the creation of a language of peace. Throughout, I consider Kingston's development of a language of peace, her explorations of war and its consequences, the influence of her Buddhist philosophies, the close compatibility of her works with contemporary peace theory, and the possibility for peace poetics within her poetry. The Woman Warrior (1976) and China Men (1980) are the focus of chapter one, an investigation into Kingston's first analyses of war and its consequences for all who are touched by its violence. Chapter two takes the novel Tripmaster Monkey (1989) and compares Kingston's pacifist choices with Johan Galtung's peace theory. Thich Nhat Hanh's version of engaged Buddhism and its influence on both Kingston's The Fifth Book of Peace (2003) and her peace activism is explored in chapter three. The final chapter turns to her two books of poetry, To Be the Poet (2002) and I Love a Broad Margin to My Life (2011), exploring how the role of the American poet as a political voice develops in her poetry.
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Rodrigues, Irailda Eneli Barros Silva. "THE ART SONG OF EDMUNDO VILLANI-CÔRTES: A PERFORMANCE GUIDE OF SELECTED WORKS." UKnowledge, 2014. http://uknowledge.uky.edu/music_etds/25.

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The purpose of this study is to present a performance guide for singers on twelve selected songs in Brazilian Portuguese for voice and piano by Brazilian composer, pianist, and arranger Edmundo Villani-Côrtes (b.1930). Since 1949, Villani-Côrtes has been active in the musical scene of Brazil. He has a unique compositional style that seamlessly combines elements of both art music and popular music. Villani-Côrtes’s body of works includes over two hundred compositions for solo instrumental music, orchestral music, choral music, and art song. He has written over sixty songs in Brazilian Portuguese, including the Ciclo Cecília Meireles (1987), winner of the 1988 Prize of the Associação Paulista de Críticos de Arte (A.P.C.A.), but most of these remain unpublished. This performance guide is the result of three years of research, study and personal communication between the author, Villani-Côrtes, and poets whose words the composer used as lyrics. It offers a comprehensive body of information relevant for both the performer and voice teacher who approach this new and untraditional repertoire. It includes a concise biography of the composer, biographical information for the poets, comments on the compositional style of Villani-Côrtes, an overview of the Brazilian Portuguese International Phonetic Alphabet (IPA)—with a chart of Brazilian Portuguese Sounds, IPA transcriptions with English word-by-word translations and poetic versions of all the lyrics, comments from the composer and the poets on each of the songs, and the technical information, pedagogical suggestions, and interpretative insights provided by the author.
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Books on the topic "Art, American Words in art"

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Tocco, Don. Art of the journey: Original poetry & works of art. Momentum Books, 2011.

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Public Art Works (San Rafael, Calif.). Public Art works 1990. Public Art Works], 1990.

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Kotz, Liz. Words to be looked at: Language in 1960s art. MIT Press, 2007.

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An American romantic: The art and words of Robert Sexton. Blue Mountain Press, 1995.

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Proyen, Mark Van. Mark Van Proyen: Words and images, 1980-1990 : paintings and a compilation of articles, essays, and reviews, 31 January-9 March 1991. Falkirk Cultural Center, 1991.

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Mark, Tobey. Mark Tobey: Between worlds : opere, 1935-1975 = werke, 1935-1975 = works, 1935-1975. Museo d'arte, 1989.

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Stoller, Ezra. Whitney Museum of American Art. Princeton Architectural Press, 2000.

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P, Harrington Steven, ed. Brooklyn street art. Prestel, 2008.

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Art, Archives of American, ed. More than words: Artists' illustrated letters from the Smithsonian's Archives of American Art. Smithsonian Institution, Archives of American Art, 2005.

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Ancient American Art in Detail. Harvard University Press, 2009.

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Book chapters on the topic "Art, American Words in art"

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Taylor, Eugene. "The Stream of Consciousness: Literary Psychology as the First Uniquely American Phenomenology in the Works of William James and His Swedenborgian and Transcendentalist Milieu." In Art, Literature, and Passions of the Skies. Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-4261-1_22.

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Sheather, Anna. "Art and communication." In Coaching Beyond Words. Routledge, 2019. http://dx.doi.org/10.4324/9781351166003-2.

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Sheather, Anna. "Art and coaching." In Coaching Beyond Words. Routledge, 2019. http://dx.doi.org/10.4324/9781351166003-5.

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Bradley, Patricia. "Outsider Art." In Making American Culture. Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230100473_3.

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Sheather, Anna. "Art therapy and coaching." In Coaching Beyond Words. Routledge, 2019. http://dx.doi.org/10.4324/9781351166003-3.

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Motta, Ana Paula, and Guadalupe Romero Villanueva. "South American Art." In Encyclopedia of Global Archaeology. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-319-51726-1_2914-1.

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Sheather, Anna. "Introduction to coaching with art." In Coaching Beyond Words. Routledge, 2019. http://dx.doi.org/10.4324/9781351166003-1.

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Sheather, Anna. "Art and the brain hemispheres." In Coaching Beyond Words. Routledge, 2019. http://dx.doi.org/10.4324/9781351166003-4.

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Sheather, Anna. "Coaching with art in practice." In Coaching Beyond Words. Routledge, 2019. http://dx.doi.org/10.4324/9781351166003-7.

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Sheather, Anna. "The principles of coaching with art." In Coaching Beyond Words. Routledge, 2019. http://dx.doi.org/10.4324/9781351166003-6.

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Conference papers on the topic "Art, American Words in art"

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Stanton, Michael. "The American City." In 1995 ACSA International Conference. ACSA Press, 1995. http://dx.doi.org/10.35483/acsa.intl.1995.9.

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A city divides into forms and attitudes, into significances, in the most political of senses, into episodic impressions, grand narratives and great collective generalizations. Cities are the vehicles for vivid nostalgia and are often the victims of banal cliche, both in the making of their form and in the way they are perceived. They are collaborative works, and, like works of art, they are conceived passionately, formed imperfectly, understood and misread by a continually transforming and distracted collective. Cities embody myth and fact, blurring the border between the two. All this applies especially to the fraught history and troubled body of the American city.
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Bebrišs, Rūdis. "Kas objektu padara par mākslas darbu, skaņu – par mūziku? Artūra Danto mākslas pasaules idejas kritika." In LU Studentu zinātniskā konference "Mundus et". LU Akadēmiskais apgāds, 2021. http://dx.doi.org/10.22364/lu.szk.2.rk.03.

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he article focuses on the critique of the definition of art by the American art philosopher Arthur Coleman Danto (1924–2013). This definition could be called the “missing link” in the understanding of art for people who do not understand why modern art is art, or openly criticize and abnegate it on the basis of such incomprehension. In Danto’s theory, one can point to three criteria that any object must meet in order to become an artwork – aboutness, embodiment and inclusion in the artworld, in other words, being in a social and historical relationship with all the art that exists to date.However, since any definition should adequately describe every subject to which it applies, the definition of art must be able to explain all expressions of art. Although Danto’s idea has proven its competence in defining visual art, is it as successful in embracing other forms of art, for example, music? The aim of the current study is to find an answer to this question. To achieve this goal, firstly, Arthur Danto’s theory is outlined, and secondly, it is weighed against music. By problematizing the cornerstone of Danto’s theory or the question of indiscernible counterparts, it is ultimately argued that Arthur Danto’s definition of art does not have a capacity to adequately define music, and a solution to this problem is proposed.
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"[Spine art]." In 2013 Latin American Computing Conference (CLEI). IEEE, 2013. http://dx.doi.org/10.1109/clei.2013.6670675.

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"[Cover art]." In 2008 IEEE Latin American Robotic Symposium. IEEE, 2008. http://dx.doi.org/10.1109/lars.2008.41.

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"[Spine art]." In 2017 XLIII Latin American Computer Conference (CLEI). IEEE, 2017. http://dx.doi.org/10.1109/clei.2017.8226369.

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"[Cover art]." In 2008 Latin American Web Conference (LA-WEB). IEEE, 2008. http://dx.doi.org/10.1109/la-web.2008.31.

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"[Cover art]." In 2009 Latin American Web Congress. LA-WEB 2009. IEEE, 2009. http://dx.doi.org/10.1109/la-web.2009.45.

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YArovaya, O. V. "How to memorize English words easier using associations." In Scientific trends: Philology, Culturology, Art history. ЦНК МОАН, 2020. http://dx.doi.org/10.18411/spc-26-07-2020-06.

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"Cover Art." In 2016 Seventh Latin-American Symposium on Dependable Computing (LADC). IEEE, 2016. http://dx.doi.org/10.1109/ladc.2016.41.

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"[Cover art]." In 2009 Fourth Latin-American Symposium on Dependable Computing (LADC). IEEE, 2009. http://dx.doi.org/10.1109/ladc.2009.34.

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Reports on the topic "Art, American Words in art"

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Galenson, David. The Reappearing Masterpiece: Ranking American Artists and Art Works of the Late Twentieth Century. National Bureau of Economic Research, 2003. http://dx.doi.org/10.3386/w9935.

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Wansley, William J. American Art: Toward an American Theory of Peace. Defense Technical Information Center, 1992. http://dx.doi.org/10.21236/ada253169.

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Anastas, Kevin P. The American Way of Operational Art: Attrition or Maneuver. Defense Technical Information Center, 1992. http://dx.doi.org/10.21236/ada254194.

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Edwards, Sebastian. The Economics of Latin American Art: Creativity Patterns and Rates of Return. National Bureau of Economic Research, 2004. http://dx.doi.org/10.3386/w10302.

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Miller, Naomi J., and Scott M. Rosenfeld. Demonstration of LED Retrofit Lamps at the Smithsonian American Art Museum, Washington, DC. Office of Scientific and Technical Information (OSTI), 2012. http://dx.doi.org/10.2172/1044507.

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Licata, Paul Z. Operational Art and Munitions Supply: An Analysis of Munitions and Their Influence on Operational Art Practiced by the American Expeditionary Forces During World War I. Defense Technical Information Center, 2013. http://dx.doi.org/10.21236/ada606311.

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Price, John K. The American Expeditionary Force Siberia: A Case Study of Operational Art with Ambiguous Strategic Objectives. Defense Technical Information Center, 2014. http://dx.doi.org/10.21236/ada611985.

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Matheny, Michael R. The Development of the Theory and Doctrine of Operational Art in the American Army, 1920-1940. Defense Technical Information Center, 1988. http://dx.doi.org/10.21236/ada195657.

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Casey, Michael W. The Clinton Doctrine: An Unfinished Work of Strategic Art, A Call for a Strategy to Counter the Subnational WMD Warfare Threat Against the American Homeland"". Defense Technical Information Center, 1998. http://dx.doi.org/10.21236/ada443855.

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Greene, Jr, and Channing M. Canopies of Blue: The American Airborne Experience in the Pacific in the Second World War as a Case Study in Operational Art and Multi-role Flexibility. Defense Technical Information Center, 2008. http://dx.doi.org/10.21236/ada484755.

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