Ashbery, John. The Double Dream of Spring. Dutton, 1970.
---. “The System.” Three Poems. Viking Books, 1972.
---. Self-Portrait in a Convex Mirror. Viking Books, 1975.
---. Houseboat Days. Viking Press, 1977.
---. “Reading at the University of Arizona, Nov. 4, 1980.” On Pennsound, John Ashbery’s author page, https://writing.upenn.edu/pennsound/x/Ashbery.php. Accessed 7 June 2023.
---. Selected Poems. Penguin Books, 1985.
---. April Galleons. Farrar, Straus and Giroux, 1987.
---. Flow Chart. Farrar, Straus and Giroux, 1999.
---. Your Name Here. Farrar, Straus and Giroux, 2000.
---. Something Close to Music. David Zwirner Books, 2022.
Baldwin, James. No Name in the Street. Dial Press, 1972.
Barthes, Roland, “Écrivains-écrivants.” Essais critiques. Seuil, 1964.
---. “’Nautilus’ et ‘Bateau Ivre.’” Mythologies. Seuil, 1957.
Baudrillard, Jean, “De la Marchandise Absolue.” Artstudio, no. 8, Spring 1988.
Ben (Benjamin Vautier, dit). “Le Magasin de Ben.” 1958-197, mixed materials, 402 x 446 x 596 cm. Centre Pompidou, Paris.
Bergson, Henri. Le Rire. Librairie Félix Alcan, 1938.
Bourel, Michel. “Andy Warhol in Paris dans les années 60.” Artstudio, no. 8, Spring 1988.
Cage, John, and E.A.T. 9 EVENINGS : THEATER & ENGINEERING, 1966. Video (1966, 9 MN 39) reproducing the films of Alfons Schilling (1967). New York 6th Regiment’s Armory. https://artplastoc.blogspot.com/2018/08/924-eat-9-evenings-theatre-engineering.html. Accessed 7 June 2023.
Chase, Chevy. Impression of President Gerald Ford, on Saturday Night Live, Season 1, 1975; web: https://www.youtube.com/watch?v=nEIpAIqzbTg. Accessed 7 June 2023.
Cummings, E.E. “pity this busy monster, manunkind.” 1 x 1. Henry Hall, 1944.
Cras, Sophie. Écrits d’artistes sur l’économie. Une anthologie de modestes propositions. Paris: B42, 2022.
Criqui, Jean-Pierre. “Rosenquist’s President Elect.” Catalogue: Collection art contemporain - La collection du Centre Pompidou, Musée national d'art moderne, edited by Sophie Duplaix, Centre Pompidou, 2007. www.centrepompidou.fr /fr/ ressources /oeuvre/cezX7AK. Accessed 7 June 2023.
Danto, Arthur. “Introduction” and “The Philosopher as Andy Warhol.” Philosophizing Art: Selected Essays, U of California P, 2001.
Debord, Guy. “Report on the Construction of Situations and on the International Situationist Tendency’s Conditions of Organization and Action.” Theories and Documents of Contemporary Art: a Sourcebook of Artists’ Writing, edited by Kristine Stiles and Peter Selz, U of California P, 1996, pp. 828-830.
Ellison, Ralph. “Prologue.” Invisible Man. Random House Inc., 1952.
Elmaleh, Éliane. “Vers une réinterprétation de l’image du cow-boy: Richard Prince ou l’Ouest américain revisité.” L’Ouest et les Amériques entre arts et réalités, edited by Marie-Christine Michaud and Éliane Elmaleh, Presses Universitaires de Rennes, 2016.
Florida, Richard. The Rise of the Creative Class and How It’s Transforming Work, Leisure, Community and Everyday Life. Basic Books, 2007.
Foster, Hal. “Death in America.” October 75,1996, pp. 36-59.
---. “Test Subjects.” October 132, Spring 2010, pp. 30-42.
---. “Talking About Andy: Hal Foster.” Hirshhorn Podcasts, September 27, 2011. https://hirshhorn.si.edu/explore/talking-about-andy-hal-foster/. Accessed 7 June 2023.
Gainsbourg, Serge and Brigitte Bardot. “Comic Strip.” July 1967. https://www.youtube.com/watch?v=22Uf4-khGAk. Consulted 7 June 2023.
Ginsberg, Allen. “A Supermarket in California.” Collected Poems 1947-1980, HarperCollins, 1980.
Gladwell, Malcolm. “Designs for Working.” The New Yorker, December 11, 2000, pp. 60-701.
Hamilton, Richard. Just What is It That Makes Today’s Homes So Different, so Appealing? 1956, collage, 26 × 24.8 cm, Kunsthalle Tübingen.
Hilaire, Michel and Serge Lemoine. Abstractions américaines 1940-1960. Réunion des musées nationaux, 1999.
Hughes, Robert. The Shock of the New. McGraw-Hill, Inc., 1991.
James, Henry, Collected Travel Writings. Great Britain and America. English Hours. The American Scene. Other Travels. Edited by Richard Howard, Library of America,1993.
Jaubert, Alain. Ten Lizes by Andy Warhol (1963). Palette Production and Centre Pompidou, 30 min, 1997, video released 1999.
Kele, Judit and Patrick Javaul. Jeff Koons. Un homme de confiance. ARTE France, Les Films d’Ici, l’INA, 57 min. DVD, 2002.
Klawans, Stuart. “The Corpse in the Mirror: The Warhol Wake.” The Best American Essays of 1990, Ticknor & Fields, 1990, pp. 134-145, originally in Grand Street, 1989.
Koch, Kenneth. The Collected Poems of Kenneth Koch. Knopf, 2005.
Koons, Jeff. “From Full Fathom Five (1988).” Theories and Documents of Contemporary Art. A Sourcebook of Artists’ Writings, edited by Kristine Stiles and Peter Selz U of California P, 1996. pp.438-442.
---. Pink Panther, 1988, porcelain on formica base, 104.1 x 52 x 48.2 cm, MoMA, New York.
---. Puppy, 1992, stainless steel, sod, and flowering plants, 1240 x 1240 x 820 cm, Guggenheim, Bilbao.
---. Heart, 2011, stainless steel, high-crome finish, and transparent color coating, 291 x 280 x 101,5 cm, Pinault Collection, Palazzo Grassi, Venice.
---. Lobster, 2003, polychromed aluminum, and coated steel chain, 147 x 94 x 43.5 cm, Private Collection, New York.
---. Kiepenkerl, 1988, stainless steel, 184.8 × 80 × 81.9 cm, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC.
---. Michael Jackson and Bubbles, 1988, porcelain, 110 cm × 179 cm × 83 cm, San Francisco Museum of Modern Art.
Krauss, Rosalind E. Perpetual Inventory. MIT P, 2010.
Kruger, Barbara. Untitled (I shop therefore I am). 1987, silkscreen on vinyl framed by the artist, 280 x 283 cm, Pinault Collection, Palazzo Grassi, Venice.
Lee, Pamela. Think Tank Aesthetics: Midcentury Modernism, the Cold War, and the Neoliberal Present. MIT P, 2020.
Lerner, Ben. The Hatred of Poetry. Fitzcarraldo Editions, 2017.
Longo, Robert. Men in the Cities (Triptych Drawings for the Pompidou). 1981-1999, 242 x 150 cm, charcoal, graphite pencil, and artificial paint on paper pasted to board. Centre Pompidou, Paris.
Lovag, Antti. Palais Bulles. Théoule-sur-Mer, 1973-1993.
Lyotard, Jean-François. La Condition postmoderne: rapport sur le savoir. Minuit, 1979.
---. The Postmodern Explained. Trans. Barry Don, Bernadette Maher, Julian Pefanis, Virginia Spate and Morgan Thomas, U of Minnesota P, 1992.
Matisse, Henri. Intérieur aux aubergines. 1911, glue-tempera on canvas, 212 x 246 cm. Musée de Grenoble.
Menand, Louis. “Unpopular front American art and the Cold War.” The New Yorker, 17 Oct. 2005.
---. “Top of the Pops: Did Andy Warhol change everything?” The New Yorker, Jan. 3, 2010.
---. “Is Andy Warhol the Most Influential Artist of the Last Fifty Years?” 2012. https://www.youtube.com/watch?v=TEXM0xOX5JU. Accessed 7 June 2023.
Menken, Marie. Andy Warhol. 1965, color, silent, 16mm, 22 min.
---. Go! Go!Go! 1964, color, silent, 16mm, 11 min.
Moore, Marianne. “Poetry.” Collected Poems, Simon & Schuster, 1963.
Motherwell, Robert. “On the humanism of abstraction: the artist speaks.” The Writings of Robert Motherwell, edited by Dora Ashton and Joan Banach, U of California P, 2007, pp. 250-255.
Peppiatt, Michael. “Claes Oldenburg on his first years as an artist.” Interviews with Artists, 1966-2012, Yale UP, 2012.
Prince, Richard. Untitled (Cowboy), 1989. Chromogenic print, 127 x 177.8 cm, The Metropolitan Museum, New York.
Nichols, Mike. The Graduate (film). 1967. Lawrence Turman Productions.
Perl, Jed, editor. Art in America 1945-1970. Writings from the Age of Abstract Expressionism, Pop Art, and Minimalism. Library of America, 2014.
Rimbaud, Arthur. Poésies complètes. Gallimard, 1973.
Rauschenberg, Robert. “Erased De Kooning.” Video. https://www.youtube.com/watch?v=tpCWh3IFtDQ. Accessed 7 June 2023.
Robinson, Kit. “Return on Word.” The Crave. Berkeley: Atelos Press, 2002.
Rolling Stones (Mick Jagger and Keith Richards). “(I Can’t Get No) Satisfaction.” 3 min.43, Decca, May 1965.
Romeo, Nick. “How Mondragon Became the World’s Largest Co-Op (In Spain, an industrial-sized conglomerate owned by its workers suggests an alternative future for capitalism).” The New Yorker, Aug 27, 2022.
Rosenquist, James. President Elect. 1960-1961. Oil on Masonite, 228 x 366 cm. Centre Pompidou, Paris.
Schama, Simon. “Rothko—the music beyond the city of glitter.” The Power of Art. BBC Books, 2006.
Schjeldahl, Peter. “Self-Made Man How Arshile Gorky Changed Art.” The New Yorker, September 8, 2003.
---. Let’s See: Writings on Art from the New Yorker. Thames & Hudson, 2008.
Schumpeter, Joseph A. Capitalism, Socialism and Democracy. Harpers & Brothers, 1942.
Sherman, Cindy. Six Untitled Film Stills. Black-and-white photographs, 1979, each 20,3 × 25,4 cm. Metro Pictures.
Sontag, Susan. Notes on ‘Camp.’ Penguin Books, 2018.
Sorin, Raphaël. Pop Art 68. L’Échoppe, 1996.
Stevens, Wallace. “On Modern Poetry.” Collected Poems. Alfred A. Knopf Inc, 1952.
Stiles, Kristine, and Peter Selz, editors. Theories and Documents of Contemporary Art: A Sourcebook of Artists Writing. U of California P, 1996.
Supiot, Alain, and Mireille Delmas-Marty, editors. Prendre la responsabilité au sérieux. Presses Universitaires de France, 2015.
Wall, Jeff. After “Invisible Man” by Ralph Ellison, the Prologue. 2000. Silver dye bleach transparency; aluminum light box, 174 x 250.8 cm. MoMA.
Warhol, Andy. Triple Elvis. 1963, silkscreen ink on canvas, 208 x 299 cm, The San Francisco Museum of Modern Art.
---. Flowers. 1964, silkscreen ink on canvas, 35.5 x 35.5 com, Gallery Anthony d’Offay, London.
---. Boxes. 1964, silkscreen ink on wood, “Brillo” 44 x 43 x 35.5 cm., and “Campbell’s”, 48 x 24 x 25.5 cm, Museum Ludwig, Cologne.
---. Jackie. 1964, silkscreen ink on canvas, 152 x 162 cm, Galerie Gian Enzo Sperone, Rome.
---. Mao. 1973, acrylic and silkscreen on canvas, 346 x 448.5 cm, Saatchi Collection, London.
---. Still Life. 1976, acrylic and silkscreen on canvas, 305 x 406.5 cm, Leo Castelli Collection, New York.
---. Empire (film), 1964.
---. Dollar Sign. 1981, acrylic and silkscreen on canvas, 228 x 177.5 cm. Galerie Daniel Templon, Paris.
---. Lenin. 1986, acrylic and silkscreen on canvas, 183 x 122 cm. Galerie Bernd Klüser, Munich.
---. Self-Portrait. 1986, acrylic and silkscreen on canvas, 203.2 x 203.2 cm. The Metropolitan Museum of Art, New York.
Welish, Marjorie. “Contextualizing ‘The Open Work.’” Signifying Art. Essays on Art after 1960, Cambridge UP, 1999, pp. 276-285.
Wilson, Sloan. The Man in the Gray Flannel Suit. Simon & Schuster, 1955.
Wood, Michael. “In Our Own Time.” Host Michael Wood in the documentary series BBC Art of the Western World. Producer: WNET/New York, 1989.
Whyte, William H. The Organization Man. Simon & Schuster, 1956.
Yenawine, Philip. How To Look at Modern Art. Harry N. Abrams Inc., 1991.