#Donald Osborne

[realnormanosborn]

[kzele]

TSSM What If. . .Ock Triggered The Bomb Earlier?

Summary: For once, Peter Parker is in crosshairs and is forced to become the hero. Naturally, this puts him back in the crosshairs by reminding him just WHY he has two separate IDs.

Peter was used to being dismissed by adults. They took one look at his face and saw his age instead of him as a person. So when Mr. Osborn politely told him to get lost, he would've normally taken it stride. If it had been about normal business stuff, that is. Norman had practically superglued himself to Peter's side whenever they were in the same room for just about everything else he forced the teenager into. Be it brain-frying corporate meetings or neat trips and lab experiments.

Heck, considering he had been essentially browbeaten into accepting this "apprenticeship," Peter might've been ecstatic to get away and, you know, RELAX AROUND CHRISTMAS. But, noooo. Not with Norman Osborn. Because Norman Osborn doesn't have fun. He has money.

Alright, maybe that was a bit unfair to think about the senior Osborn like that, because he was and has always been MUCH nicer to Peter than apparently everyone on the planet. (Which brings up its own problems where Harry is concerned.)

But that's not the point here.

The real point is that Norman's assistant/flunky Donald Menken, who either doesn't like Peter or ignores everybody with an income below 250k as standard procedure, was going to say something about Toomes aka Big Bird's goth grandpa.

Ever since the guy escaped from prison along with his buddies, he's been laying low for some time. Which is quite an accomplishment if we're taking into account all his very public past murder attempts. The first of which he literally screamed at his target before attacking. Despite his flight suit being almost completely silent in use. And having the element of surprise already. It sucks to know that his villains were learning subtlety. Or just learning in general.

Annnd since the Vulture is nowhere to be found, any information about the jerk is necessary. Unfortunately, arguing the point with Norman isn't going to get anywhere. Not unless you can count ticking him off as "getting somewhere." And Peter would rather not do that. . .Especially when he could just sneak back in and eavesdrop, regardless of his marching orders. Lots of pillars to hide behind plus his enhanced hearing will hopefully equal one enlightened spider.

Peter produced the expected agreement and made it about two steps before-

His brain was on fire. Spider sense!

"Nonononono, countdown activated! Thirty seconds to implosion!"

The teen whipped his around to see Morris the demolition guy frantically inputting what could only be the deactivation codes.

Norman was firm, "Shut. It. Down."

The timer didn't even slow.

Well, crap.

He basically teleported himself next to the panicking blond right at that moment.

Okay, focus and then think. It didn't seem likely that this was an accident but even if this was supreme bad luck, the codes were shown to not work. Bomb squad would be clean up by that point. Revealing himself as Spidey and saving everyone would endanger his loved ones regardless of whether he survives this or not. But Peter couldn't do this. He couldn't save everyone in time as just plain, old Peter Parker. He couldn't. . .

Wait. In time?

Of course. The timer.

Peter was done thinking in seconds and relayed his thoughts, "Mr. Bench! Can you reset the timer?!"

"I'll-I'll try," the frazzled man nodded as he worked.

But the machine was only on the new time for moment before it reverted back to half a minute. Somehow, it felt almost mocking in its false hope.

"It-it wo-won't-"

"Is there a manual way to disable the timer so it can't revert back," Peter asked in a voice calmer than he felt.

Morris' voice was almost inaudible, "Blue wire at the bottom right of the screen. Pull that when I go again."

And then there was waiting. . .

Waiting. . .

. . .

. . .

Now!

"NOW!"

And then there was silence.

29:59. . .29:58. . .29:57

He would've collapsed onto the old and dirty tenement floor right then like Morris. (And Menken, too, if the gasping sounds from behind were an indication.) But his adrenaline hadn't worn off and the danger was still present the longer they stayed here if the muted buzzing in his cranium meant anything.

"Well done, son."

Norman Osborn's approving smile followed Peter the rest of the way out of the building.

End of Part I

Next Time (possibly) : Ock Goes WTF happened and Peter Receives the Credit for All The Things. Also, Stalking Ensues.

[issacharmastersdp18]

You ever have one of those moments watching a movie or tv show?

But you can’t place the person

And when you look to see who it is

where you know them from

You only have more questions ?

Because that’s exactly how I felt during this scene

The very first time I watched The Hunger Games.

I was sitting in the theater thinking

The obvious answer would be that I’d seen Donald Sutherland in something before.

I went through his IMDb page THREE times.

I had not seen him in a goddamned thing before that.

Not. A. Single. Thing.

How the hell do I know him?

Maybe he reminds me of someone else, but who that could be has not come to me in eleven years.

So I’ve just kinda been searching for the answer ever since.

I’ve consumed every piece of Donald Sutherland media I can get my hands on.

So……

If I ever meet him, we’re damn sure gonna get to the bottom of this mystery.

It crosses my mind at least once every day or two. It bothers me that I can feel so strongly that I know someone with no explanation for it.

The more I learn about him, the more sure I am that we would be friends.

Did I know him in a past life? Seriously. How the hell do I know him?

Of course, if someone on here does know him and comes across this, I would appreciate it if you’d point him in this direction.

I really, really want to know the answer.

[trendynewsnow]

Polling Insights: Competitive Races in Nebraska and Texas Ahead of Election

Polling Insights in Nebraska and Texas Recent polling data from The New York Times and Siena College reveals a competitive political landscape as the election approaches, showcasing the close races in Nebraska and Texas. Union leader and political independent Dan Osborn is making significant inroads against incumbent Republican Senator Deb Fischer. Meanwhile, in Texas, Democratic Representative…

[readerviews]

"Where We Land" by Donald Osborn with Anna Henkens Schmidt

Insightful Perspectives from a Professional Pilot #books #bookreview #reading #readerviews

Where We Land Donald Osborn with Anna Henkens SchmidtIndependently Published (2024)ISBN: 979-8990283305Reviewed by Richard Bist for Reader Views (05/2024) Many people think the life of an airline pilot to be nothing but amazing travel adventures, exotic locales, and rubbing shoulders with famous passengers. Donald Osborn has seen some of that, but he’s also seen the hardships that go along with…

[hellomystraightlacedfriend]

Writer: Tom DeFalco/Penciller: Ron Frenz

Amazing Spider-Man #260

[ultraericthered]

One Villainous Scene: *Twist* Ending

From one kind of "twist ending" involving a supervillain to another, and this one is super appropriate for the coming of spooky season!

The tragically, criminally shortly lived, desparately in need of a revival The Spectacular Spider-Man, probably the best animated Spider-Man series ever made, gave us a rather unusual approach to Spidey's greatest foe, the Green Goblin. Rather than be just a costumed villain with a secret identity looking to take over the criminal underworld of New York as he was in the comics, this Goblin was still that but with the mystery of his identity played out in a way more reminiscent of how the Hobgoblin's arc in the comics was like. Red herrings, misdirections, fakeouts, making you question if what you thought you saw is what you really saw, etc. Back in Season 1, the mystery of the Green Goblin seemed to be solved with the reveal that Peter's friend Harry Osborn had been taking his father Norman's "Globulin Green" formula as a drug to enhance his performance as school, and had overhead Norman's dealings with the Big Man of Crime that made him want to take out the Big Man to help his dad....but it never quite seemed right. The Green Goblin was far more knowledgable, ruthless and devious than Harry had ever been shown to be, and the part about why Harry would challenge the Big Man as the Green Goblin came from Norman's mouth rather than Harry's own. So despite us seeing an unhinged Harry in the Goblin costume, overcome by the aftereffects of the serum (including super strength as he fucking hurled his dad across the room), and even with a limp that the Goblin got from his last fight with Spider-Man, there was always something that felt wrong with this picture.

So when Season 2 saw the surprise return of the Green Goblin as he manipulated a gang war that led to him successfully ousting Tombstone from his position as Big Man of Crime, which the Goblin took over, it was time to revisit the events of the previous season and get clarification that no, Harry is not, and never was, the Green Goblin. The suspicion thus falls to Norman Osborn, but we already saw the Goblin and him in the same place, and we see it again in this season finale, so that rules him out. The suspect list is finally narrowed down to Oscorp's president, Donald Menken....but NOPE! The Green Goblin shows up, knocks out Menken, and takes Spidey on a wild ride across an entire city district that he's had rigged with death traps! During this final battle, the Goblin's mask comes off, unveiling none other than Norman Osborn, mastermind behind many of the Big Man's supervillain creations and crimes, the current Big Man, and the Green Goblin the entire time. The "Norman" we saw both times the Goblin was on the scene was actually the Chameleon in disguise (revealed in a perfect way: Harry recalls something that might've gone missed by the audience, how "Norman" had earlier said the words "I'm sorry" to Spidey, and as was repeatedly stressed in Episode 1 alone, Norman Osborn never apologizes!)

And then we get the above scene, where Norman just reveals everything. A big exposition dump in the middle of a fight should not work, but here it just feels so natural and so exciting, like a mystery has finally come to the solution phase, and the switch from Steve Blum's manic Green Goblin to Alan Rachins' stern and cold yet still totally deranged Norman is so jarring yet somehow feels natural enough that it gives me shivers. But of course, the part that stands out the most is the part about the limp. Norman had faked limping as the Goblin intending for Spidey, who'd accused the Goblin of being Norman Osborn to his face during that fight, to go pursue Norman only to find him walking just fine without any limp, which would put him off his trail...but by happenstance, Norman returned home to find his son passed out from having drank too much of the formula. So Norman improvised with a better tactic - dressing Harry up in the Goblin costume and twisting his leg in order to give him a limp, framing his own son for the crimes he'd committed. Norman, of course, rationalizes this by saying that if he'd been found out and sent to prison for his crimes, Harry would be left without a father around to "make a man out of him." Shortly afterwards, Spidey webs one of Norman's own pumpkin bombs to his glider. The bomb goes off, which sends Norman's glider hurling towards a water tower he'd rigged with a whole supply of pumpkin bombs. There are explosions, and the night sky rings with those horrible scream sounds that the bombs make when they go off. Norman Osborn has perished.

The whole thing just absolutely haunts you long after the show has wrapped up, and to throw one last cruel twist at you (aside from Norman's never-to-be-explained survival that the show ends on), we get that scene at the funeral, where in a moment of grief and mad desparation for comfort and love, Harry straight up emotionally manipulates Gwen into staying in a relationship with him rather than leaving him for Peter like he figured she was set on doing. It seems the pumpkin doesn't roll too far from the patch in the Osborn family.

[cosmicretreat]

Today in 1937: the first appearance of Huey, Louie and Dewey. They first appeared, created by Ted Osborne and Al Taliaferro, in the Donald Duck comic strip. They would next appear in the short cartoon Donald's Nephews.

[realnormanosborn]

I hate my son + I'm high

[redistrictgirl]

As of September 8th, 2024, Republicans are heavily favored (93% chance) in the race for control of the US Senate.

The topline is depressing for Democrats, but the state-level shifts are divine for them.

Both parties seem to have built up a wall of Senate races where they're favored, with the Democratic wall being more vulnerable to breaking. This means that the state of the Senate rests pretty comfortably at 52-48 in favor of Republicans, and that gap is more likely to widen in their favor than narrow up. Let's look at the closest races (such as they are):

Nevada (78% chance for Democratic Senator Rosen) - Like in the Presidential race, the Democrat is polling around 49% here. Things are a little more uncertain due to more undecideds, but again, the model hones in on the path to victory being so narrow for Mr. Brown.

Arizona (80% chance for Democrat Gallego) - Mr. Gallego is also hitting 49% in polls here fairly regularly. This is basically the exact same story as Nevada, just with fewer undecideds.

Michigan (80% chance for Democrat Slotkin) - Michigan has worse fundamentals for Republicans than the southwest states, primarily thanks to those horrendous 2022 results for the GOP. But the polling is actually a little better here for Mr. Mike Rogers - Representative Elissa Slotkin is only polling at 47%, giving him much more room to strike.

Wisconsin (84% chance for Democratic Senator Baldwin) - Tell me if you've heard this one before - the Democrat is polling at 49%. The difference here mostly lies in the incumbent here being stronger than in the previously-mentioned Southwest states, and the model thus liking her chances more.

Texas (84% chance for Republican Senator Cruz) - Before this week, there wasn't a lot of polling in the Lone Star State, so we were mostly relying on fundamentals here, which are similar to the presidential race. However, Mr. Cruz is showing unique vulnerability here that Donald Trump isn't struggling with - he's only polling at 46%, four points lower than the top of the ticket. It's likely that undecideds come home downballot, but Republicans would like to see that delta close as soon as possible regardless.

Overall, this cycle looks weirdly noncompetitive on both sides, both in individual races and on the topline, but a big shift in environment could always shake things up.

Oh, and here's a peek at how the experimental model applies in the Senate:

Now, this is much more interesting than the House. Notable swings in Democrats' favor include:

Montana - Incumbent Democrat Jon Tester has had a mixed pair of polls here (one where he hits 49% and one where his opponent hits 51%), but that's better than we'd expect from a safely Republican state.

Florida - Republican Senator Rick Scott is struggling to crack 46%. Too early to say for sure, but this looks analogous to Texas.

Nebraska - We only have one poll in this typically safe state, but it's a doozy - neck-and-neck. There were plenty of undecideds in the poll, but fewer of them were Republicans than one would expect. Note that this is a race between a Republican and Independent Dan Osborne, who is fiercely nonpartisan, so it's hard to say whether this would actually act as a Democratic flip.

Notable swings in Republicans' favor include:

Minnesota - Only two polls here, and one of them had lots of undecideds. The case for this seat is still tough in theory, given how strong an incumbent Amy Klobuchar is.

Maryland - Former Governor Larry Hogan is probably the GOP's top recruit of the cycle, and while Maryland is fundamentally deep, deep blue, the polls we've seen are genuinely impressive for him, holding Ms. Angela Alsobrooks to 46%.

On net, this model is definitely better for Democrats, bumping their chances of winning the chamber to 11%, but there's still no easy flips for them, so the overall picture isn't that different.

[random-movie-ideas]

Essential Characters to Include in an Avengers Series

Now on the Marvel side of things, here are the characters most essential to be included:

Tony Stark AKA Iron Man

Steve Rogers AKA Captain America

Sam Wilson AKA Falcon/Captain America

Johann Schmidt AKA Red Skull

Baron Helmut Zemo

HYDRA

Donald Blake AKA Thor Odinson

Loki Laufeyson

Bruce Banner AKA The Hulk

Jennifer Walters AKA She-Hulk

Betty Ross AKA Harpy/Red She-Hulk

Rick Jones AKA A-Bomb

Peter Parker AKA Spider-Man

Mary Jane Watson

Norman Osborn AKA Green Goblin

James Howlett/Logan AKA Wolverine

The X-Men

Erik Lehnsherr AKA Magneto

Pietro Maximoff AKA Quicksilver

Wanda Maximoff AKA Scarlet Witch

Walter Lawson/Mar-Vell AKA Captain Marvel

Carol Danvers AKA Ms. Marvel/Captain Marvel

Hank Pym AKA Ant-Man/Giant Man/Etc.

Janet Van Dyne AKA The Wasp

Dr. Stephen Strange

Reed Richards AKA Mr. Fantastic

Ben Grimm AKA The Thing

Victor Von Doom AKA Doctor Doom

Galactus

King T'Challa AKA Black Panther

Namor the Sub-Mariner

Natasha Romanoff AKA Black Widow

Clint Barton AKA Hawkeye

Frank Castle AKA The Punisher

Matthew Murdock AKA Daredevil

Elektra Natchios

Eric Brooks AKA Blade

Johnny Blaze AKA Ghost Rider

Marc Spector/Steven Grant/Jake Lockley AKA Moon Knight

The Guardians of the Galaxy

Vision

S.H.I.E.L.D.

Nathaniel Richards AKA Kang the Conqueror, etc.

Ultron

Thanos

A.I.M.

The Kree

The Skrulls

[sizhui]

I am so autistic about my books if I don't take them out and rearrange them once a week its over for me 🙂‍↕️ listed under the cut for the like minded

Mo Xiang Tong Xiu: The Scum Villain's Self-Saving System (1-4), Grandmaster of Demonic Cultivation (1-5), Heaven Official's Blessing (1-8) [Legally buying MXTX's entire opus may just be the worst thing I have ever done, and I ran Stardoll scams of young children when I was in middle school]

Rou Bao Bu Chi Rou: Remnants of Filth (1-2), The Husky & His White Cat Shizun (1)

Meng Xi Shi: Thousand Autumns (1)

Gothic & Lolita Bible, volume 45

CLAMP: Cardcaptor Sakura (Collector's edition), volume 3

Min Jin Lee: Pachinko

Charlotte Brontë: Jane Eyre

Nakahara Chuuya: Collected Poems (Translated and edited by Paul Mackintosh and Maki Sugiyama)

Franz Kafka: The Metamorphosis (and other stories) (translated by Cristopher Moncrieff)

Pat Barker: The Silence of the Girls

R. F. Kuang: Babel

Masashi Kishimoto: Naruto (volumes 22 & 24)

Yoshihiro Togashi: Hunter x Hunter (volumes 8, 14 & 36)

The Diary of Lady Murasaki (Translated by Richard Bowring)

Silvia Moreno-Garcia: Mexican Gothic

Milivoj Solar: Literary Theory

Sophocles: Tragedies (volume 1, edited by David Greene and Richmond Lattimore)

Liu Cixin: Death's End, The Three-body Problem (translated by Ken Liu)

Veljko Gortan, Oton Gorski & Pavao Pauš: The Latin Grammar

Masashi Kishimoto & Shin Towada: Sasuke's Story [Sunrise]

Osamu Dazai: No Longer Human (translated by Donald Keene)

Johann Wolfgang von Goethe: Faust (1-2)

The Penguin Book of the Prose Poem

Oyinkan Braithwaite: My Sister, the Serial Killer

Toni Morrison: Love

Joan Anim-Addo, Deirdre Osborne & Kadija Sesay: This is the Canon: Decolonize Your Bookshelves in 50 Books

Ovid: The Metamorphoses

Zen Cho: Black Water Sister

Judy I. Lin: A Magic Steeped in Poison

Sue Lynn Tan: Daughter of the Moon Goddess, Heart of the Sun Warrior

Xiran Jay Zhao: Iron Widow

Kazuo Ishiguro: Klara and the Sun

Toni Adeyemi: Children of Blood and Bone

N. K. Jemisin: The Fifth Season

[eaglesnick]

THE BIG CON: VOTE REFORM, VOTE BIG BUSINESS

A vote for Nigel Farage’s Reform Party is essentially a vote for big business and the super-rich.

Reform promises to lift 7 million people from paying tax at the lower end of the pay scale to  “save every worker almost £1500 per year.” Although I am sure this saving for low earners would be very welcome, it is the rich who benefit most from Reform’s income tax proposals.

 At the moment people earning over £50,000 pay a 40% tax rate on earnings above this figure. The Reform Party promise to raise the threshold to £70,000, a saving of £3,588 a year for the 15% richest people in the country.

Reform and the far-right favour business over individual workers.  It is therefore no surprise that Corporations are to receive the biggest tax breaks. Corporation tax will be reduced from 25% to 20% for the first 5 years, and then down to 15% after that.

For year ending 2022/23 corporation tax brought in £79.9billion. Under Reform, corporations would be in receipt of tax breaks worth £47.94billion. In November 2022, State of Tax Justice reported that

…”the world was losing over $483 billion a year in tax to multinational corporations and wealthy individuals using tax havens to underpay tax. That’s equivalent to losing a nurse’s yearly salary to a tax haven every second.” 

The only reason Reform would want to legitimise corporate tax avoidance is because Reform is essentially a political party for the already wealthy. They might throw a few crumbs to the ordinary worker but the real rewards are to go to the rich and powerful.

Many large corporations are foreign owned so  tax breaks for big business are just as likely to go to overseas shareholders as they are to UK owners. Does the British taxpayer really want to be subsidising foreign share ownership by cutting tax revenues?

Richard Tice, leader of Reform until replaced by Nigel Farage a few days ago, is a multi-millionaire who made his money in property development.  Both he and Farage have their own TV shows on GB News, which is bankrolled by the hedge-fund billionaire Paul Marshal and the Dubai based investment company Legartum, founded by New Zealand billionaire Christopher Chandler who made his fortune in Russian gas.

Reform's links to the super-rich goes further. Multi-millionaire Jeremy Hosking has given £2.578,000 to Reform coffers. Is it coincidence he is funding a party that campaigns to scrap UK emission targets when he is “the director of a company with tens of millions of pounds invested in oil and gas” ? (Open Democracy: 22/03/22). I think not.

Another major donor to Reform is the ex-Bullingdon Club member George Farmer. (Other members include David Cameron and George Osborne the architects of Tory Austerity and the liar Boris Johnson who brought us Party Gate). An “ardent supporter of Donald Trump”, Farmer was CEO of the far-right platform Parler, and is married to Candice Owens, a woman who “promotes far-right ideologies”, In 2023 he joined the board of GB News.

The biggest single donor to Reform according to Electoral Commission records is Chris Harborne, handing over £10 million to Brexit/Reform. Harborne owes his fortune to the sale of aviation fuel and technology investments. He gained notoriety when his name appeared multiple times in the Panama Papers. These documents revealed:

 “…off-shore holdings of world political leaders, links to global scandals, and details of  hidden financial dealings of fraudsters, drug traffickers, billionaires, celebrities, sports stars and more”. (International Consortium of Investigative Journalists: 03/03/2016)

These wealthy backers of Reform are not spending millions of pounds in order to benefit ordinary workingmen and women. They see these millions as an investment, an investment on which they expect a return for their money.

[theadaptableeducator]

Additional Readings on it all, both popular and academic - An ‘Ism’ Overview - Perspectives Comparing And contrasting art movements

Prehistoric Art:

Palaeolithic Art (40,000 BCE - 10,000 BCE)

Clottes, Jean. Chauvet Cave: The Art of Earliest Times. University of Utah Press, 2003.

Guthrie, Dale. The Nature of Paleolithic Art. University of Chicago Press, 2005.

Vanhaeren, Marian, et al. "Middle Paleolithic shell beads in Israel and Algeria." Science, vol. 312, no. 5781, 2006, pp. 1785-1788.

Marshack, Alexander. "Upper Paleolithic notation and symbol: a provisional framework." Man, vol. 16, no. 1, 1981, pp. 95-122.

Neolithic Art (10,000 BCE - 2,000 BCE)

Renfrew, Colin, and Paul G. Bahn. Archaeology: Theories, Methods and Practice. 7th ed. London: Thames & Hudson, 2016.

Hodder, Ian. The Leopard's Tale: Revealing the Mysteries of Catalhoyuk. New York: Thames & Hudson, 2006.

Whittle, Alasdair, and Vicki Cummings. "Going over: People and things in the early Neolithic." Proceedings of the British Academy 144 (2007): 33-58.

Soffer, Olga. "The Upper Paleolithic and the Neolithic in the Russian Plain: Problems of Continuity and Discontinuity." Journal of World Prehistory 4, no. 4 (1990): 377-426.

Ancient Art:

Egyptian Art (3100 BCE - 30 BCE)

Wilkinson, Richard H. The Complete Gods and Goddesses of Ancient Egypt. Thames & Hudson, 2003.

Robins, Gay. The Art of Ancient Egypt. Harvard University Press, 2008.

Freed, Rita E. “The Representation of Women in Egyptian Art.” The Journal of Egyptian Archaeology, vol. 81, 1995, pp. 67-86.

Redford, Donald B. “The Heretic King and the Concept of the ‘Golden Age’ in Ancient Egypt.” Journal of Near Eastern Studies, vol. 33, no. 4, 1974, pp. 365-371.

Greek Art (800 BCE - 146 BCE)

Boardman, John. The Oxford History of Greek Art. Oxford University Press, 2001.

Pollitt, J. J. Art and Experience in Classical Greece. Cambridge University Press, 1972.

Neer, Richard T. "The Emergence of the Classical Style in Greek Sculpture." American Journal of Archaeology, vol. 105, no. 2, 2001, pp. 255-280.

Osborne, Robin. "Greek Art in the Archaic Period." The Journal of Hellenic Studies, vol. 115, 1995, pp. 118-131.

Roman Art (509 BCE - 476 CE)

Beard, Mary. SPQR: A History of Ancient Rome. New York: Liveright Publishing Corporation, 2015.

Brilliant, Richard. Roman Art. New York: Thames & Hudson, 2012.

Kleiner, Diana E. E. "Roman Sculpture." Oxford Art Journal 26, no. 1 (2003): 49-63.

Stewart, Peter. "The Social History of Roman Art." Cambridge Archaeological Journal 7, no. 1 (1997): 83-96.

Medieval Art:

Early Christian Art (200 CE - 500 CE)

Robin Margaret Jensen, Understanding Early Christian Art (New York: Routledge, 2000).

William Tronzo, The Oxford Handbook of Early Christian Art (New York: Oxford University Press, 2014)

Herbert Kessler, "The Spiritual Matrix of Early Christian Art," Representations, no. 11 (1985): 96-119, doi:10.2307/2928505.

Jas' Elsner, "What Do We Want Early Christian Art to Be?" Religion Compass 2, no. 6 (2008): 1118-1138, doi:10.1111/j.1749-8171.2008.00091.x.

Byzantine Art (330 CE - 1453 CE)

Cormack, Robin. Byzantine Art. Oxford: Oxford University Press, 2000.

Mango, Cyril. The Art of the Byzantine Empire, 312-1453: Sources and Documents. Englewood Cliffs, NJ: Prentice-Hall, 1972.

Mango, Cyril. "Byzantine Architecture." The Grove Dictionary of Art Online. Oxford Art Online. Oxford University Press, accessed March 19, 2023. https://www.oxfordartonline.com/groveart/view/10.1093/gao/9781884446054.001.0001/oao-9781884446054-e-7000002606.

Evans, Helen C. "Byzantium and the West: The Reception of Byzantine Artistic Culture in Medieval Europe." The Metropolitan Museum of Art Bulletin, vol. 58, no. 4 (Spring, 2001): 3-44. JSTOR, https://www.jstor.org/stable/3269056.

Islamic Art (7th century CE - present)

Grabar, Oleg. Islamic Art and Literature. Princeton, NJ: Princeton University Press, 1984.

Bloom, Jonathan M. and Sheila S. Blair. Islamic Arts. London: Phaidon Press, 1997.

Blair, Sheila S. "The Mosque and Its Early Development." Muqarnas 10 (1993): 1-19.

Carboni, Stefano. "The Arts of Islam." The Metropolitan Museum of Art Bulletin, vol. 58, no. 4, 2001, pp. 5-6, 17-65.

Romanesque Art (11th century - 12th century)

Conrad Rudolph, "Artistic Change at St-Denis: Abbot Suger's Program and the Early Twelfth-Century Controversy over Art," (Princeton, NJ: Princeton University Press, 1990).

George Henderson, "Early Medieval Art: Carolingian, Ottonian, Romanesque," (London: Thames & Hudson, 1972).

C. R. Dodwell, "The Dream of Charlemagne," The Burlington Magazine 118, no. 875 (1976): 330-341.

Gerardo Boto Varela, "The Iconography of the Lamb and the Role of the Temple in the Creation of the Romanesque Architectural Sculpture in the Kingdom of León," Gesta 43, no. 2 (2004): 171-186.

Gothic Art (12th century - 15th century)

Camille, Michael. Gothic Art: Glorious Visions. New York: Harry N. Abrams, 1996.

Conrad Rudolph. Artistic Change at St-Denis: Abbot Suger's Program and the Early Twelfth-Century Controversy over Art. Princeton, NJ: Princeton University Press, 1990.

Kemp, Simon. "The Uses of Antiquity in Gothic Revival Architecture." The Art Bulletin 73, no. 3 (1991): 405-421.

Snyder, James. "Gothic Sculpture in America: The Late 19th Century." The Journal of the Society of Architectural Historians 34, no. 4 (1975): 286-304.

Renaissance and Baroque Art:

Renaissance Art (14th century - 17th century)

Gardner, Helen, et al. Gardner's Art Through the Ages: A Global History. 16th ed., Cengage Learning, 2019.

Greenblatt, Stephen. Renaissance Self-Fashioning: From More to Shakespeare. University of Chicago Press, 1980.

Baxandall, Michael. "The Period Eye." Renaissance Studies, vol. 1, no. 1, 1987, pp. 3-20. JSTOR, www.jstor.org/stable/24409669.

Freedberg, David. "Painting and the Counter Reformation." Journal of the Warburg and Courtauld Institutes, vol. 32, 1969, pp. 244-262. JSTOR, www.jstor.org/stable/750844.

Mannerism (1520 - 1580)

Freedberg, S. J. (1993). Painting in Italy, 1500-1600. Yale University Press.

Shearman, J. (1967). Mannerism. Penguin Books.

Cole, B. (1990). Virtue and magnificence: Leonardo's portrait of Beatrice d'Este. Artibus et historiae, 11(21), 39-58.

Baxandall, M. (1965). "Il concetto del ritmo" in Michelangelo's Entombment. Journal of the Warburg and Courtauld Institutes, 28, 9-29.

Baroque Art (1600 - 1750)

Gombrich, E. H. The Story of Art. 16th ed. Phaidon Press, 1995.

Harris, Ann Sutherland. Seventeenth-Century Art and Architecture. 2nd ed. Laurence King Publishing, 2005.

Haskell, Francis. "The Judgment of Solomon: Poussin's 'The Sacrament of Ordination' and the Critics." The Burlington Magazine, vol. 124, no. 948, 1982, pp. 275-284.

Brown, Jonathan. "The Golden Age of Dutch Art: Painting, Sculpture, Decorative Art." The Metropolitan Museum of Art Bulletin, vol. 64, no. 4, 2007, pp. 36-44.

Rococo (1715 - 1774)

Gauvin Alexander Bailey, The Spiritual Rococo: Décor and Divinity from the Salons of Paris to the Missions of Patagonia, (New York: Cambridge University Press, 2014).

Alastair Laing, ed., Rococo: Art and Design in Hogarth's England, exh. cat. (London: Victoria and Albert Museum, 1984).

Alina Payne, "Fragile Alliances: Rococo and the Enlightenment," Art Bulletin 85, no. 3 (2003): 540-564.

Melissa Lee Hyde, "Fashioning the Bourgeoisie: A History of Clothing in the Nineteenth Century," Journal of Design History 21, no. 3 (2008): 219-23

19th Century Art:

Neoclassicism (1750 - 1850)

Wölfflin, Heinrich. Principles of Art History. Translated by M. D. Hottinger, Dover Publications, 1932.

Rosenblum, Robert. Transformations in Late Eighteenth Century Art. Princeton University Press, 1967.

Praz, Mario. "The Eighteenth-Century Elegiac Mood: Some Clarifications and Distinctions." Eighteenth-Century Studies, vol. 2, no. 3, 1969, pp. 295-318.

Honour, Hugh. "The Ideal of the Classic in the Visual Arts." Journal of the Warburg and Courtauld Institutes, vol. 22, no. 1/2, 1959, pp. 1-25.

Romanticism (1800 - 1850)

Abrams, M. H. The Mirror and the Lamp: Romantic Theory and the Critical Tradition. Oxford University Press, 1971.

Bloom, Harold. The Anxiety of Influence: A Theory of Poetry. Oxford University Press, 1973.

Frye, Northrop. "Towards Defining an Age of Sensibility." Studies in Romanticism, vol. 1, no. 1, 1962, pp. 1-14.

Mellor, Anne K. "Possessed by Love: The Female Gothic and the Romance Plot." PMLA, vol. 102, no. 2, 1987, pp. 134-150.

Realism (1830 - 1870)

Mearsheimer, John J. The Tragedy of Great Power Politics. New York: W.W. Norton, 2001.

Walt, Stephen M. The Origins of Alliances. Ithaca: Cornell University Press, 1987.

Waltz, Kenneth N. "The Theory of International Politics." International Security 15, no. 1 (Summer 1990): 5-17.

Morgenthau, Hans J. "Politics Among Nations: The Struggle for Power and Peace." Foreign Affairs 28, no. 4 (July 1950): 566-583.

Impressionism (1860 - 1900)

Herbert, Robert L. Impressionism: Art, Leisure, and Parisian Society. New Haven: Yale University Press, 1988.

Moffett, Charles S. Impressionist and Post-Impressionist Paintings in the Metropolitan Museum of Art. New York: Metropolitan Museum of Art, 1985.

Smith, Paul. "Monet's Impressionism: Aesthetic and Ideological Dilemmas." The Art Bulletin 68, no. 4 (1986): 595-615.

Dumas, Ann, and Anne Distel. "Monet at Vetheuil: The Turning Point." The Burlington Magazine 124, no. 953 (1982): 350-58.

Post-Impressionism (1886 - 1905)

Paul Smith, ed., "Post-Impressionism" (New York: Rizzoli International Publications, 1988).

Richard R. Brettell, "Post-Impressionists" (Chicago: University of Chicago Press, 1987).

John House, "Post-Impressionism: Origins and Practice" in "Oxford Art Journal" vol. 6, no. 2 (1983): 3-16.

Patricia Mainardi, "The End of Post-Impressionism" in "Art Journal" vol. 43, no. 4 (1983): 308-313.

20th Century Art:

Fauvism (1900 - 1910)

Elderfield, John. Fauvism. New York: Museum of Modern Art, 1976.

Shanes, Eric. The Fauves: The Reign of Color. New York: Harry N. Abrams, 1995.

Hargrove, June. "Matisse, Fauvism, and the Rediscovery of Pure Color." The Art Bulletin 63, no. 4 (1981): 689-704.

Rewald, John. "The Fauve Landscape." Gazette des Beaux-Arts 79, no. 6 (1972): 287-304.

Cubism (1907 - 1914)

Cooper, Douglas. The Cubist Epoch. Phaidon Press, 1970.

Green, Christopher. Cubism and its Enemies: Modern Movements and Reaction in French Art, 1916-1928. Yale University Press, 1987.

Shiff, Richard. "Cézanne and the End of Impressionism: A Study of the Theory, Technique, and Critical Evaluation of Modern Art." The Art Bulletin, vol. 58, no. 4, 1976, pp. 529-555.

Barr, Alfred H. "Cubism and Abstract Art." The Museum of Modern Art Bulletin, vol. 1, no. 3, 1934, pp. 6-7.

Futurism (1909 - 1916)

Marinetti, Filippo Tommaso. Futurist Manifestos. Edited by Umbro Apollonio, translated by Robert Brain and Others, Thames and Hudson, 1973.

Leighten, Patricia. Futurism: An Anthology. Yale University Press, 2019.

Perloff, Marjorie. "Futurism's 'Futuricity'." Modernism/modernity, vol. 19, no. 2, 2012, pp. 247-263.

Santoro, Marco. "The Politics of Speed: Futurism and Fascism." The Journal of Modern History, vol. 87, no. 4, 2015, pp. 821-856.

Dadaism (1916 - 1924)

Hulsenbeck, Richard. Dada Almanach. Berlin: Erich Reiss, 1920.

Gale, Matthew. Dada & Surrealism. London: Phaidon, 1997.

Naumann, Francis M. "Dada and the Concept of Art." The Art Bulletin 69, no. 4 (1987): 634-651. https://www.jstor.org/stable/3051041.

Dadoun, Roger. "The Dada Effect: An Anti-Aesthetic and its Influence." October 66 (1993): 3-16. https://www.jstor.org/stable/778760.

Surrealism (1920 - 1940)

Breton, André. Manifestoes of Surrealism. Translated by Richard Seaver and Helen R. Lane. Ann Arbor: University of Michigan Press, 1972.

Ades, Dawn. Dada and Surrealism Reviewed. London: Arts Council of Great Britain, 1978.

Martin, Alyce Mahon. "Surrealism and the Spanish Civil War." Oxford Art Journal 20, no. 2 (1997): 77-89.

Weisberg, Gabriel P. "Surrealism in America: The Beginning." Art Journal 28, no. 3 (1969): 222-29.

Abstract Expressionism (1940 - 1960)

Greenberg, Clement. Art and Culture: Critical Essays. Boston: Beacon Press, 1961.

Rosenberg, Harold. The Tradition of the New. New York: Horizon Press, 1959.

Alloway, Lawrence. "Networks, Names and Numbers." Artforum 1, no. 2 (1962): 29-33.

Hess, Thomas B. "Abstract Expressionism." Art News 51, no. 9 (1952): 22-23, 45-46, 48-49.

Pop Art (1950s - 1960s)

Foster, Hal. The First Pop Age: Painting and Subjectivity in the Art of Hamilton, Lichtenstein, Warhol, Richter, and Ruscha. Princeton University Press, 2012.

Livingstone, Marco, ed. Pop Art: A Continuing History. Thames & Hudson, 2013.

Alloway, Lawrence. “The Arts and the Mass Media.” Architectural Design and the Arts and Crafts Movement, vol. 31, no. 9, 1961, pp. 346–349. JSTOR, www.jstor.org/stable/4228719.

Lippard, Lucy R. “Pop Art.” Art International, vol. 12, no. 8, 1968, pp. 24–31. JSTOR, www.jstor.org/stable/24889088.

Minimalism (1960s - 1970s)

Judd, Donald. Complete Writings, 1959-1975. New York: The Press of the Nova Scotia College of Art and Design, 1975.

Fried, Michael. Art and Objecthood: Essays and Reviews. Chicago: University of Chicago Press, 1998.

Lippard, Lucy. "Eccentric Abstraction." Art International, vol. 12, no. 2, 1968, pp. 24-27.

Krauss, Rosalind. "Sculpture in the Expanded Field." October, vol. 8, 1979, pp. 30-44.

Conceptual Art (1960s - 1970s)

Kosuth, Joseph. Art after Philosophy and After: Collected Writings, 1966-1990. Cambridge, MA: MIT Press, 1991.

Lippard, Lucy R. Six Years: The Dematerialization of the Art Object from 1966 to 1972. Berkeley: University of California Press, 1997.

Buchloh, Benjamin H.D. “Conceptual Art 1962–1969: From the Aesthetic of Administration to the Critique of Institutions.” October 55 (Winter 1990): 105-143.

Graham, Dan. “The End of Liberalism.” In Dan Graham: Rock My Religion. Edited by Brian Wallis, 31-59. Cambridge, MA: MIT Press, 1993.

Performance Art (1970s - present)

Abramovic, Marina. The Artist Is Present: Essays. New York: Museum of Modern Art, 2010.

Phelan, Peggy. Unmarked: The Politics of Performance. New York: Routledge, 1993.

Goldberg, RoseLee. "Performance Art: From Futurism to the Present." October 56 (1991): 78-89.

Jones, Amelia. "Presence in Absentia: Experiencing Performance as Documentation." Art Journal 56, no. 4 (1997): 11-18.

Postmodernism (1970s - present)

Jameson, Fredric. Postmodernism, or, the Cultural Logic of Late Capitalism. Durham: Duke University Press, 1991.

Lyotard, Jean-Francois. The Postmodern Condition: A Report on Knowledge. Minneapolis: University of Minnesota Press, 1984.

Butler, Judith. "Contingent Foundations: Feminism and the Question of ‘Postmodernism’." The Journal of Philosophy, vol. 86, no. 10, 1989, pp. 571- 577.

Harvey, David. "The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change." Blackwell Publishers Ltd, 1990.

Digital Art (1980s - present)

Lev Manovich, The Language of New Media, (Cambridge, MA: MIT Press, 2001).

Christiane Paul, Digital Art, (New York: Thames & Hudson, 2008).

Sarah Cook and Beryl Graham, "From Periphery to Centre: Locating the Technological in Art History," Art History 28, no. 4 (September 2005): 514-536, https://doi.org/10.1111/j.1467-8365.2005.00442.x.

Oliver Grau, "The Complexities of Digital Art," in MediaArtHistories, ed. Oliver Grau (Cambridge, MA: MIT Press, 2007), 45-67.

Street Art (1980s - present)

Chaffee, Lyman, and Chris Stain. Walls of Heritage, Walls of Pride: African American Murals. Jackson: University Press of Mississippi, 2011.

Harrington, Steven. Street Art San Francisco: Mission Muralismo. San Francisco: Chronicle Books, 2009.

Schacter, Rafael. "The World Atlas of Street Art and Graffiti." The Journal of Aesthetics and Art Criticism 73, no. 4 (2015): 385-387.

Riccini, Raffaele. "Street Art as a New Form of Urban Governance: A Comparative Perspective." Urban Affairs Review 52, no. 5 (2016): 723-746.

Contemporary Art:

Neo-Expressionism (1980s - 1990s)

Storr, Robert. 1986. "Dislocations: Themes and Meanings in Post-World War II Art." New York: Museum of Modern Art.

Harrison, Charles, and Paul Wood. 1991. "Art in Theory 1900-1990: An Anthology of Changing Ideas." Oxford: Blackwell Publishers.

Bois, Yve-Alain. 1986. "Painting: The Task of Mourning." October 37 (Summer): 15-63.

Krauss, Rosalind E. 1985. "The Originality of the Avant-Garde and Other Modernist Myths." Cambridge, Mass: MIT Press.

Installation Art (1990s - present)

Bishop, Claire. Installation Art: A Critical History. New York: Routledge, 2005.

O'Doherty, Brian. Inside the White Cube: The Ideology of the Gallery Space. 2nd ed. Chicago: University of Chicago Press, 1999.

Schneider, Rebecca. "The Explicit Body in Performance." TDR: The Drama Review 46, no. 2 (2002): 74-91. doi:10.1162/105420402320980586.

Bishop, Claire. "Antagonism and Relational Aesthetics." October 110 (2004): 51-79. doi:10.1162/0162287042379787.

Relational Aesthetics (1990s - present)

Bourriaud, Nicolas. Relational Aesthetics. Dijon: Les presses du réel, 1998.

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.

O'Doherty, Brian. "Inside the White Cube." Artforum 5, no. 1 (1967): 12-16.

Bishop, Claire. "Antagonism and Relational Aesthetics." October 110 (2004): 51-79.

New Media Art (1990s - present)

Manovich, Lev. The Language of New Media. Cambridge, MA: MIT Press, 2001.

Paul, Christiane. Digital Art. London: Thames & Hudson, 2003.

Gere, Charlie. "Digital Culture." In The Oxford Handbook of New Audiovisual Aesthetics, edited by John Richardson, Claudia Gorbman, and Carol Vernallis, 491-506. New York: Oxford University Press, 2013.

Drucker, Johanna. "The Century of Artists' Books." Art Journal 56, no. 3 (1997): 20-34.

Superflat (1990s - present)

Murakami, Takashi. Superflat. New York: MADRA Publishing, 2000.

Schimmel, Paul. Color and Form: The Geometric Sculptures of Donald Judd. Los Angeles: Museum of Contemporary Art, 1991.

Krajewski, Sara. "Superflat and the Politics of Postmodernism." Postmodern Culture 14, no. 3 (2004): 1-18. doi:10.1353/pmc.2004.0046.

Nakamura, Lisa. "Cuteness as Japan's Millennial Aesthetic." Journal of Aesthetics and Art Criticism 65, no. 2 (2007): 137-147. doi:10.1111/j.1540-6245.2007.00207.x.

Post-Internet Art (2000s - present)

Hito Steyerl, The Wretched of the Screen (Berlin: Sternberg Press, 2012).

Karen Archey and Robin Peckham (eds.), Art Post-Internet: INFORMATION/DATA (Berlin: Sternberg Press, 2014).

Gene McHugh, "Post-Internet: Art After the Internet," Artforum International 52, no. 1 (2013): 366-71.

Nora N. Khan and Steven Warwick, "Fear Indexing the X-Files," e-flux Journal 56 (2014): 1-9.

Afrofuturism (2000s - present)

Sheree R. Thomas, ed., "Dark Matter: A Century of Speculative Fiction from the African Diaspora" (New York: Aspect/Warner Books, 2000).

Ytasha L. Womack, "Afrofuturism: The World of Black Sci-Fi and Fantasy Culture" (Chicago: Lawrence Hill Books, 2013).

Nettrice R. Gaskins, "Afrofuturism and Post-Soul Possibility in Black Aesthetics," "Journal of Black Studies" 40, no. 4 (2010): 699-710.

Reynaldo Anderson and Charles E. Jones, "Introduction: The Rise of the Afrofuturist," "Black Magnolias Journal" 5, no. 2 (2018): 1-11.

Socially Engaged Art (2000s - present)

Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship. London: Verso, 2012.

Kester, Grant. Conversation Pieces: Community and Communication in Modern Art. Berkeley: University of California Press, 2004.

Kester, Grant. "Dialogical Aesthetics: A Critical Framework for Littoral Art." in Theory in Contemporary Art since 1985. Ed. by Simon Leung. Oxford: Blackwell, 2005.

Thompson, Nato. "Living as Form: Socially Engaged Art from 1991-2011." Art Journal, Vol. 71, No. 1, 2012, pp. 101-102.

Environmental Art (2000s - present)

Schama, Simon. Landscape and Memory. New York: Alfred A. Knopf, 1995.

Kastner, Jeffrey, and Brian Wallis, eds. Land and Environmental Art. London: Phaidon, 1998.

Kagan, Sacha. "The Nature of Environmental Art." The Journal of Aesthetics and Art Criticism 51, no. 3 (1993): 455-67.

White, Edward. "Earthworks and Beyond." Art Journal 39, no. 4 (1980): 326-32.

NFT Art (2010s - present)

Belamy, Christies. (2018). Portrait of Edmond de Belamy. Paris: Obvious Art.

Harrison, P., & Weng, S. (2021). The NFT Bible: Everything you need to know about non-fungible tokens. United States: Independently published.

Liu, Z., Wang, J., & Lin, L. (2021). From NFT to NFA: The Implications of Blockchain for Contemporary Art. Journal of Cultural Economics, 45(2), 245-264. doi: 10.1007/s10824-021-09421-6

Schellekens, M., & Zuidervaart, H. (2022). On the Importance of Being Unique: An Analysis of Non-Fungible Tokens as a Medium for Digital Art. Leonardo, 55(1), 56-63. doi: 10.1162/leon_a_02179

[gerardpilled]

Just now put together that the Kelly Osborne from “then who is going to be cleaning your toilets, Donald Trump?” Is the same Kelly Osborne who dated Bert McCracken