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    Avant-garde fascism: the mobilization of myth, art, and culture in France, 1909-1939.Mark Antliff - 2007 - Durham: Duke University Press.
    Fascism, modernism and modernity -- The Jew as anti-artist : Georges Sorel and the aesthetics of the anti- Enlightenment -- La Cité française : Georges Valois, Le Corbusier and fascist theories of urbanism -- Machine primitives : Philippe Lamour and the fascist cult of youth -- Classical violence : Thierry Maulnier and the legacy of the Cercle Proudhon.
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    Bridging two worlds that care about art: Psychological and historical approaches to art appreciation.William Forde Thompson & Mark Antliff - 2013 - Behavioral and Brain Sciences 36 (2):159-160.
    Art appreciation often involves contemplation beyond immediate perceptual experience. However, there are challenges to incorporating such processes into a comprehensive theory of art appreciation. Can appreciation be captured in the responses to individual artworks? Can all forms of contemplation be defined? What properties of artworks trigger contemplation? We argue that such questions are fundamental to a psycho-historical framework for the science of art appreciation, and we suggest research that may assist in refining this framework.
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    Shaping Duration: Bergson and Modern Sculpture.Mark Antliff - 2011 - The European Legacy 16 (7):899 - 918.
    In this article, I consider the relevance of Bergson's theory of durée for an understanding of sculpture by focusing on the work of three canonical artists in the history of twentieth-century modernism: the French Cubist Raymond Duchamp-Villon, the Italian Futurist Umberto Boccioni, and the London-based Vorticist Henri Gaudier-Brzeska. While these sculptors produced widely divergent aesthetic forms, I argue that they all endorsed Bergson's notion of durée as a spontaneous process of qualitative differentiation. These artists reconfigured their medium in terms of (...)
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