Avant-garde (pronúncia em francês:[avɑ̃ ɡaʁd]).[1] ou Vanguarda é um termo originário da língua francesa usado em vários idiomas para se referir a pessoas ou obras inovativas ou experimentais, mas que particularmente respeitam a arte e a cultura em seu processo.
A vanguarda representa uma demolição das barreiras do que é aceito como norma ou status quo, principalmente na área cultural. A noção da existência da vanguarda é creditada por alguns como sendo uma tendência irmã do modernismo, mas diferente do pós-modernismo. O pós-modernismo sustenta que a era da constante aniquilação de fronteiras não está mais entre nós e que a vanguarda tem pouca ou nenhuma aplicabilidade na era da arte pós-moderna.
See Claudia Schmuckli: ‘Chronology and Selected Exhibition History,’ in Joseph Beuys: Actions, Vitrines, Environments (Tate, 2005).This account of Beuys’s biography is indebted to Schmuckli’s chronology.
James Lord (1997) Giacometti: A Biography, Farrar, Straus and Giroux* Alberto Giacometti. Kunsthaus Zürich, 2001; New York, The Museum of Modern Art, 2001-2002.
Cope, David. 1997. Techniques of the Contemporary Composer. New York, New York: Schirmer Books. ISBN0-02-864737-8.
Mauceri, Frank X. 1997. "From Experimental Music to Musical Experiment". Perspectives of New Music 35, no. 1 (Winter): 187-204.
Meyer, Leonard B. 1994. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Second edition. Chicago: University of Chicago Press. ISBN0-226-52143-5
Nicholls, David. 1998. "Avant-garde and Experimental Music." In Cambridge History of American Music. Cambridge and New York: Cambridge University Press. ISBN0-521-45429-8
Nyman, Michael. 1974. Experimental Music: Cage and Beyond. New York: Schirmer Books. ISBN0-02-871200-5. Second edition, Cambridge & New York: Cambridge University Press, 1999. ISBN0-521-65297-9
A. L. Rees, A History of Experimental Film and Video (BFI, 1999).
Malcolm Le Grice, Abstract Film and Beyond (MIT, 1977).
Scott MacDonald, A Critical Cinema, Volumes 1, 2 and 3 (Berkeley: University of California Press, 1988, 1992 and 1998).
Scott MacDonald, Avant-Garde Film: Motion Studies (Cambridge: Cambridge University Press, 1993).
James Peterson, Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema (Detroit: Wayne State University Press, 1994).
Jack Sargeant, Naked Lens: Beat Cinema (Creation, 1997).
P. Adams Sitney, Visionary Film: The American Avant-Garde, (New York: Oxford University Press, 1974).
Michael O’Pray, Avant-Garde Film: Forms, Themes and Passions (London: Wallflower Press, 2003).
David Curtis (ed.), A Directory of British Film and Video Artists (Arts Council, 1999).
David Curtis, Experimental Cinema - A Fifty Year Evolution. (London. Studio Vista. 1971)
Wheeler Winston Dixon, The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema. (Albany, NY. State University of New York Press, 1997)
Wheeler Winston Dixon and Gwendolyn Audrey Foster (eds.) Experimental Cinema - The Film Reader, (London: Routledge, 2002)
Stan Brakhage. Film at Wit's End - Essays on American Independent Filmmakers. (Edinburgh, Polygon. 1989)
Stan Brakhage. Essential Brakhage - Selected Writings on Filmmaking. (New York, McPherson. 2001)
Parker Tyler, Underground Film: A Critical History. (New York: Grove Press, 1969)
Bird, Dorothy; Greenberg, Joyce (2002). Bird's Eye View: Dancing With Martha Graham and on Broadway reprint ed. Pittsburgh, PA: Univ. of Pittsburgh Press. ISBN0-8229-5791-4