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Monument for V. Tatlin , Dan Flavin,1964, Fluorescent lights

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Spiral Jetty, Robert Smithson, 1970, Earth and Mud

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Fountain, Marcel Duchamp, 1917, Ceramic, glazed ceramic

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Very nice job indeed. And interesting ideas.

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Experimental:

the act of a new invention based on untested ideas or techniques and not yet established or finalized. Modern artist chose to experiment with many different materials and mediums while making their work.

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The transformation of vernacular expression in early modern arts

Keizer, Joost M., and Todd M. Richardson. 2012. The transformation of vernacular expression in early modern arts. Leiden [The Netherlands]: Brill. http://dx.doi.org/10.1163/9789004222434.

This book includes contributions by historians of early modern European art, architecture, and literature. This book shows the transformative force of the vernacular over time and different regions, as well as the way the concept of the vernacular itself changes in the period.

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Modernizing George Eliot [electronic resource] : the writer as artist, intellectual, proto-modernist, cultural critic

Newton, K. M. 2011. Modernizing George Eliot: the writer as artist, intellectual, proto-modernist, cultural critic. EBL. London: Bloomsbury Academic. http://dx.doi.org/10.5040/9781849665155.

This book talks about the ways in which her work anticipates significant aspects of writing in the twentieth and indeed twenty first century in regard to both art and philosophy.

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Edward Hopper, Early Sunday Morning, 1930, Oil on canvas

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Louise Bourgeois, Quarantaine, 1947, Polychromed bronze

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Allusiveness:

In modern art work there is reference that implied, containing, or characterized by allusion. Art work that is referencing something more than just an image. An expression designed to call something to mind without mentioning it explicitly; an indirect or passing reference.

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Really interesting bibliography! And very interesting principles.   Excellent work here.

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E.A.T. - Experiments in Art and Technology

Breitwieser, Sabine, Kathy Battista, Simone Forti, Billy Klüver, Michelle Y. Kuo, Catherine Morris, Zabet Patterson, et al. 2015. E.A.T. - Experiments in Art and Technology.

Experiments in Art and Technology E.A.T. is an association of engineers and artists who made history in the 1960s and 1970s. This book discusses artist such as  Jean Tingly, Andy Warhol, Jasper Johns and Yvonne Rainer. And their interested in the social implications of novel technologies and believed that the marriage of art and science had to take place on a practical and physical level.

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Davim, J. Paulo, and Mark J. Jackson. 2011. Manufacturing technology research. New York: Nova Science Pub Inc. http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=367198.

This book talks about today's manufacturing technology is an interdisciplinary field involving the analysis of product design to assure manufacturability, the selection, specification, and optimization of the required equipment, tooling, processes and operations.

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Umberto Boccioni,

Unique Forms of Continuity in Space, 1913, Bronze

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Pablo Picasso, Still-life with Chair Caning, Collage made with oil on oil-cloth over canvas edged with rope

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Andy Warhol, 32 Campbell's Soup Cans, 1962, Synthetic polymer paint on thirty-two canvases, Each canvas 20 x 16

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Technology:
the application of scientific knowledge for practical purposes in making and reproducing art. The making art part which, lets the artist explore using different mediums that weren't seen yet. This also includes mass production, which refers to the process of reproducing large numbers of art works for consumers to afford.

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There is a problem with bibliography. You have two websites that are entirely unacceptable. Best and easiest thing to do is go to Decker Library and find both books and appropriate websites (like ones on the Decker Databases Resource page)   all at once. You need eight items in all.

"Inspiration from the natural world" is also problematic. One could just as easily say that artists from the Renaissance, artists in the Academies, all artists get inspiration from the natural world. Now if you are arguing something about "organic forms" and "curvilinear decoration", you might be okay. But right now, this principle is not working.

And given my remarks, you might want to consider revising principle #1 so it is more of a principle and less of a movement.

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Drawing closer to nature : making art in dialogue with the natural world

London, Peter. 2003. Drawing closer to nature: making art in dialogue with the natural world. Boston: Shambhala.

This book talks about the essentials of creative practice, such as time, space, media, and intention; cultivating a simple, firsthand way of seeing Nature in all its subtlety, mystery, and intimacy.

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Art nouveau [electronic resource]

Lahor, Jean. 2007. Art nouveau. New York: Parkstone International. http://public.eblib.com/choice/publicfullrecord.aspx?p=886833.

This audio discuses how Art Nouveau was at the heart of a "renaissance" in the decorative arts. The primary objective of the movement was the creation of a new aesthetic of nature through a return to the study of natural subjects.

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Salvador Dali, Swans Reflecting Elephants, 1937, Oil on canvas

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Vincent Van Gogh, The Starry Night, 1889, oil on canvas

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Victor Horta, Interni Casa Tassel, 1893, wood, metal, paint

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Inspiration from the organic forms:

Inspiration from the organic forms can be seen in art movements such as Surrealism, Art Nouveau, and Post-Impressionism. The artist looked at their natural surroundings for inspiration in their work. Artist is the early 1900s rejected the old ways of using materials. This is called Biomorphism. Looking at their organic forms that flow through the work it can be read as nature like. Also the color pallets are greens, blues, and earth tones representing plants, water and the earth.

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I like this Breanna. Remember, though, that there is a difference between a principle and a movement or style. So what about Symbolism makes it seem so modern? The sense of emotional expression maybe? The mystery? Principles are general and movements are specific. The movement is often an example of the principle.

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Symbolism, its origins and its consequences
Nezhinskaia, Rozina. 2010. Symbolism, its origins and its consequences. Newcastle upon Tyne: Cambridge Scholars. http://site.ebrary.com/id/10677158.
Describes the root of the Symbolist movement.
Maurice Maeterlinck defined its essence in L'Art moderne. He wrote that the notion of a symbol in the Symbolist movement is the opposite of the notion of the symbol in classical usage: instead of going from the abstract to the concrete, it goes from the concrete to the abstract.

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Symbolic imagery:
Gibson, Michael. 1999. Symbolism. Köln: Taschen.
The book describes why Symbolist painting is essential to our understanding of modern art. There are few movements in 20th century art whose roots do not lie in Symbolism, while a rediscovery of Symbolist works makes it clear how many contemporary artists are in direct line of descent from the Symbolist movement.

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Odilon Redon, French painter, The Cyclops, c. 1914, oil on canvas

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Henri Rousseau, French painter, The Sleeping Gypsy, c. 1897, oil on canvas

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Gustave Moreau, French painter, The Apparition, c. 1876, oil on canvas

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Symbolic imagery:
Symbolism developed in the 1880s as a French literary. Artist wanted to reflect an emotion or idea rather than the natural world. Artist wanted viewers to have an emotional reaction to the color, line and composition of the artwork. It represents synthesis of form and feeling, of reality and the artist’s inner subjectivity. Their art produced dream like worlds and figures from biblical and Greek stories.

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Glad to see you are underway now.