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“... F.T. (Filippo Tommaso) Marinetti liked to describe himself as the ‘caffeine of Europe’. He was undoubtedly the most daring and inventive artistic propagandist of the 20th century, and Futurism, the movement he launched with a manifesto published on the front page of Le Figaro on 20 February 1909, reconfigured the popular notion of modern art and the modern artist more widely and decisively than any of the other isms now gathered under the umbrella heading of Modernism ...”

“... of the Futurists, to mere machines. ‘You wops insist too much on the machine,’ he told F.T. Marinetti when they met in a toilet in London in 1914. ‘You’re always on about these driving belts, you’re always exploding about internal combustion. We’ve had machines here in England for donkey’s years. They’re no novelty to us.’ After a period ...”

“... movements but a synchronic network of charismatic ‘connectors’, such as Vasily Kandinsky, F.T. Marinetti, Guillaume Apollinaire, Francis Picabia, Tristan Tzara, Theo van Doesburg and Alfred Stieglitz, all of whom were polemicists (critics, editors, exhibition-makers) as much as they were artists. Like the diagram, the exhibition looks back to the period ...”

“... of this, either. The context he provides for Vorticism is the publicity the Italian Futurist F.T. Marinetti generated on his visits to London between 1912 and 1914. In 1912, Pound was getting by on patronage ($1000 a year from Margaret Cravens, whom he had met in March 1910) and ‘erudite exoticism’ (he was an authority on Provençal culture). He must have ...”