Getting Rid of the Glue: The Music of the New York School

1993 ◽  
Vol 27 (3) ◽  
pp. 335-353 ◽  
Author(s):  
David Nicholls

The term New York School is usually applied to a number of American visual artists working in and around Manhattan from the early 1940s through to the late 1950s. The group included abstract expressionists, abstract impressionists and action painters; among its leading lights were Willem de Kooning, Mark Rothko, Jackson Pollock, Philip Guston and Franz Kline. The typical features of New York School art were innovative individual expression and a rejection of past tradition. And while this led to the development of a number of independent styles, rather than a single group style, the overall result was a characteristic American avant-garde approach to art which had much influence internationally.

2019 ◽  
pp. 131-170
Author(s):  
Ryan Dohoney

Chapter 3 chronicles the intersection of Feldman’s and Dominique de Menil’s spiritual aesthetics. It begins by reconstructing the conditions of their first meeting: the New York City Ballet’s 1966 performance of Merce Cunningham’s Summerspace, re-choreographed for George Balanchine. It goes on to document Feldman and de Menil’s 1967 collaboration on the gallery show Six Painters at the University of St. Thomas. Through her family’s patronage, as well as Dominique’s presence as self-installed head of the art department, the University became a major presenting organization offering avant-garde cultural events in the city. Six Painters featured paintings by Piet Mondrian, Mark Rothko, Jackson Pollock, Willem de Kooning, Philip Guston, and Franz Kline. Feldman was also given a residency at the university in 1967, where he lectured on abstract expressionism and his own musical aesthetics as well as presented a concert of his music.


Author(s):  
Harris Feinsod

Edwin Denby is best remembered as one of the preeminent critics of dance modernism, yet he was also an accomplished poet and an experienced dancer, choreographer, and librettist. Both his poetic gifts and his practical experience in the theater informed his dance criticism, first collected in Looking at the Dance (1949) and amplified in Dancers, Buildingsand People in the Streets (1965). As the title of his 1965 volume suggests, Denby placed primacy on the pleasures of perception, recording what he saw rather than advocating for a distinct point of view, as did his contemporaries Lincoln Kirstein and John Martin. Denby’s sensibility was widely admired in New York’s postwar avant-garde milieus, and he became an important friend, muse, mentor, and tutelary spirit to visual artists—including Rudy Burckhardt, Willem and Elaine de Kooning, and Alex Katz—and to New York School poets—especially Frank O’Hara, James Schuyler, John Ashbery, Ted Berrigan, Ron Padgett, and Anne Waldman. In the last several decades of his life, Denby continued to be a key figure in the downtown scene across several performance genres.


Author(s):  
Esther T. Thyssen

A sculptor of the New York School, Ibram Lassaw was born to Russian parents in Alexandria, Egypt. The family immigrated to Brooklyn, NY, in 1921, where Lassaw learned modeling, casting, and carving. He discovered avant-garde art at the Brooklyn Museum in 1926, and continued to study sculpture at the Clay Club from 1927 to 1932. An active participant in New York modernist circles, Lassaw was a founding member of the American Abstract Artists Group (1935), and The Club (1949). Lassaw’s interest in cosmic and religious themes culminated in abstract sculptures for Jewish synagogues, such as Pillar of Fire (1953) at Temple Beth El, Springfield, MA. Known for his web-like structures, Lassaw dripped, fused, and spattered metal, embracing the resulting accidental contours that accrued on his gridded designs, as in Galactic Cluster #1 (1958, Newark Museum). He wielded the oxyacetylene torch like a paintbrush and the intricately structured wires twist, turn, and redouble like skeins of paint by Jackson Pollock. His work was included in the 1959 Kassel Documenta, which showcased American Abstract Expressionism.


2017 ◽  
Vol 41 (S1) ◽  
pp. S519-S520
Author(s):  
O. Vasiliu ◽  
D. Vasile ◽  
F. Androne ◽  
M. Patrascu ◽  
E. Morariu

American Expressionists were a group of American artists who valued free expression of unconscious elements, combining emotional intense expressions with anti-figurative abstract style. Their main place of creative debates was Cedar Tavern in New York City, considered by art critics an important incubator of the Abstract Expressionism. Jackson Pollock, one of the most prominent figures of this movement, suspected of having bipolar disorder, abused alcohol during long periods of his life, for which he even underwent psychotherapy. Unfortunately, he died in a car accident while driving under influence, after decades of innovative work, during which he created a new painting method and produced compositions which are nowadays between the most expensive works of art. Mark Rothko also had periods of heavy drinking, and finally he died by cutting his arms with a razor. He is considered a genius, who created a completely new perspective over painting, and his works are also between the most expensive paintings in the world. Willem de Kooning was affected by alcoholism since his early years, and developed dementia, at least partially induced by abusive drinking. Although affected by neurocognitive disorder, he continued to produce amazingly creative paintings until his final years and in 2016 one of his works obtained the record for the most expensive painting ever sold. Using alcohol as a tool for increasing creativity risks to expose the creator to severe disorders or even death, the subject walking on a narrow line between sublimation of unconscious impulses and tragic resignation before them.Disclosure of interestThe presenting author was speaker for Bristol Myers Squibb and Servier, and participated in clinical research funded by Janssen Cilag, Astra Zeneca, Eli Lilly, Sanofi Aventis, Schering Plough, Organon, Bioline Rx, Forenap, Wyeth, Otsuka Pharmaceuticals, Dainippon Sumitomo.


Author(s):  
Gregory Gilbert

Robert Motherwell was one of the central founding members of the Abstract Expressionist movement in the United States during the 1940s and 1950s and served as its major theoretical spokesman throughout his career. The youngest figure in the New York School (a synonymous term he coined for Abstract Expressionism), Motherwell was one of the few who received a formal university education, which is reflected in his extensive series of published critical writings and his prolific activities as a book editor, lecturer and art teacher. Trained in philosophy and art history, Motherwell’s diverse intellectual interests also included modernist literature, psychoanalytic theory and radical politics, which deeply informed the symbolic content of his art. Motherwell is notable for aligning the artistic traditions of School of Paris modernism with the progressive formal and thematic concerns associated with the post-war American avant-garde. In contrast to other Abstract Expressionists like Jackson Pollock or Mark Rothko, who forged signature painting styles, Motherwell actively experimented with a variety of abstract modes and media, but is most renowned for his innovative production of collages and celebrated series of paintings the ‘‘Elegies to the Spanish Republic’’.


1991 ◽  
Vol 4 (1) ◽  
pp. 67-89
Author(s):  
Ross Woodman

As members of the New York School of painters, Barnett Newman and Mark Rothko announced not only the passing away of an entire creation but also the bringing forth of a new one. Though unaware that they were living and painting in the City of the Covenant whose light would one day rise from darkness and decay to envelop the world even as their painting of light consciously arose from the void of a blank canvas, Newman’s and Rothko’s work may nevertheless be best understood as a powerful first evidence of what Bahá’u’lláh called “the rising Orb of Divine Revelation, from behind the veil of concealment.” Their work may yet find its true spiritual location in the spiritual city founded by ‘Abdu’l-Bahá on his visit to New York in 1912.


Author(s):  
Mark Byers

The Practice of the Self situates the work of American poet Charles Olson (1910–70) at the centre of the early postwar American avant-garde. It shows Olson to have been one of the major advocates and theorists of American modernism in the late 1940s and early 1950s; a poet who responded fully and variously to the political, ethical, and aesthetic urgencies driving innovation across contemporary American art. Reading Olson’s work alongside that of contemporaries associated with the New York Schools of painting and music (as well as the exiled Frankfurt School), the book draws on Olson’s published and unpublished writings to establish an original account of early postwar American modernism. The development of Olson’s work is seen to illustrate two primary drivers of formal innovation in the period: the evolution of a new model of political action pivoting around the radical individual and, relatedly, a powerful new critique of instrumental reason and the Enlightenment tradition. Drawing on extensive archival research and featuring readings of a wide range of artists—including, prominently, Barnett Newman, Mark Rothko, David Smith, Wolfgang Paalen, and John Cage—The Practice of the Self offers a new reading of a major American poet and an original account of the emergence of postwar American modernism.


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