Spatial Poetics

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Urban Space ◽  
First Generation ◽  
Second Generation ◽  
Urban Life ◽  
New York School ◽  
Domestic Spaces ◽  
Avant Garde ◽  
Spatial Poetics ◽  
Alice Notley

Emphatically coming after the enthusiastic, dexterous, and avant-garde First Generation New York School poets, the Second Generation New York School poets Ted Berrigan, Alice Notley, Ron Padgett, and Joe Brainard engaged with highways and byways of both the poetic line and Manhattan’s grid. These poets lived in and wrote from alternative domestic spaces—untidy, disordered, congested apartments in downtown New York City. This study argues that the forms of their poems are accordingly untraditional, highlighting how New York School stanzas often take on the contours of these spaces, becoming linguistic rooms riddled with the tensions of urban life. Building on recent urban and spatial theory, this book offers a history and close reading of Second Generation New York School Poetry, which reads into the subtle formal elements of this supposedly wild poetry, while also suggesting that the dimensions of lived in urban space inform those elements. This first examination of the formal ramifications of Second Generation New York School poetry aims to situate these later twentieth-century American poetries within larger critical narratives of postmodern American innovation.

Joe Brainard’s Collaged Spaces

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Second Generation ◽  
Contemporary Poetry ◽  
General Tendency ◽  
New York School ◽  
Text And Image ◽  
Avant Garde ◽  
Spatial Poetics ◽  
Letter Writer ◽  
First And Second Generation

Brainard was not only an illustrator and friend to many New York School poets, he was also an avid letter writer, collage artist, miniature artist, cartoonist, and serious poet. How is contemporary poetry involved in an overlooked dialogue with collage art? This chapter suggests a general tendency towards assembly across the disciplines of text and image which govern both first- and second-generation New York School aesthetics. This chapter showcases how Brainard’s work instigates and propels the collaged poetry of The New York Schools from the real and influential side-lines of their poems? This examination of Brainard’s work argues that though his work sat in the margins of New York School poetry, it informingly lined, bound, and shaped the spatial poetics of this avant-garde American school.

Ted Berrigan’s Stanzaic Spaces

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Second Generation ◽  
John Donne ◽  
New York School ◽  
Poetic Form ◽  
Verse Form

After suggesting (and agreeing) that Berrigan led the Second Generation New York School, this chapter treats the actual forms of Berrigan’s poems, focusing on his sonnets to show that these poets interpret poems as spaces in which to recreate rooms. Berrigan, perhaps more obviously than any other New York School poet, took deliberate steps towards integrating aspects of traditional poetic verse form: Where John Donne encouraged: “We’ll build in sonnets pretty rooms,” Berrigan retorts (repeated throughout his Sonnets): “Is there room in the room that you room in?” riddling the form with domestic, urban and aesthetic complications. Berrigan explained to an interviewer: “I always thought of each one of my poems, like the sonnets, as being a room. And before that, I used to think of each stanza as being a room.” Accordingly, this chapter examines Berrigan’s stanzas as rooms, arguing that this responsive poetic form functions organically.

Analysis on Building Readable Image of Urban Public Spaces

2013 ◽  
Vol 409-410 ◽  
pp. 883-886
Author(s):  
Bo Xuan Zhao ◽  
Cong Ling Meng
Keyword(s):  
New York ◽  
Public Space ◽  
Urban Space ◽  
Public Spaces ◽  
Urban Life ◽  
Space Images ◽  
Urban Public Space ◽  
Good Image ◽  
The Public ◽  
The City

City, is consisting of a series continuous or intermittent public space images, and every image for each of our people living in the city is varied: may be as awesome as forbidden city Meridian Gate, like Piazza San Marco as a cordial and pleasant space and might also be like Manhattan district of New York, which makes people excited and enthusiastic. To see why, people have different feelings because the public urban space ultimately belongs to democratic public space, people live and have emotions in it. In such domain, people can not only be liberated, free to enjoy the pleasures of urban public space, but also enjoy urban life which is brought by the city's charm through highlighting the vitality of the city with humanism atmosphere. To a conclusion, no matter how ordinary the city is, a good image of urban space can also bring people pleasure.

Davis, Stuart (1892–1964)

2018 ◽  
Author(s):  
Annika Marie
Keyword(s):  
New York ◽  
20Th Century ◽  
Urban Life ◽  
Abstract Art ◽  
Early 20Th Century ◽  
Street Life ◽  
American Modernism ◽  
Urban Street ◽  
Avant Garde ◽  
Ashcan School

Stuart Davis was a painter, printmaker, muralist, and arts activist who played a prominent role in the development of American modernism in the first half of the 20th century. Visually, he brought the formal and technical experimentation of the European avant-garde to depictions of the modernity of the American metropolis. As a prolific writer and powerful spokesman, Davis was a committed cultural advocate, working to explain and defend modern abstract art, promoting artists’ rights, and arguing for the democratization of culture and art’s formative impact on society. Davis’s early style relates to the Ashcan School, an early 20th-century brand of realism that combines a direct, spontaneous, journalistic naturalism with everyday scenes of urban street life. The turning point for the young Davis was the New York Armory Show of 1913. Through the exhibit Davis was exposed to Fauvism, Expressionism, Cubism, and Dada. However, Davis’s embrace of the formal rigor of European abstraction did not lead him to purely non-objective painting. Maintaining that form and content were equally important, he argued that European modernism’s visual fragmentation, instability, and simultaneity provided the visual means by which to express contemporary American urban life.

Denby, Edwin (1903–1983)

2018 ◽  
Author(s):  
Harris Feinsod
Keyword(s):  
New York ◽  
Practical Experience ◽  
Point Of View ◽  
New York School ◽  
John Ashbery ◽  
Visual Artists ◽  
Frank O'hara ◽  
Avant Garde ◽  
Downtown Scene ◽  
James Schuyler

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.

Bishop, Isabel (1902–1988)

2018 ◽  
Author(s):  
Regina Palm
Keyword(s):  
New York ◽  
Fine Arts ◽  
Working Women ◽  
Young Female ◽  
Urban Life ◽  
New York School ◽  
Art Students ◽  
Applied Design ◽  
Union Square ◽  
The City

Born in Cincinnati, Isabel Bishop spent her childhood in Detroit, where she attended life-drawing classes at the John P. Wicker School of Fine Arts. In 1918, Bishop enrolled in the New York School of Applied Design for Women to study illustration, but transferred to the Art Students League in 1920. Bishop is associated with the realist painters of the Fourteenth Street School. She is best known for her depictions of young female office workers of the 1930s and 1940s, whom she observed as they navigated their way through Union Square (the location of Bishop’s first studio). Bishop, like other Fourteenth Street artists, sought to capture contemporary urban life. Her depictions of working women are notable for their time, as she did not glamorize them or transform them into sexualized stereotypes, but rather strove to portray these young, modern women as they traversed the city in daily life. Bishop was granted her first one-woman show in 1933 at the Midtown Galleries and in 1941 was elected to the National Academy of Design.

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