John Ashbery and You: His Later Books; Beyond Maximus: The Construction of Public Voice in Black Mountain Poetry; A Vocabulary of Thinking: Gertrude Stein and Contemporary North American Women's Innovative Writing; Women, the New York School, and Other True Abstractions

2008 ◽  
Vol 80 (3) ◽  
pp. 617-620
Author(s):  
B. M. Reed
Keyword(s):  
New York ◽  
North American ◽  
Gertrude Stein ◽  
New York School ◽  
John Ashbery ◽  
Public Voice ◽  
Black Mountain ◽  
Black Mountain Poetry

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.

scholarly journals Contemporary American poetry in Slovenian criticism and translation : 1945 - 2005

2006 ◽  
Vol 39 (1-2) ◽  
pp. 21-39 ◽  
Author(s):  
Igor Divjak
Keyword(s):  
New York ◽  
American Poetry ◽  
New York School ◽  
War Poetry ◽  
Contemporary American Poetry ◽  
Post War ◽  
American Authors ◽  
Black Mountain

The article presents the Slovenian reception of five major groups in American post-war poetry -the Formalists, the Confessionals, the Beats, the Black Mountain poets, and the New York School poets - as well as the reception of those prominent authors who cannot be classified in any of these groups. The analysis reveals which groups have attracted  most interest of the Slovenian critics and translators, when was the peak of their reception, which methods of interpretation have been used by the Slovenian critics, and to what extent has their judgement about certain contemporary American authors gradually changed.

Paris, Poets, and Poverty

Alive Still ◽  
2019 ◽  
pp. 41-58
Author(s):  
Cathy Curtis
Keyword(s):  
New York ◽  
New York School ◽  
John Ashbery ◽  
Frank O'hara ◽  
Chartres Cathedral ◽  
German Woman ◽  
Kenneth Koch ◽  
Fernand Leger ◽  
Village Voice ◽  
Freelance Work

Freelance income and frugality allowed Nell to embark on her first trip abroad in 1950. In Paris, she felt as though she had stepped into an Impressionist landscape. Bowled over by Chartres Cathedral and the museums, she also visited two of her art idols, Jean Hélion and Fernand Léger. She became involved with a German woman with whom she traveled to Florence and Rome. Back in New York, while living with Midi Garth, she enjoyed hanging out with several of the poets later known as the New York School: Frank O’Hara, John Ashbery, and Kenneth Koch. Bebop records played at her boisterous parties, which often included marathon games of poker. In her painting, she had embarked on a period of experimentation with figurative imagery. Midi and Brook evokes a pastoral scene in Vermont, where the women vacationed. Meanwhile, her freelance work included serving as designer of the Village Voice.

scholarly journals German Romantic Tradition in John Ashbery’s "Where Shall I Wander"

2019 ◽  
Vol 57 ◽  
pp. 75-88
Author(s):  
Paweł Marcinkiewicz ◽  
Daniel Pietrek
Keyword(s):  
New York ◽  
American Literature ◽  
French Literature ◽  
Important Influence ◽  
First Century ◽  
Arthur Rimbaud ◽  
New York School ◽  
John Ashbery ◽  
Frank O'hara ◽  
Late Works

In popular critical and readerly reception, the New York School of poetry was shaped mostly by what Marjorie Perloff calls the tradition of indeterminacy. This was started by Arthur Rimbaud and, a few decades later, developed by Dadaists and Surrealists. Therefore, the tradition of French modernism seems to have been vital for John Ashbery, Frank O’Hara, James Schuler, and Barbara Guest, and the poets themselves appeared to confirm this fact. They often visited France privately and as scholars, and lived there for extended periods of time. In the case of John Ashbery, his year-long Fulbright fellowship was prolonged to a decade. Moreover, the New York School poets contributed to the propagation of French literature, being translators, critics and editors of French authors. However, as John Ashbery’s late works prove, literary genealogies are far more complex. German Romantic tradition always exerted an important influence on John Ashbery, and it inspired the New York experimenter to contribute two major poems to the twenty-first century American literature: “Where Shall I Wander” and “Hölderlin Marginalia”.

Charles Bernstein: Avant-Garde Is a Constant Renewal

boundary 2 ◽  
2021 ◽  
Vol 48 (4) ◽  
pp. 215-230
Author(s):  
Ian Probstein
Keyword(s):  
New York ◽  
New York School ◽  
John Ashbery ◽  
Avant Garde ◽  
Language L ◽  
Charles Bernstein ◽  
Private Matter

Abstract The essay explores the work of Charles Bernstein in light of constant renewal. John Ashbery, as one of the brightest representatives of the New York School, and Charles Bernstein, as a representative of the language (L = A = N = G = U = A = G = E), have similar attitudes toward language. They have much in common in terms of poetics: in the rejection of loud phrases, prophetic statements, emotions, confessionalism, and certain self-centeredness. Poetry is a private matter for both. Both have poetics built on the “oddness that stays odd,” as Bernstein himself put it, paraphrasing Pound's “news that stays news.” Both are aimed at renovating the language, and the verses of both are built on fragmentation, collage, moving from one statement to another without preparation. However, in Ashbery, whose poems are surreal, these transitions are smoother, based on an apparent connection, what Bernstein calls “hypotaxis” or “associative parataxis.” In contrast, Bernstein's poetry is built on parataxis; it is “bumpy,” in the poet's own words.

Bahá’u’lláh’s Influence on the New York School of Painting: The “Unapprehended Inspiration” of Newman and Rothko

1991 ◽  
Vol 4 (1) ◽  
pp. 67-89
Author(s):  
Ross Woodman
Keyword(s):  
New York ◽  
Divine Revelation ◽  
New York School ◽  
The World ◽  
Mark Rothko ◽  
The Veil ◽  
The City

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.

Sign in / Sign up

Export Citation Format

Share Document