scholarly journals Frank O'Hara: Gossip, Art Criticism, the Issue of Masculinity in the New York School

2007 ◽  
Vol null (29) ◽  
pp. 85-114
Author(s):  
Dong-Yeon Koh
Keyword(s):  
New York ◽  
Art Criticism ◽  
New York School ◽  
Frank O'hara

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.

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.

Alice Notley’s Inhabited Spaces

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Spatial Theory ◽  
New York School ◽  
Frank O'hara ◽  
The Way

Though Berrigan and Notley were married, this chapter moves away from addressing coterie (as it has received thorough attention) to instead consider the way that the intimacy enforced by living in small spaces shaped the school’s tone and form. This chapter treats the school’s domestic poetry, focusing exclusively on Alice Notley’s Mysteries of Small Houses, a collection of poems devoted to remembering the spaces Notley inhabited, while locating the tendency to address lived-in space as one promoted by Frank O’Hara. Integrating urban and spatial theory to offer a psycho-geographic reading of this poetry, this chapter utilizes material from an original interview personally conducted with Notley devoted to spatial discussions. In this way, this chapter pays homage to previous studies of the school by offering a space for the living poets of The New York School to speak for themselves, while testing the validity of this study, within the study.

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”.

Eileen Myles and the International Fuck Frank O’Hara Movement

2017 ◽  
pp. 172-197
Author(s):  
Daniel Kane
Keyword(s):  
New York ◽  
The Other ◽  
New York School ◽  
Frank O'hara ◽  
Teaching Poetry

The New York School as it developed at St. Mark’s, with its innumerable odes to joy, casualness, and collaboration, was forced to make way for a markedly punk-inflected new style that went even further then the first wave of CBGBs musicians did in foregrounding vulgarity, base intensity, raw passion – the poetry of figures including Eileen Myles and the freewheeling collective of writers who produced Koff magazine refused their predecessors’ rhetorical fireworks, wacky jokes, or poetic justifications. Where Richard Hell, Patti Smith, and their minions allowed for a marked literariness to inform their music and lyrics, influence for Myles, Cooper, and related New York writers went the other way in the latter part of the 1970s – punk was teaching poetry this time around.

scholarly journals Vladimir Mayakovsky and Frank O’Hara: a Reappraisal

2020 ◽  
Vol 5 (3) ◽  
pp. 144-185
Author(s):  
Ronald Vroon
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Second World War ◽  
New York School ◽  
World War ◽  
Vladimir Mayakovsky ◽  
Frank O'hara ◽  
Avant Garde ◽  
Abstract Expressionist ◽  
Second World

The “New York School” refers to a group of poets and painters, mostly of the Abstract Expressionist movement, who congregated in New York in the first two decades following the end of the Second World War. They constitute a coterie that has been characterized as America’s “last avant-garde”. Among its most prominent members was Frank O’Hara (1926–1966). Like other members of the New York School of poets, he was strongly influenced by the French and Russian avant-garde movements of the early twentieth century. He was particularly drawn to the works of Vladimir Mayakovsky, whose persona and poetry are frequently referenced in his own oeuvre. The present study seeks to establish the origins of O’Hara’s interest in the Russian poet, the sources he consulted in familiarizing himself with Mayakovsky’s work, and the trajectory of references to Mayakovsky that documents how his avant-garde aesthetic both accommodates and distances itself from that of his Russian forebear.

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.

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.

Edwin Denby’s Objectivist Modernism and the New York School

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
New York School ◽  
Intrinsic Properties ◽  
Dance History ◽  
Art And Politics ◽  
Objectivist Theory ◽  
Biographical Approach

Whereas chapter 2 examines the emergence of a social modernist theory of ballet in the 1930s, chapter 3 illustrates a new ballet modernism arising in the 1940s through the contributions of Edwin Denby. Denby’s primary innovation to American ballet theory was to reassign dance meaning from social or political themes to the intrinsic properties of the movement itself. This chapter takes a biographical approach to Denby’s criticism to situate this theoretical shift in ballet within the interdisciplinary New York School, in which he was extensively involved, and in which similar challenges to the relation of art and politics were being made by painters, photographers, and composers. This chapter demonstrates that Denby was the architect of a new objectivist theory of dance, which relocates the emergence of objectivism to a much earlier point in dance history, and in a different genre, than previously acknowledged. More than any other critic, Denby was responsible for connecting this objectivist theory of dance to Balanchine’s American neoclassicism, formulating the set of aesthetic principles that still shapes our idea of American ballet to date.

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