Lassaw, Ibram (1913–2003)

2018 ◽  
Author(s):  
Esther T. Thyssen
Keyword(s):  
New York ◽  
Abstract Expressionism ◽  
New York School ◽  
Jackson Pollock ◽  
Active Participant ◽  
Avant Garde ◽  
Founding Member ◽  
The Family ◽  
Galactic Cluster ◽  
Brooklyn Museum

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.

Shaken into Seeing and Hearing

2019 ◽  
pp. 131-170
Author(s):  
Ryan Dohoney
Keyword(s):  
New York ◽  
Abstract Expressionism ◽  
Musical Aesthetics ◽  
Jackson Pollock ◽  
Avant Garde ◽  
George Balanchine ◽  
Willem De Kooning ◽  
Mark Rothko ◽  
The University ◽  
The City

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.

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

1993 ◽  
Vol 27 (3) ◽  
pp. 335-353 ◽  
Author(s):  
David Nicholls
Keyword(s):  
New York ◽  
New York School ◽  
Visual Artists ◽  
Single Group ◽  
Jackson Pollock ◽  
Avant Garde ◽  
Willem De Kooning ◽  
Mark Rothko ◽  
Philip Guston

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.

Hofmann, Hans (1880–1966)

2018 ◽  
Author(s):  
Christa Noel Robbins
Keyword(s):  
New York ◽  
York City ◽  
Abstract Expressionism ◽  
Picture Plane ◽  
Depth Of Field ◽  
New York School ◽  
American Modernism ◽  
Core Group ◽  
The Core ◽  
Clement Greenberg

Hans Hofmann was a German–American painter associated with Abstract Expressionism. Known as much for his paintings as for his role as a teacher, Hofmann moved to New York City in 1932. Much older than the core group of New York School painters, Hofmann acted as a kind of bridge between European and American modernism. Hofmann’s paintings are highly recognizable: they feature large planes of thickly applied, bold color, often interspersed with expressionistic fields of gestural painting. The result, which can be seen in his 1962 painting Memoria in Aeternum, is a dynamic play with depth of field and colour relations. Hofmann referred to this spatial and optical play as the "push–pull" effect, indicating the manner in which areas of a canvas can appear to push back behind the picture plane and pull forward into the viewer’s space, while simultaneously reading as flat surface. The spatial and material relationality introduced through this device influenced a generation of New York painters and critics, both those taught directly by Hofmann and those who learned of his theories through second parties. Hofmann’s students from this period include Lee Krasner, Helen Frankenthaler, Frank Stella, Allan Kaprow and, importantly, Clement Greenberg. Many of their first lessons in modernist painting took place in his school.

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.

Diasporic Dialogues in Mid-Century New York: Stefan Wolpe, George Russell, Hannah Arendt, and the Historiography of Displacement

2012 ◽  
Vol 6 (2) ◽  
pp. 143-173 ◽  
Author(s):  
BRIGID COHEN
Keyword(s):  
New York ◽  
Hannah Arendt ◽  
Abstract Expressionism ◽  
Boundary Crossing ◽  
Avant Garde ◽  
The Arts ◽  
Cultural Boundary ◽  
George Russell ◽  
Political Philosopher ◽  
German Jewish

AbstractThis article explores mid-century New York intellectual scenes mediated by the avant-garde émigré composer Stefan Wolpe (1902–72), with special emphasis on Wolpe's interactions with jazz composer George Russell (1923–2009) and political philosopher Hannah Arendt (1906–75). Cross-disciplinary communities set the stage for these encounters: Wolpe and Russell met in the post-bop circles that clustered in Gil Evans's basement apartment, while Wolpe encountered Arendt at the Eighth Street Artists’ Club, the hotbed of Abstract Expressionism. Wolpe's exchanges with Arendt and Russell, long unacknowledged, may initially seem unrelated. Yet each figure shared a series of “cosmopolitan” commitments. They valued artistic communities as spaces for salutary acts of cultural boundary crossing, and they tended to see forms of self-representation in the arts as a way to respond to the dehumanizing political disasters of the century. Wolpe and Arendt focused on questions of human plurality in the wake of their forced displacements as German-Jewish émigrés, whereas Russell confronted dilemmas of difference as an African American migrant from southern Ohio in New York. Bringing together interpretive readings of music with interview- and archive-based research, this article works toward a historiography of aesthetic modernism that recognizes migration as formative rather than incidental to its community bonds, ethical aspirations, and creative projects.

scholarly journals Poeci-tłumacze jako „awangarda” lat 90.

Wielogłos ◽  
2020 ◽  
pp. 57-73
Author(s):  
Joanna Orska
Keyword(s):  
New York ◽  
Experimental Poetry ◽  
New York School ◽  
Avant Garde ◽  
The Public

Poets-Translators as the “Avant-Garde” of the 1990s David Lehman in his book The Last Avant-Garde. The Making of the New York School of Poets sustains the avant-garde character of the New York School (painters and poets), pointing to the resistance of the public to their works as to one of the symptoms showing their anti-normative and emancipatory message. New experimental poetry in post-transformational Poland of the 1990s was, in general, following the innovations of foreign neo-avant-garde practices – in respect to the methods, interests, and creative ideas. The New York School tradition became the main source of inspiration, due to its reception by poets-translators of the circle of “Literatura na Świecie” magazine: Piotr Sommer, Bohdan Zadura, Andrzej Sosnowski, and Tadeusz Pióro. This article shows that their literary statements on art, which could be seen as programmatic in the avant- -garde way, displayed certain outlines similar to the New York School ideas. One might risk the thesis that at the turn of the centuries in Poland not only American neo-avant-garde poetry aroused the interest of Polish poets-translators. Also the programme of the New York School poets, however vague, became important for their experience and it was being “translated” alongside the poems, though its features would turn out different in Polish conditions.

Sign in / Sign up

Export Citation Format

Share Document