Giorno Poetry Systems

2017 ◽  
pp. 145-171
Author(s):  
Daniel Kane
Keyword(s):  
New York ◽  
First Generation ◽  
Radio Station ◽  
Live Performance ◽  
Poetry And Poetics ◽  
Jasper Johns ◽  
Robert Rauschenberg ◽  
Performance Poetry ◽  
History Of ◽  
Downtown Scene

How did music – both in terms of its sound, its lyrics, and its associated recording technologies – encourage St. Mark’s affiliated poets to get their tracks on vinyl and ensure their poetry and poetics became ever more oriented towards a punk-inflected performance aesthetic? This chapter answers this question in part by turning to John Giorno. Giorno, a performance poet active in the St. Mark’s scene since the mid-1960s, who was in many ways downtown’s court jester. Star of Andy Warhol’s durational film Sleep, lover to Robert Rauschenberg and Jasper Johns, founder of a pirate radio station broadcast from the bell tower of St. Mark’s Church, organizer of L.S.D fueled poetry performance parties at the Poetry Project, Giorno was perhaps the preeminent figure in the downtown scene determined to refigure poetry as populist outlaw happening. This chapter moves further by exploring how Giorno made the move to vinyl and live performance not just because of earlier examples drawn from the broader history of performance poetry, but because he was determined to mark a break from the urbane literariness associated with the first generation New York School poets.

Readymades

2018 ◽  
Author(s):  
Danielle Child
Keyword(s):  
New York ◽  
John Cage ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
Jasper Johns ◽  
Robert Rauschenberg ◽  
The Status ◽  
The 1960S ◽  
Common Understanding ◽  
Bicycle Wheel

In 1916, the French artist Marcel Duchamp coined the term "readymade" to describe a body of his own work in which everyday and often mass-produced objects were given the status of a work of art with little or no intervention by the artist beyond signing and displaying them. He began to produce these works in Paris, beginning with Bottle Rack (1914) and Bicycle Wheel (1913). (Duchamp, however, did not explicitly acknowledge these works until his move to New York in 1915.) These two works present examples of the two distinct types of readymades: readymade unaided and readymade aided. The most well-known readymade is Duchamp’s Fountain (1917), which was famously refused entry into an exhibition with no entry conditions. Much later, Fountain became symbolic of the emergent shift from modernism to postmodernism in the 1960s, with the group of artists who gathered around the composer John Cage, including Robert Rauschenberg and Jasper Johns, sometimes referred to as the neo-avant-garde. It was during this period that Duchamp’s account of the function of the readymade was consolidated into the now common understanding, which is that "readymade" constitutes an object chosen by an artist and declared to be art.

Judson Memorial Church and the intersections between happening and dancing

2021 ◽  
Vol 5 (3) ◽  
Author(s):  
Yanitsa Fendulova ◽  
◽  
◽  
Keyword(s):  
New York ◽  
First Generation ◽  
Visual Artists ◽  
Marcel Duchamp ◽  
Robert Rauschenberg ◽  
Robert Morris ◽  
Dance Theater ◽  
Merce Cunningham ◽  
The Many ◽  
Judson Dance Theater

The article examines a short excerpt from the New York scene, namely the period around 1959–1963 in the context of the environment, happening, dance pieces and draws attention to the leading influences of Marcel Duchamp, John Cage, and Merce Cunningham. We are focusing on the gravitating artists’ circles around the Judson Memorial Church and some of their distinct practices and centers. Among the many, we consider the Reuben Gallery, Judson Gallery, Judson Dance Theater, and artists such as Allan Kaprow, Claes Oldenburg, Robert Morris, Simon Forti, Carolee Schneemann, Robert Rauschenberg. The text does not aim to provide a complete overview of Judson Dance Theater or the artists` practices, but rather to consider some of their common influences in their period of formation. We will bring the environment and the happening under their contradictions and variability and will consider the first generation of dance reformers at Judson Dance Theater as an influential force for involving visual artists in intermediate zones.

Notes for a History of the Italian-American Theatre of New York

1973 ◽  
Vol 14 (2) ◽  
pp. 59-75
Author(s):  
A. Richard Sogliuzzo
Keyword(s):  
New York ◽  
New York City ◽  
First Generation ◽  
American Studies ◽  
American Theatre ◽  
Italian Americans ◽  
Italian American ◽  
History Of ◽  
American Society ◽  
Immigrant Culture

Today, Italian-Americans are largely integrated into the mainstream of American society. Nearly vanished is the simple, lively immigrant culture of the first generation of Italian-Americans. New York City, the center of that immigrant culture, once had a thriving theatre which served a large segment of the city's Italian-speaking population. Although the Italian-American theatre was a major ethnic theatre, its history remains neglected, and is virtually unknown to historians outside the area of Italian-American studies.

Performing Genealogies

2017 ◽  
Author(s):  
Faye Caronan
Keyword(s):  
New York ◽  
Los Angeles ◽  
Puerto Rican ◽  
Local Communities ◽  
Class Inequality ◽  
Filipino American ◽  
Global Power ◽  
Performance Poetry ◽  
History Of ◽  
Subjugated Knowledge

This chapter considers how education is deployed in Filipino American and U.S. Puerto Rican performance poetry as a tool in decolonizing activist projects. It cites the work of Los Angeles-based Filipino American and New York-based U.S. Puerto Rican performance-poet activists such as Bonafide Rojas, Rebecca Baroma, and Napoleon Lustre to show how they teach their local communities to disidentify with narratives of U.S. exceptionalism and multiculturalism in order to recognize global power hierarchies that reproduce racial and class inequality. By connecting disparate subjugated knowledge, they construct a history of oppression and resistance that they make available to their local communities. Inside and outside the classroom, they promote disidentification as a repertory strategy to challenge institutionalized histories that privilege narratives of U.S. exceptionalism and marginalize alternative narratives.

Johns, Jasper (1930– )

2018 ◽  
Author(s):  
Steven Pantazis
Keyword(s):  
New York ◽  
South Carolina ◽  
University Of South Carolina ◽  
Late 20Th Century ◽  
Everyday Objects ◽  
Jasper Johns ◽  
Robert Rauschenberg ◽  
Short Period ◽  
The 1960S ◽  
The University

One of the most influential American artists of the late 20th century, Jasper Johns was born in Augusta, Georgia, in 1930 and grew up in South Carolina. He studied at the University of South Carolina and attended art school in New York City for a short period. In 1958 Johns had his first solo show at Leo Castelli Gallery where he exhibited his encaustic paintings of simple objects and symbols such as Flag (1954–1955); it was at this show that the Museum of Modern Art acquired three of his works. Strengthened by his close friendship with Robert Rauschenberg, the composer and artist John Cage, and dancer and choreographer Merce Cunningham, Johns became a key forerunner of Pop, Minimal and Conceptual art of the 1960s. In the 1970s Johns created virtually abstract paintings, focusing on painterly technique and leaving behind the depiction of everyday objects. During the 1980s his painterly and sculptural pieces made references to the work of other artists such as Edvard Munch. He has returned to the depiction of simple objects and symbols in his most recent works.

Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri

2020 ◽  
Vol 73 (3) ◽  
pp. 66-78
Author(s):  
Vince Schleitwiler ◽  
Abby Sun ◽  
Rea Tajiri
Keyword(s):  
New York ◽  
New York City ◽  
Asian American ◽  
York City ◽  
American Film ◽  
The Sixties ◽  
History Of

This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.

The Modernities of H. Lawrence Freeman

2019 ◽  
Vol 72 (3) ◽  
pp. 719-779
Author(s):  
David Gutkin
Keyword(s):  
Nineteenth Century ◽  
New York ◽  
Reception History ◽  
Black Press ◽  
Late Nineteenth Century ◽  
Starting Point ◽  
History Of ◽  
Late Nineteenth ◽  
White Press ◽  
Grand Opera

H. Lawrence Freeman's “Negro Jazz Grand Opera,” Voodoo, was premiered in 1928 in Manhattan's Broadway district. Its reception bespoke competing, racially charged values that underpinned the idea of the “modern” in the 1920s. The white press critiqued the opera for its allegedly anxiety-ridden indebtedness to nineteenth-century European conventions, while the black press hailed it as the pathbreaking work of a “pioneer composer.” Taking the reception history of Voodoo as a starting point, this article shows how Freeman's lifelong project, the creation of what he would call “Negro Grand Opera,” mediated between disparate and sometimes apparently irreconcilable figurations of the modern that spanned the late nineteenth century through the interwar years: Wagnerism, uplift ideology, primitivism, and popular music (including, but not limited to, jazz). I focus on Freeman's inheritance of a worldview that could be called progressivist, evolutionist, or, to borrow a term from Wilson Moses, civilizationist. I then trace the complex relationship between this mode of imagining modernity and subsequent versions of modernism that Freeman engaged with during the first decades of the twentieth century. Through readings of Freeman's aesthetic manifestos and his stylistically syncretic musical corpus I show how ideas about race inflected the process by which the qualitatively modern slips out of joint with temporal modernity. The most substantial musical analysis examines leitmotivic transformations that play out across Freeman's jazz opera American Romance (1924–29): lions become subways; Mississippi becomes New York; and jazz, like modernity itself, keeps metamorphosing. A concluding section considers a broader set of questions concerning the historiography of modernism and modernity.

Beérkezett könyvek

2008 ◽  
Vol 63 (4) ◽  
pp. 769-770
Author(s):  
Csaba Pléh
Keyword(s):  
New York ◽  
Point Of View ◽  
Cambridge University ◽  
New Science ◽  
Oxford University ◽  
History Of ◽  
The Mind ◽  
Oxford University Press

Danziger, Kurt: Marking the mind. A history of memory . Cambridge University Press, Cambridge, 2008Farkas, Katalin: The subject’s point of view. Oxford University Press, Oxford, 2008MosoninéFriedJudités TolnaiMárton(szerk.): Tudomány és politika. Typotex, Budapest, 2008Iacobini, Marco: Mirroring people. The new science of how we connect with others. Farrar, Straus and Giroux, New York, 2008Changeux, Jean-Pierre. Du vrai, du beau, du bien.Une nouvelle approche neuronale. Odile Jacob, PárizsGazzaniga_n

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