Rodopi, 2006 - Art - 454 pages
The neo-avant-garde of the 1950s, 60s and 70s, is due for a thoroughgoing reassessment. This collection of essays represents the first full-scale attempt to deal with the concept from an interdisciplinary standpoint. A number of essays in this book concentrate on fine art, particularly painting and sculpture, thereby adding significantly to the growing art historical literature in the field, but a number of the contributions also focus on poetry, performance, theatre, film, architecture and music. Given that there are also major essays here dealing with geographical blindspots in current neo-avant-garde studies, with thematic issues such as art's entanglement with gender, mass culture and politics, with key neo-avant-garde publications, and with the purely theoretical problems attaching to the theorisation of the topic, this collection offers a multi-dimensional approach to the subject which is noticeably lacking elsewhere. Taken together these essays represent a consolidated attempt at re-thinking the 'cultural logic' of the immediate post-World War II period.
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ACROSS ART FORMS
NeoDada Performance Art
On the Reconciliation of Tradition and Invention in Concrete Poetry
Ruptures and Continuities in AvantGarde Art
Joe Brainards Queer Seriousness or How to Make Fun out of the AvantGarde
The Conversational Aesthetic of Conceptual Art
Towards a Situationist AvantGarde Today
Movens or The Aesthetics of Movement as a Programmatic Perspective
Long Live the AvantGarde
Minimal Requirements of the PostWar AvantGarde of the 1960s
The Ruptura Proclaimed by Brazils SelfStyled Vanguardas of the Fifties
Architecture and the NeoAvantGarde in 1960s Brazil
Robert Desnos and Philippe Soupault
Richard Hamilton Domesticity and PostAvantGardism
Gender Trouble? Body Trouble? Reinvestigating the Work of Marisol Escobar
Towards a Reconciliation of Man and Nature Nature and Ecology in the Aesthetic AvantGarde of the Twentieth Century
Production Structure and Obedience in John Cages Lecture on Nothing
The Repetition Trauma and Deferred Completion of the AvantGarde
List of Illustrations
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abstract aesthetic Allan Kaprow American architecture argues art/life Artigas artists assemblage avant Brainard’s Brazil Brazilian Brecht Bürger Cage Cage’s Campos Claus collage concept Conceptual Art concrete poetry contemporary context critical culture Dada Debord Desnos discourse Duchamp Dust Breeding essay European everyday example experience experimental Fantômas Fluxus Foster Frank O’Hara Gallery garde Hal Foster Hamilton historical avant-garde Joe Brainard John Cage junk Kaprow language London manifesto Marisol Marisol Escobar material means minimalism minimalist modern modernist movens Museum nature neo-avant neo-avant-garde Neo-Dada Noigandres notion objects painting Paulo performance Peter Peter Bürger poems poetic poets political Pollock post-war practice Press production radical radio Rauschenberg realised relation repetition revolutionary Richard Robert Rauschenberg rupture São Paulo Schechner Schwitters sculpture shape SI’s Sitney Situationist social Soupault space spectator structural film texts theatre theoretical theory tradition twentieth century University vanguards visual writing York
Page 41 - At a certain moment the canvas began to appear to one American painter after another as an arena in which to act —rather than as a space in which to reproduce, re-design, analyze or "express" an object, actual or imagined.
Page 29 - It seemed that there had been a reality there that had not had any expression in art. The experience on the road was something mapped out but not socially recognized. I thought to myself, it ought to be clear that's the end of art. Most painting looks pretty pictorial after that. There is no way you can frame it, you just have to experience it.
Page 21 - I am for an art that takes its form from the lines of life itself, that twists and extends and accumulates and spits and drips, and is heavy and coarse and blunt and sweet and stupid as life itself.
Page 29 - This drive was a revealing experience. The road and much of the landscape was artificial, and yet it couldn't be called a work of art.
Page 43 - Personal Poem Now when I walk around at lunchtime I have only two charms in my pocket an old Roman coin Mike Kanemitsu gave me and a bolt-head that broke off a packing case when I was in Madrid the others never brought me too much luck though they did help keep me in New York against coercion but now I'm happy for a time and interested...
Page 4 - Yet it is true that once the avant-garde had succeeded in "detaching" itself from society, it proceeded to turn around and repudiate revolutionary as well as bourgeois politics. The revolution was left inside society, a part of that welter of ideological struggle which art and poetry find so unpropitious as soon as it begins to involve those "precious" axiomatic beliefs upon which culture thus far has had to rest.