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New York School Poets and the Neo-Avant-Garde : Between Radical Art and Radical Chic by Mark Silverberg (2010, Hardcover)
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About this product
Product Identifiers
PublisherRoutledge
ISBN-100754662985
ISBN-139780754662983
eBay Product ID (ePID)80057554
Product Key Features
Number of Pages296 Pages
Publication NameNew York School Poets and the Neo-Avant-Garde : between Radical Art and Radical Chic
LanguageEnglish
Publication Year2010
SubjectGeneral, Poetry, Sociology / Urban
TypeTextbook
Subject AreaLiterary Criticism, Art, Social Science
AuthorMark Silverberg
FormatHardcover
Dimensions
Item Height1 in
Item Weight24.1 Oz
Item Length9.9 in
Item Width6.5 in
Additional Product Features
Intended AudienceCollege Audience
LCCN2009-036663
TitleLeadingThe
Dewey Edition22
IllustratedYes
Dewey Decimal811/.540997471
Table Of ContentContents: Introduction: 'a lot of guys who know all about bricks'; The New York School and the problem of the avant-garde; The neo-avant-garde manifesto; The poetics of process; The politics of taste: comedy, camp, and the neo-avant-garde; Conclusion: beyond radical art; Appendix; Bibliography; Index.
SynopsisNew York City was the site of a remarkable cultural and artistic renaissance during the 1950s and '60s. In the first monograph to treat all five major poets of the New York School-John Ashbery, Barbara Guest, Kenneth Koch, Frank O'Hara, and James Schuyler-Mark Silverberg examines this rich period of cross-fertilization between the arts. Silverberg uses the term 'neo-avant-garde' to describe New York School Poetry, Pop Art, Conceptual Art, Happenings, and other movements intended to revive and revise the achievements of the historical avant-garde, while remaining keenly aware of the new problems facing avant-gardists in the age of late capitalism. Silverberg highlights the family resemblances among the New York School poets, identifying the aesthetic concerns and ideological assumptions they shared with one another and with artists from the visual and performing arts. A unique feature of the book is Silverberg's annotated catalogue of collaborative works by the five poets and other artists. To comprehend the coherence of the New York School, Silverberg demonstrates, one must understand their shared commitment to a reconceptualized idea of the avant-garde specific to the United States in the 1950s and '60s, when the adversary culture of the Beats was being appropriated and repackaged as popular culture. Silverberg's detailed analysis of the strategies the New York School Poets used to confront the problem of appropriation tells us much about the politics of taste and gender during the period, and suggests new ways of understanding succeeding generations of artists and poets., In the first monograph to examine all five New York School Poets, Mark Silverberg analyzes the work of John Ashbery, Barbara Guest, Kenneth Koch, Frank O'Hara, and James Schuyler in terms of the 'neo-avant-garde.' Silverberg examines the aesthetic concerns and ideological assumptions these poets shared with one another and with artists from the visual and performing arts. A unique feature is Silverberg's annotated catalogue of collaborative works by the five poets and other artists, New York City was the site of a remarkable cultural and artistic renaissance during the 1950s and '60s. In the first monograph to treat all five major poets of the New York School-John Ashbery, Barbara Guest, Kenneth Koch, Frank O'Hara, and James Schuyler-Mark Silverberg examines this rich period of cross-fertilization between the arts. Silverberg uses the term 'neo-avant-garde' to describe New York School Poetry, Pop Art, Conceptual Art, Happenings, and other movements intended to revive and revise the achievements of the historical avant-garde, while remaining keenly aware of the new problems facing avant-gardists in the age of late capitalism. Silverberg highlights the family resemblances among the New York School poets, identifying the aesthetic concerns and ideological assumptions they shared with one another and with artists from the visual and performing arts. A unique feature of the book is Silverberg's annotated catalogue of collaborative works by the five poets and other artists. To comprehend the coherence of the New York School, Silverberg demonstrates, one must understand their shared commitment to a reconceptualized idea of the avant-garde specific to the United States in the 1950s and '60s, when the adversary culture of the Beats was being appropriated and repackaged as popular culture. Silverberg's detailed analysis of the strategies the New York School poets used to confront the problem of appropriation tells us much about the politics of taste and gender during the period, and suggests new ways of understanding succeeding generations of artists and poets.
LC Classification NumberPS255.N5
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