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Literary Nonfiction. Photography. CONVERSATIONS WITH RUDY BURCKHARDT comprises an extensive interview with poet Simon Pettet, including 22 photographs printed in duotone by the noted photographer, filmmaker and painter Rudy Burckhardt. The photographs, taken between 1938 and 1986, include his classic, much-admired image of the Flatiron Building, New York (1948) and photographs of rhapsodic beauty in Maine, gentle serenity in Naples and many humorous scenes (New York, Little Rock, Florence, Italy and others). His images are all completely accessible and reflect his resolutely unpretentious style. The sprightly dialogue complements the photographs, with many discussed individually. The publication of CONVERSATIONS WITH RUDY BURCKHARDT honored the occasion of three significant events that took place in 1987. After decades of relative obscurity, Rudy Burckhardt's devoted underground following was joined by many newfound admirers as a result of a major retrospective of 67 of his films at the Museum of Modern Art and, concurrently, an exhibition of photographs at Brooke Alexander Gallery and a show of paintings at Blue Mountain Gallery. As Phillip Lopate remarked, "In the book, one is privileged to hear the artist's thoughts and doubts about living, making art, beauty, time, youth, aging, public acclaim, compositional techniques, Switzerland, parents, and the non-relationship between rapture and sorrow...The combination of beautiful, rarely seen photographs and lively text make this an irresistible book."
Rudy Burckhardt emigrated from Basel to New York in 1935, hoping for a career in photography. By the 1940s he had begun to create a series of now-classic images of New York and he went on to become a leading artist in the city. This book examines Burckhardt's photographs.
In addition to the street photographs for which Rudy Burckhardt is best known, these photographs, dating from 1933-1988, present portraits of strangers and friends (with and without clothes), images of Haiti, Italy and the American South, and studies of artists in the studio, including portraits of Jackson Pollock, Willem de Kooning, Hans Hofmann and Larry Rivers. The irresistible interview by British poet Simon Pettet offers insights into the artist as well as his work.
Situating ballet within twentieth-century modernism, this book brings complexity to the history of George Balanchine's American neoclassicism. It intervenes in the prevailing historical narrative and rebalances Balanchine's role in dance history by revealing the complex social, cultural, and political forces that actually shaped the construction of American neoclassical ballet.
The time is right for a critical reassessment of Cold War culture both because its full cultural impact remains unprocessed and because some of the chief paradigms for understanding that culture confuse rather than clarify. A collection of the work of some of the best cultural critics writing about the period, American Literature and Culture in an Age of Cold War reveals a broad range of ways that American cultural production from the late 1940s to the present might be understood in relation to the Cold War. Critically engaging the reigning paradigms that equate postwar U.S. culture with containment culture, the authors present suggestive revisionist claims. Their essays draw on a literary archive—including the works of John Updike, Joan Didion, Richard E. Kim, Allen Ginsberg, Edwin Denby, Alice Childress, Frank Herbert, and others—strikingly different from the one typically presented in accounts of the period. Likewise, the authors describe phenomena—such as the FBI’s surveillance of writers (especially African Americans), biopolitics, development theory, struggles over the centralization and decentralization of government, and the cultural work of Reaganism—that open up new contexts for discussing postwar culture. Extending the timeline and expanding the geographic scope of Cold War culture, this book reveals both the literature and the culture of the time to be more dynamic and complex than has been generally supposed.
Presents an alphabetical reference guide detailing the lives and works of poets associated with the New York Schools of the early twentieth century.
With the advent of abstract expressionism in the 1940s, America became the white hot center of the artistic universe. Now, in The Oxford Dictionary of American Art and Artists, the first such volume to appear in three decades, Ann Lee Morgan offers an informative, insightful, and long overdue resource on our nation's artistic heritage. Featuring 945 alphabetically arranged entries, here is an indispensable biographical and critical guide to American art from colonial times to contemporary postmodernism. Readers will find a wealth of factual detail and insightful analysis of the leading American painters, ranging from John Singleton Copley, Thomas Cole, and Mary Cassatt to such modern masters as Jackson Pollack, Romare Bearden, and Andy Warhol. Morgan offers razor-sharp entries on sculptors ranging from Alexander Calder to Louise Nevelson, on photographers such as Berenice Abbott, Man Ray, Walker Evans, and Ansel Adams, and on contemporary installation artists, including video master Bill Viola. In addition, the dictionary provides entries on important individuals connected to the art scene, including collectors such as Peggy Guggenheim and critics such as Clement Greenberg. Morgan also examines notable American institutions, organizations, schools, techniques, styles, and movements. The range of coverage is indeed impressive, but equally important is the quality of analysis that appears in entry after entry. Morgan gives readers a wealth of trustworthy and authoritative information as well as perceptive, well-informed criticism of artists and their work. In addition, the book is thoroughly cross-referenced, so readers can easily find additional information on any topic of interest. Beautifully written, filled with fascinating historical background and penetrating insight, The Oxford Dictionary of American Art and Artists is an essential one-volume resource for art lovers everywhere.
In February 1940, Rudy Burckhardt spent an afternoon in Astoria, Queens, photographing the streets of the neighborhood, its gas stations, cars, children at play and other everyday scenes. Burckhardt later mounted a group of the photographs in a spiral-bound album, and wrote on the cover, in neatly printed letters, "An Afternoon in Astoria." This handmade book, unpublished until now, composes a tour of this part of New York, its empty lots and abandoned cars made poetic by Burckhardt's eye. The Museum of Modern Art recently published An Afternoon in Astoria and has also produced a limited-edition, boxed, spiral-bound facsimile of the original handmade album. An immaculately produced clothbound box with tipped-in reproductions from the book inside-and-out contains the album facsimile and a separately bound essay by Sarah Hermanson Meister, Associate Curator in the photography department of the Museum, discussing Burckhardt and specifically the groups of photographs he bound into albums for the pleasure of himself and his friends.
Five women revolutionize the modern art world in postwar America in this "gratifying, generous, and lush" true story from a National Book Award and Pulitzer Prize finalist (Jennifer Szalai, New York Times). Set amid the most turbulent social and political period of modern times, Ninth Street Women is the impassioned, wild, sometimes tragic, always exhilarating chronicle of five women who dared to enter the male-dominated world of twentieth-century abstract painting -- not as muses but as artists. From their cold-water lofts, where they worked, drank, fought, and loved, these pioneers burst open the door to the art world for themselves and countless others to come. Gutsy and indomitable, Lee Krasner was a hell-raising leader among artists long before she became part of the modern art world's first celebrity couple by marrying Jackson Pollock. Elaine de Kooning, whose brilliant mind and peerless charm made her the emotional center of the New York School, used her work and words to build a bridge between the avant-garde and a public that scorned abstract art as a hoax. Grace Hartigan fearlessly abandoned life as a New Jersey housewife and mother to achieve stardom as one of the boldest painters of her generation. Joan Mitchell, whose notoriously tough exterior shielded a vulnerable artist within, escaped a privileged but emotionally damaging Chicago childhood to translate her fierce vision into magnificent canvases. And Helen Frankenthaler, the beautiful daughter of a prominent New York family, chose the difficult path of the creative life. Her gamble paid off: At twenty-three she created a work so original it launched a new school of painting. These women changed American art and society, tearing up the prevailing social code and replacing it with a doctrine of liberation. In Ninth Street Women, acclaimed author Mary Gabriel tells a remarkable and inspiring story of the power of art and artists in shaping not just postwar America but the future.