Titlebook: New York School Collaborations; The Color of Vowels Mark Silverberg Book 2013 The Editor(s) (if applicable) and The Author(s) 2013 aestheti

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Introduction,y-third birthday, and his friends Frank O’Hara, Kenneth Koch, and John Ashbery have written a play to commemorate the event. Among the audience are Edwin Denby, Rudy and Edith Burckhardt, Fairfield and Anne Porter, Jane Freilicher, and Joe Hazan. Onstage, along with the playwrights (who also serve a

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,Fair Realism: The Aesthetics of Restraint in Barbara Guest’s Collaborations, painted under the pseudonym “George,” Hartigan was known for her ability to create paintings that slide gracefully between abstraction and figuration, high art and kitsch, tradition and innovation. These stylistic signatures put her at odds with Clement Greenberg’s teleology for modern painting, an

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Life without Malice: The Minor Arts of Collaboration,of a book like this one, in which the scholarly gaze is turned on such an ephemeral practice, invites the question as to what is exactly “minor” about collaboration. After all, it seems very possible that critical attention will end up “discovering” collaboration’s heretofore-secret centrality in va

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,“An Opposite Force’s Breath”: Medium-Boundedness, Lyric Poetry, and Painting in Frank O’Hara,” This sense of love or desire expressed through an encounter with difference extends beyond the poet’s personal relationships to his experiences with other artists and their work. The speaker’s longing for the other “waits for the joining of an opposite force’s breath,” a union that in O’Hara’s poe

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,Mourning Coterie: Morton Feldman’s Posthumous Collaborations with Frank O’Hara, By thinking community elegiacally, we might begin to discover how affective modes of sociability offer ways of interpreting the collaborations between the New York School poets and their musician and artist compatriots.. The friendship between composer Morton Feldman and Frank O’Hara—one of the mos

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,“Everything Turns into Writing”: Rhizomes and Poetry Re-Processings in Ted Berrigan’s ,mundane interactions with other members of the second generation of the New York School poets—Ron Padgett, Anne Waldman, Jim Carroll, and Anselm Hollo, to name only a few. Berrigan emphasizes his daily activities, “… in Brooklyn [… on] the 28th of July …” or “in a bright room sustained by a bellyful