The Culture of Spontaneity Improvisation and the Arts in Pos
The Culture of Spontaneity Improvisation and the Arts in Postwar America Dani 1 From The Boston "Smart went crazy," Allen Ginsberg wrote in . Detractors were eager to agree that the "culture of spontaneity" was a blind for neurotic misfits the nihilist paint-dribbler, the nodding soloist, the sensation-addled writer who had "lost his eraser." Daniel Belgrad shows that for young artists coming out of the industrial indoctrination of the War, or spit from its corporatized propaganda offices, the political was not only personal but physical. (Trumpeter Tony Frusella knew what he was talking about when he quit Charlie Barnet's big band, calling it "just like the army.") Having unearthed the institutional, intellectual, and personal linkages of the period that earn his book its broad title, Belgrad has gone on to write a compelling narrative, putting living flesh on shorthand intuitions that connect North Beach to Black Mountain College, Fenollosa to Pollock, Jackson Lears's No Place of Grace to Todd Gitlin's The Sixties. While film and photography would seem to deserve a chapter more than ceramics does (Robert Frank, amazingly, goes unmentioned), the latter's inclusion suggests an acute historical eye at work, finding the keynotes of an era in activities from which the vain gaze of the present has silently shifted. --Ce texte fait reference a l'edition Relie. The Culture of Spontaneity is the first comprehensive history of the postwar avant-garde. Daniel Belgrad shows how a startling variety of artistic movements actually had one unifying theme spontaneous improvisation. "A compelling narrative, putting living flesh on shorthand intuitions that connect North Beach to Black Mountain College, Fenollosa to Pollock, Jackson Lears's No Place of Grace to Todd Gitlin's The Sixties."--Joel Smith, Boston Review "An invaluable introduction to postwar modernism across the arts."--Thomas Augst, Boston Book Review --Ce texte fait reference a l'edition Relie. De Boston « Smart est devenu fou, » Allen Ginsberg a ecrit en . Les Detracteurs etaient desireux de convenir que la « culture de la spontaneite » etait un abat-jour pour les vetements manques nevrotiques le peinture-dribbleur nihiliste, le soliste de inclination de tete, l'auteur sensation-trompe qui a eu « a perdu sa gomme. » Daniel Belgrad prouve que pour de jeunes artistes sortant de l'endoctrinement industriel de la Guerre, ou broche de ses bureaux corporatized de propagande, le politique etait non seulement personnel mais examen medical. (Le Trompettiste Frusella Elegant a su de ce qu'il parlait quand il a stoppe l'orchestre de Charlie Barnet, l'appelant « juste comme l'army.") Ayant deterre l'institutionnel, intellectuel, et les tringleries personnelles de la periode qui gagnent a son livre son large titre, Belgrad a continue pour ecrire un recit irresistible, mettant la chair vivante sur les intuitions de stenographie qui relient la Plage Du Nord a l'Universite Noire de Montagne, Fenollosa au Colin, Aucun Endroit de Jackson Lears de la Grace aux Annees '60 de Todd Gitlin. Tandis Que le film et la photographie sembleraient meriter un chapitre davantage que la ceramique fait (Robert Frank, etonnamment, va unmentioned), l'inclusion de ce dernier suggere un oeil historique aigu au travail, trouvant les elements essentiels d'une ere dans les activites desquelles le regard fixe vain du present a silencieusement decale. --L'edition Relie d'a de reference de fait de texte de la CE. La Culture de la Spontaneite est la premiere histoire complete de l'avant-garde d'apres-guerre. Daniel Belgrad montre comment une variete effrayante de mouvements artistiques a eu reellement un theme d'unification improvisation spontanee. « Un recit irresistible, mettant la chair vivante sur les intuitions de stenographie qui relient la Plage Du Nord a l'Universite Noire de Montagne, Fenollosa au Colin, Aucun Endroit de Jackson Lears de la Grace aux Annees '60 de Todd Gitlin. »--Joel Smith, Examen