Bill martin blues orthodoxy3/12/2024 Beat authors Allen Ginsberg, Jack Kerouac, and William Burroughs, who had won legal battles against police censorship, were household names. And the fact that poetry, jazz, and the other arts were terrifically intriguing in and of themselves was precisely the point.īy 1960, a watershed for the arts in America, modernist innovators Miles Davis, John Coltrane, Thelonious Monk, Willem de Kooning, Mark Rothko, and Robert Rauschenberg had achieved critical acclaim and commercial success. While perhaps a few of us knew this history, all of us were keenly aware of the Civil Rights struggle, the Ban the Bomb protests, and the poetry-and-jazz phenomenon known as the Beat Generation. In summer 1964, its young architects drew on ideas that were certainly in the mid-century air, but had been around much longer: from the Paris Commune of 1871 (the first workers government ever created), to the September 1936 formation in Detroit of UAW local 174 (the fledgling union that would soon take on the whole auto industry), to the 1957 birth in Europe of the Situationist International (a neo-Marxist group that emphasized the centrality of real-life activities endlessly experimenting and correcting themselves). The Detroit Artists Workshop, an early instance of what’s now called social practice, didn’t come out of nowhere.
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