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Morton Feldman: Friendship and Mourning in the New York Avant-Garde
documents the collaborations and conflicts essential to the history
of the post-war avant-garde. It offers a study of composer Morton
Feldman's associations and friendships with artists like John Cage,
Jackson Pollock, Philip Guston, Frank O'Hara, Charlotte Moorman,
and others. Arguing that friendship and mourning sustained the
collective aesthetics of the New York School, Dohoney has written
an emotional and intimate revision of New York modernism from the
point of view of Feldman's agonistic community.
A compelling portrait of composer-performer Julius Eastman's
enigmatic and intriguing life and music. Composer-performer Julius
Eastman (1940-90) was an enigma, both comfortable and uncomfortable
in the many worlds he inhabited: black, white, gay, straight,
classical music, disco, academia, and downtown New York. His music,
insistent and straightforward, resists labels and seethes with a
tension that resonates with musicians, scholars, and audiences
today. Eastman's provocative titles, including Gay Guerrilla, Evil
Nigger, Crazy Nigger, and others, assault us with his obsessions.
Eastman tested limits with his political aggressiveness, as
reflected in legendary scandals like his June 1975 performance of
John Cage's Song Books, which featured homoerotic interjections,
and the uproar over his titles at Northwestern University. These
episodes are examples of Eastman's persistence in pushing the
limits of the acceptable in the highly charged arenas of sexual and
civil rights. In addition to analyses of Eastman's music, the
essays in Gay Guerrilla provide background on his remarkable life
history and the era's social landscape. The book presents an
authentic portrait of a notable American artist thatis compelling
reading for the general reader as well as scholars interested in
twentieth-century American music, American studies, gay rights, and
civil rights. This Life of Sounds: Evenings for New Music inBuffalo
received an ASCAP Deems Taylor Award for excellence. Mary Jane
Leach is a composer and freelance writer, currently writing music
and theatre criticism for the Albany Times-Union.
A compelling portrait of composer-performer Julius Eastman's
enigmatic and intriguing life and music. Composer-performer Julius
Eastman (1940-90) was an enigma, both comfortable and uncomfortable
in the many worlds he inhabited: black, white, gay, straight,
classical music, disco, academia, and downtown New York. His music,
insistent and straightforward, resists labels and seethes with a
tension that resonates with musicians, scholars, and audiences
today. Eastman's provocative titles, including Gay Guerrilla, Evil
Nigger, Crazy Nigger, and others, assault us with his obsessions.
Eastman tested limits with his political aggressiveness, as
reflected in legendary scandals like his June 1975 performance of
John Cage's Song Books, which featured homoerotic interjections,
and the uproar over his titles at Northwestern University. These
episodes are examples of Eastman's persistence in pushing the
limits of the acceptable in the highly charged arenas of sexual and
civil rights. In addition to analyses of Eastman's music, the
essays in Gay Guerrilla provide background on his remarkable life
history and the era's social landscape. The book presents an
authentic portrait of a notable American artist thatis compelling
reading for the general reader as well as scholars interested in
twentieth-century American music, American studies, gay rights, and
civil rights. This Life of Sounds: Evenings for New Music inBuffalo
received an ASCAP Deems Taylor Award for excellence. Mary Jane
Leach is a composer and freelance writer, currently writing music
and theatre criticism for the Albany Times-Union.
Morton Feldman: Friendship and Mourning in the New York Avant-Garde
documents the collaborations and conflicts essential to the history
of the post-war avant-garde. It offers a study of composer Morton
Feldman's associations and friendships with artists like John Cage,
Jackson Pollock, Philip Guston, Frank O'Hara, Charlotte Moorman,
and others. Arguing that friendship and mourning sustained the
collective aesthetics of the New York School, Dohoney has written
an emotional and intimate revision of New York modernism from the
point of view of Feldman's agonistic community.
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