Experimentalism Otherwise: The New York Avant-Garde and Its Limits

By Benjamin Piekut

In Experimental Otherwise, Benjamin Piekut takes the reader into the center of what we suggest by way of “experimental” in avant-garde tune. concentrating on one position and time—New York urban, 1964—Piekut examines 5 disparate occasions: the hot York Philharmonic’s disastrous functionality of John Cage’s Atlas Eclipticalis; Henry Flynt’s demonstrations opposed to the downtown avant-garde; Charlotte Moorman’s Avant Garde competition; the founding of the Jazz Composers Guild; and the emergence of Iggy Pop. Drawing jointly a colourful array of personalities, Piekut argues that every of those examples issues to a failure and marks a restrict or boundary of canonical experimentalism. What emerges from those marginal moments is a correct photo of the avant-garde, no longer as a method or style, yet as a community outlined via disagreements, struggles, and exclusions.

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Charlotte Moorman,” manhattan legislations magazine, could eleven, 1967, 18. 114. Fiedler, “The New Mutants,” 509. a hundred and fifteen. Ibid. , 516. 116. Ibid. , 520. 117. Savran, Taking It Like a guy, sixty four. 118. Gavin Butt, among You and Me: Queer Disclosures within the big apple paintings global, 1948–1963 (Durham, NC: Duke college Press, 2005), 14. 119. Brown, probability and condition, 168. one hundred twenty. Cage, Silence, 162. 121. Revill, Roaring Silence, 152. 122. Brown, likelihood and situation, 323. 123. Morton Feldman, unpublished interview with Robert Ashley, 1963.

In a 1965 letter to Taylor Castell, the editor of Sounds & Fury, Dixon addressed the “collective White American you” and back under pressure the shortcoming of white the United States “to settle for any type of management from black Americans”; see “Bill Dixon,” Sounds & Fury, July–August 1965, 39. 134. Dan Morgenstern, “John Tchicai: a peaceful Member of the Avant-Garde,” Down Beat, February 10, 1966, forty nine. one hundred thirty five. Warburton, “Interviews with Alan Silva. ” 136. Wilson, “Don’t name Carla’s Jazz Jazz,” 131. 137. Narada Burton Greene, Memoirs of a Musical “Pesty Mystic” Or, From the Ashcan to the Ashram and again back (Redwood, long island: Cadence Jazz Books, 2001) 53–54.

Sixteen In gentle of this tendency to assign authorship to Maciunas, Cuauhtémoc Medina makes the unusual statement that, even supposing “the motion commonly has been attributed to Henry Flynt’s initiative, it really is much more likely that it used to be devised by way of Maciunas within the context of his fight with the proponents of Happenings [a rival split-off from Fluxus]. ”17 The artwork historians Michel Oren and Hannah Higgins additionally body those protests in the limits of Fluxus historical past. Oren embraces Flynt and Maciunas’s demonstrations opposed to the avant-garde, claiming that their political application was once a significant component conserving the Fluxus circulate jointly.

See Tyson, Radio loose Dixie, 289. a hundred and fifteen. Schleifer, cell interview with the writer. 116. Henry Flynt [Charles Henry, pseud. ], “I observed the delivery of Freedom in Greensboro, N. C. ,” staff international, may possibly 25, 1963. Coincidentally, the pop balladeer Bunny Sigler had joined Greensboro scholars in this related march, offering an early instance of the relationship among figures in black well known track and civil rights messages; see Brian Ward, simply My Soul Responding: Rhythm and Blues, Black recognition, and Race relatives (Berkeley: collage of California Press, 1998), 297.

117. Savran, Taking It Like a guy, sixty four. 118. Gavin Butt, among You and Me: Queer Disclosures within the manhattan paintings global, 1948–1963 (Durham, NC: Duke college Press, 2005), 14. 119. Brown, likelihood and condition, 168. a hundred and twenty. Cage, Silence, 162. 121. Revill, Roaring Silence, 152. 122. Brown, likelihood and situation, 323. 123. Morton Feldman, unpublished interview with Robert Ashley, 1963. Typescript situated within the library of the Paul Sacher beginning, Basel, Switzerland; I’m thankful to Ryan Dohoney for sharing his replica with me.

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