Experimentalism Otherwise

The New York Avant-Garde and Its Limits

Nonfiction, Art & Architecture, General Art, Art History, American, Entertainment, Music
Cover of the book Experimentalism Otherwise by Benjamin Piekut, University of California Press
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Author: Benjamin Piekut ISBN: 9780520948426
Publisher: University of California Press Publication: April 4, 2011
Imprint: University of California Press Language: English
Author: Benjamin Piekut
ISBN: 9780520948426
Publisher: University of California Press
Publication: April 4, 2011
Imprint: University of California Press
Language: English

In Experimental Otherwise, Benjamin Piekut takes the reader into the heart of what we mean by "experimental" in avant-garde music. Focusing on one place and time—New York City, 1964—Piekut examines five disparate events: the New York Philharmonic’s disastrous performance of John Cage’s Atlas Eclipticalis; Henry Flynt’s demonstrations against the downtown avant-garde; Charlotte Moorman’s Avant Garde Festival; the founding of the Jazz Composers Guild; and the emergence of Iggy Pop. Drawing together a colorful array of personalities, Piekut argues that each of these examples points to a failure and marks a limit or boundary of canonical experimentalism. What emerges from these marginal moments is an accurate picture of the avant-garde, not as a style or genre, but as a network defined by disagreements, struggles, and exclusions.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

In Experimental Otherwise, Benjamin Piekut takes the reader into the heart of what we mean by "experimental" in avant-garde music. Focusing on one place and time—New York City, 1964—Piekut examines five disparate events: the New York Philharmonic’s disastrous performance of John Cage’s Atlas Eclipticalis; Henry Flynt’s demonstrations against the downtown avant-garde; Charlotte Moorman’s Avant Garde Festival; the founding of the Jazz Composers Guild; and the emergence of Iggy Pop. Drawing together a colorful array of personalities, Piekut argues that each of these examples points to a failure and marks a limit or boundary of canonical experimentalism. What emerges from these marginal moments is an accurate picture of the avant-garde, not as a style or genre, but as a network defined by disagreements, struggles, and exclusions.

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