Rauschenberg's piece for Duchamp, 1960

Robert Rauschenberg, "Trophy II (for Teeny and Marcel Duchamp)" - 1960.

From 1959 to 1962, Robert Rauschenberg created a series of "Trophies," highly personal combines dedicated to those artists who had most influenced him. In "Trophy II (for Teeny and Marcel Duchamp)," he repurposed a seven-panel white painting, inbuing it with vibrant color, aseemblage, and references to Duchamp and his wife, Teeny. The left-hand panel refers to Teeny with its inovcation of letters T and Y, while the right-hand panel is a stand-in for Duchamp and includes an aluminum sheet in an oblique reference to the reflective surface of The Large Glass.

The Walker Art Center in Minneapolis owns this 1960 piece. I saw it at the Rauschenberg/Cage/Duchamp/Cunningham show at the Philadelphia Museum of Art in late December 2012.

Ashbery's poem "Europe"

From a letter Frank O'Hara wrote to Ashbery on July 14, 1960: "Europe is carrying all before it, it is on everyone's lips and in their heads."

In an undated letter (from around 1960) Kenneth Koch wrote to Ashbery to say that of all the poems Ashbery was sending over rrom Paris, poems which were to form The Tennis Court Oath, "Europe" was the most influential. Koch desperately says of this piece, "I can't seem to do what you do. Huh! All I want to do is imitate you" (letter dated January 25, 1960).

On January 7, 1960, O'Hara says of the "long poem" ("Europe"): it is "the most striking thing since The Waste Land."

Rod Serling interviewed by Mike Wallace, 1959

Brion Gysin

Brion Gysin records in 1960.

1960 materials at UbuWeb

FILMS
Iannis Xenakis, NEG-ALE (1960)
Cioni Carpi, Punto e contrapunto (1960)
Joseph Cornell, Gnir Rednow (1960)
Ed van der Eisken, Handen (1960)
Stan VanDerBeek, Achooo Mr. Kerrooschev (1960)
Stan VanDerBeek, The Smiling Workman (1960)
Stan VanDerBeek, Blacks and Whites, Days and Nights (1960)
Stan VanDerBeek, Skullduggery Part II (1960-1961)
Harry Smith, Heaven and Earth Magic (1950-1960)
Alexander Kluge, Brutality in Stone (1960)
Norman McLaren and Evelyn Lambart, Lines: Vertical (1960)
Richard Myers, The Path (1960)
Nobuhiko Obayashi, Dandanko (1960)
Nobuhiko Obayashi, E no Naka no Shouja (1960)
Ken Jacobs, Little Stabs at Happiness (1969)

TEXT
Gustav Metzger, Auto-Destructive Art Manifesto (1960)
Jose Lino Grunewald, aromamora; falo; sempre ceder (all 1960)
Friedrich Achleitner, o-i-study; ouch; alas! (all 1960)
John Cage, Tacet (1960)
Louis Zukofsky, Julia's Wild (1960)
Eugen Gomringer, The Poem as Functional Object (1960)
Luis Bunuel, A Statement (1960)

SOUND
Files in History of Electronic/Electroacoustic Music (1937-2001)
Berio, Luciano - "Momenti" (1960)
Clementi, Aldo - "Collage II" (1960)
Kagel, Maurizio - "Transicion I" (1958-1960)
Maderna, Bruno - "Dimensioni II (Invenzione su una Voce)" (1960)
Mathews, Max - "Numerology" (1960)
Nono, Luigi - "Omaggio a Emilio Vedova" (1960)
Pousseur, Henri - "Electre" (1960)
Xenakis, Iannis - "Orient-Occident" (1960)
Stockhausen, Karlheinz - "Kontakte" (1958-1960)
Brion Gysin, Mektoub: Recordings 1960-1981 Link
Salvador Dali, Salvador Dali Speaks
Richard Maxfield, Pastoral Symphony and Amazing Grace
William Carlos Williams, Interviews with Walter Sutton, Recorded October 11 & 20; November 3 & 15, 1960

Above: early photograph of Ken Jacobs.

Anne Sexton, 1960

Anne Sexton in 1960. This biographical profile on YouTube includes several poems she read in (or is it that they were published in) 1960. The first poem is "Her Kind."

Jerome Rothenberg: The real revolution is tragic

To read this short essay on Jerome Rothenberg in 1960, click here.

Nazis in the bookstore, 1960

This drawing illustrates an article published in a 1960 issue of the New York Times about the republication that year of Mein Kamp and the spate just then of books about the Nazis. What's a bookstore shopper to do?

visionary architecture at MoMA

Click here for more on the fall 1960 MoMA show called "Visionary Architecture."

pataphysics

The May-June 1960 issue of The Evergreen Review was devoted to pataphysics. It was edited by Roger Shattuck and Simon Watson Taylor.

"Cubism" peaked in 1960

According to Google Labs' fairly new "Books Ngam Viewer," which tracks usage of words and phrases in all the books Google has scanned dating from 1800 through 2000, the use of the word "Cubism" (and closely varients) peaked in 1960. Click on the image for a larger view.

cyborgs and space

Manfred Clymes and Nathan Kline co-wrote an essay called "Cyborgs and Space" and published it in Astronautics in 1960. Here's the subtitle-ish lead: "Altering man's bodily functions to meet the requirements of extraterrestrial environments would be more logical than providing an earthly environment for him in space... Artifact-organism systems would extend man's unconscious, self-regulatory controls." Here is a link to the article.

a cat named Delmore

At lunch one day in 1960, Josephine Herbst gave John Cheever a gift: a cat named Delmore. (Source: Susan Cheever, Home Before Dark, p. 144.)

Frost 50 years later (early '61)

From a New Yorker-affiliated blog:

- - -

January 20, 2011
Robert Frost and J.F.K., Fifty Years Later
Posted by Ian Crouch

Robert Frost at JFK inauguration.jpgIt was a bright and blustery day in Washington fifty years ago today for the inauguration of John F. Kennedy. An old newsreel reporting the day’s events notes that the city was recovering from a blizzard and that “battalions of snow fighters kept Pennsylvania Avenue clear for the swearing-in ceremony.” That earnest footage also communicates the enthusiasm that accompanied the event for many in the country. It was “the smoothest transition of power in history” from Eisenhower to Kennedy, the newsreader informs us. Nixon, recently defeated, even manages to smile brightly. Yet it was a new day, a new age: Kennedy was, at forty-three, then the youngest President and the first born in the twentieth century. (The past, though, had not been completely thrown off, judging by the top hats that Eisenhower and Kennedy wore to some of the festivities.)

The anniversary marks Kennedy’s brief but era-defining inauguration address, but it also marks another coming together of custom and modernity, of the past and the future: the eighty-six-year-old Robert Frost reciting “The Gift Outright,” which ends with the lines:

Such as we were we gave ourselves outright
(The deed of gift was many deeds of war)
To the land vaguely realizing westward,
But still unstoried, artless, unenhanced,
Such as she was, such as she would become.

Frost was born in another century, and would die a little more than two years later. Photographs from the event show him stooped and braced against the weather: the wind and glare that day prevented him from reading his poem, “Dedication,” so he recited “The Gift Outright” instead, the Washington Post remembered this week. In a way, Frost’s appearance seems as incongruous as those top hats; I remember as a kid being shocked that Frost and Kennedy could have ever met, let alone have shared a stage. To my younger mind, any poet as famous as Frost must have been a contemporary of Hawthorne’s or something, from another time completely. Not so, of course, but I’ve not entirely shaken the idea.

The swearing-in of a new President has produced notable work from other writers. There’s Jonathan Franzen’s exceedingly fine and sad essay, “Inauguration Day, January 2001,” which is collected in “How to be Alone.” Franzen’s title alludes to Robert Lowell’s “Inauguration Day, January 1953,” a somber mood piece out of New York, another city locked in winter’s cold grip, with its eyes glancing toward Washington and Eisenhower:

Ice, ice. Our wheels no longer move.
Look, the fixed stars, all just alike
as lack-land atoms, split apart,
and the Republic summons Ike,
the mausoleum in her heart.

Dorn on Olson in '60

I'd like to own a copy of this book. If anyone knows how I can get a copy, please email me at afilreis [at] gmail.com. Thanks!

Kenneth Patchen in 1960

charting use of the term "communism" in books

Here's a chart showing the use of the word "communism" in all the books that Google has scanned for its GoogleBooks collection. As a student of 1960 and of American communism/anticommunism, I'm really not surprised that usage of the word "communism" was still on the rise in 1960--that it peaked around then, just after that year. Maybe this merely says that writers take a while to incorporate words into formal writing ("book writing") and that actual use (orally and in print journalism) peaked during the heyday of McCarthyism (1949-1954) but found its way into books a little later. Such charts are merely suggestive, anyway, and are hardly definitive. The chart is hard to see, so just click on it for a larger view. Look closely and you'll discern a little dip during the several World War II years when the U.S. and the Soviet Union were allies. Perhaps the term "brothers" was more in use then. Another little downward turn at the end of the 1950s and then up up up in the late 50s and early 60s. Another bump up during the Reagan years.

Slate's weekly "culture gabfest" discussed this new little feature provided by Google, which Steve Metcalf expressing reasonable doubts about its effect on the humanities. I'm with him, but feel pretty sure that (a) I won't give up nuanced close reading of the words (e.g. each slightly distinct rhetorical use of the word "communism" in 1960) and (b) I won't--because one can't--draw any definitive conclusions from the charting. Nonetheless, the chart above does tell some kind of story. That peak circa '60 does seem significant. Time, then, for more reading....

two planes collide over Park Slope

Reporters at the New York Times have spent a lot of time lately re-reporting the crash of two commercial flights over the Park Slope neighborhood of Brooklyn, NY. They've discovered some (obvious) big changes in the way such disasters are covered by the media, but they've also unearthed a slice-of-history sense of how such a neighborhood was enduring a "transition" (white flight) and how newspapers tended to ignore the social background.

Daniel Bell

In Daniel Bell's The End of Ideology (1960) he waits until the epilogue to deal the final death blow to the 1930s. Much of the book implicitly denigrates the "chiliastic" passions and utopianism of intellectuals of that decade. The fifties and, he predicts, the 1960s will be a quiet time or moderated passions and adult choices, compromise and centrism. Here, below, are the first paragraphs of a subsection of the epilogue:

- - -

The Loss of Innocence in the Thirties

FOR A SMALL GROUP, the thirties have a special meaning. These are the individuals who went through the radical movement and who bear, as on invisible frontlets, the stamp of those years on their foreheads. The number is small. Of the four million college and high-school youths, less than twenty thousand, or one-half of one per cent, took part in radical activity. But, like the drop of dye that suffuses the cloth, this number gave the decade its coloration.

A radical is a prodigal son. For him, the world is a strange place whose contours have to be explored according to one's destiny. He may eventually return to the house of his elders, but the return is by choice, and not, as of those who stayed behind, of unblinking filial obedience. A resilient society, like a wise parent, understands this ritual, and, in meeting the challenge to tradition, grows.

But in the thirties, the fissures were too deep. Seemingly, there was no home to return to. One could only march forward. Everybody seemed to be tramping, tramping, tramping. Marching, Marching was the title of a prize-winning proletarian novel. There were parades, picketing, protests, farm holidays, and even a general strike in San Francisco. There was also a new man, the Communist. Not just the radical--always alien, always testing, yet open in his aims -- but a hidden soldier in a war against society.

In a few short years, the excitement evaporated. The labor movement grew fat and bureaucratized. The political intellectuals became absorbed into the New Deal. The papier-mache proletarian novelists went on to become Hollywood hacks. And yet it is only by understanding the fate of the prodigal sons and the Communists that one can understand the loss of innocence that is America's distinctive experience of the thirties.

Murray Kempton, in his book Part of Our Time, has looked at the small band who dreamed, and who--because of having a dream "possessed no more of doubting"--sought to impress that dream into action. But in action, one defies one's character. In some, the iron became brittle, in some it became hard; others cast the iron away, and still others were crushed. In the end, almost all had lost the dream and the world was only doubt.

The story opens, naturally enough, with Alger Hiss and Whittaker Chambers. Kempton retells the familiar story, but with a special nuance. What united the strange pair was their symbiotic relation to Baltimore, a mildewed city which was Kempton's home and whose musty character he captures so well. Hiss, from a shabby, genteel Baltimore family, fled its faded elegance to meet Chambers, the tortured man from the underground, who settled gratefully into its Victorian dust. Each found, in the secret craving of the other, the lives they were rejecting, until, locked in defeat, they both sank beneath the waters.

The story spreads out and touches on the writers attracted by the myth of the revolutionary collective, the "rebel girls," the militant labor leaders, the youth movement, and others who were riding the crest of history's waves. it is not a formal history of the left, but a series of novellas. What gives it its special cast and enormous appeal is the elegiac mood, the touch of adolescent ache in the writing.

1960 symposium recordings now available

Now available at PennSound:

* segmented audio recordings of Snelson on Cage, Kaufman on Guest, Perelman on Donald Allen, Nichols on Berkson/O'Hara, Silliman on Duncan, Goldman on Brooks, Funkhouser on Mac Low, Gallagher on Baraka, Hennessey on Daisy Aldan, DuPlessis on O'Hara, and Bernstein on Eigner;

* audio recording of the complete program (downloadable mp3)

* video recording of the complete program

Click on the video player above for (obviously) the video, or go here for links to the video and all audio: link.