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Joe Brainard 10 Collages December 2020 – January 2021 55 Main Street East Hampton New York 11937 Friday, Saturday, Sunday 11- 5 & by appointment drawingroom-gallery.com tel 631.324.5016 Cover: Flowers, 1970, 8 x 6 inches Untitled (tea cup), 1977, 14 x 11 inches Untitled (Queen for a Day), 1975 13½ x 10½ inches Untitled (Queen for a Day), (detail) Untitled (Eight of Diamonds), 1976, 9 ½ x 7 ¾ inches Untitled (I Love You), 1977, 14 x 11 inches Untitled, 1970, 29 x 23 ¾ inches Untitled (Window with a Crescent Moon), 1975, 4 x 3 inches Untitled (Ticket Stub), 1975, 5 7/8 x 4 inches Flowers, 1968, watercolor on paper, 10 x 8 inches Untitled (Reclining Figure), 1981, 13 x 10 inches Joe Brainard was born in 1942 and raised in Tulsa, Oklahoma. After moving to New York in 1960 he soon became part of a community of poets and artists that included John Ashbery, Ted Berrigan, Frank O'Hara, Ron Padgett, Anne Waldman and Andy Warhol. Brainard’s innovative and expansive body of work includes assemblage, collage, drawing, and painting, as well as designs for book and album covers, theatrical sets and costumes. Early success came with his first solo exhibition at the Alan Gallery in 1965. Over the next decade he exhibited regularly and received critical acclaim. He also found recognition as a writer with his now legendary memoir I Remember. His collected writings were published by The Library of America in 2012. In 2001 MoMA PS1 and the Berkeley Art Museum presented the traveling survey, Joe Brainard: A Retrospective. The artist’s work is in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the Whitney Museum, and the Yale University Art Gallery, among other institutions. Brainard died in 1994 of AIDS-related pneumonia at the age of 52. Portrait of Joe Brainard, 1985, Christopher Felver. Photo: Portrait of Joe Brainard, 1985, by Christopher Felver .

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Whispers out of Time: John Ashbery's Collages by Josh Schneiderman
Whispers out of Time: John Ashbery’s Collages By Josh Schneiderman On December 31, 2017, the New York Times Magazine released its annual “The Lives They Lived” issue dedicated to the “artists, innovators, and thinkers” who had died that year. It featured a photo of John Ashbery’s collage-making desk, complete with paste can, scissors, and piles of ephemera. It might have seemed like an odd homage to the late poet. While there have been numerous critical studies of his poetry, there has been no sustained critical work on Ashbery’s collages. But two concurrent New York exhibitions— “Oh, What Fun! Collages 2015–2017” at Tibor de Nagy Gallery through October 14 and “The Construction of Fiction” at Pratt Manhattan Gallery through November 14—make it clear that Ashbery’s collages were in fact an integral part of his writing practice, shedding light on the nature of his idiosyncratic poetic technique. One might describe Ashbery’s collage art as “a weird ether of forgotten dismemberments,” to borrow a line from his 1977 poem “Collective Dawns.” He marshaled cultural detritus into zany, bustling compositions. In Buster and Friends(2015), on view at Pratt, a neon sign from the bygone Buster Brown Shoes chain depicting the eponymous comic-strip character and his dog, Tige, invades a blown-up background detail from Jan van Eyck’s Arnolfini Portrait (1434). The dopey glowing rictuses look voyeuristically at the figures whose backs are reflected in the convex mirror. I thought about Ashbery’s career-defining long poem “Self-Portrait in a Convex Mirror” (1975) and its meditations on the vagaries of representation in Western art.
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Frank O'hara As a Visual Artist Daniella M
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OCCASIONAL LIST / BOSTON BOOK FAIR / NOV. 13-15, 2009 JAMES S. JAFFE RARE BOOKS 790 Madison Ave, Suite 605 New York, New York 10065 Tel 212-988-8042 Fax 212-988-8044 Email: [email protected] Please visit our website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers These and other books will be available in Booth 314. It is advisable to place any orders during the fair by calling us at 610-637-3531. All books and manuscripts are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. 1. ALGREN, Nelson. Somebody in Boots. 8vo, original terracotta cloth, dust jacket. N.Y.: The Vanguard Press, (1935). First edition of Algren’s rare first book which served as the genesis for A Walk on the Wild Side (1956). Signed by Algren on the title page and additionally inscribed by him at a later date (1978) on the front free endpaper: “For Christine and Robert Liska from Nelson Algren June 1978”. Algren has incorporated a drawing of a cat in his inscription. Nelson Ahlgren Abraham was born in Detroit in 1909, and later adopted a modified form of his Swedish grandfather’s name. He grew up in Chicago, and earned a B.A. in Journalism from the University of Illinois Urbana-Champaign in 1931. In 1933, he moved to Texas to find work, and began his literary career living in a derelict gas station. A short story, “So Help Me”, was accepted by Story magazine and led to an advance of $100.00 for his first book.
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Frank O'hara's Oranges : Poetry, Painters and Painting
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2001 Frank O'Hara's oranges : poetry, painters and painting. Karen Ware 1973- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Ware, Karen 1973-, "Frank O'Hara's oranges : poetry, painters and painting." (2001). Electronic Theses and Dissertations. Paper 1531. https://doi.org/10.18297/etd/1531 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Submitted to the Faculty of the Graduate School of the University of Louisville In Partial Fulfillment of the Requirements For the Degree of Master of Arts Department of English University of Louisville Louisville, Kentucky August 2001 FRANK O'HARA'S ORANGES: Poetry, Painters and Painting By Karen Ware B.A., Spalding University, 1994 A Thesis Approved on by the following Reading Committee: Thesis MrectO'r 11 DEDICATION This thesis is dedicated to Clare Pearce, because I promised, and to Kyle, through all things. III ACKNOWLEDGMENTS Many amazing individuals have taken a seat in the roller coaster construction of this long-awaited project.
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Bibliographie Sur John Ashbery Et Self-Portrait in a Convex Mirror
Bibliographie sur John Ashbery et Self-Portrait in a Convex Mirror MLA 8 format Préparée par Vincent Broqua, Université Paris 8 Vincennes Saint-Denis, vincent.broqua@univ- paris8.fr et Olivier Brossard, Université Paris Est Marne-la-Vallée, Institut Universitaire de France, [email protected] Caveat : cette bibliographie est susceptible d’évoluer au fil du temps. Les éventuels ajouts ou modifications seront publiés sur le site internet poetscritics.org, sous l’onglet « Agrégation John Ashbery Resources ». NB : Les entrées correspondant aux livres qui nous semblent particulièrement pertinents pour la préparation du concours sont précédées de **. Les ouvrages ou articles traitant de Self-Portrait in a Convex Mirror, qu’il s’agisse du livre ou bien du poème éponyme, sont suivis de * (sans que cette mention soit exhaustive). Certaines entrées sont suivies de la mention « [Re: …. ]» accompagnée du titre des poèmes dont il est question dans l’article. Dans la mesure du possible des liens hypertextes ont été ajoutés. Certains mènent à des versions intégrales des articles : dans ces cas, l’entrée bibliographique est alors suivie de la mention « FULL TEXT ». A) SOURCES PRIMAIRES 1. Livres de John Ashbery 1.1 Poésie Ashbery, John. Collected Poems 1956-1987. Ed. Mark Ford. The Library of America, 2008. Ashbery, John. Collected Poems 1991-2000. Ed. Mark Ford. The Library of America, 2017. Ashbery, John. Self-Portrait in a Convex Mirror. [1975]. Text redesigned in collaboration with the author in 2009. Penguin Books, 2009. Ashbery, John. Self-Portrait in a Convex Mirror (The Poem with Original Prints by: Richard Avedon, Elaine de Kooning, Willem de Kooning, Jim Dine, Jane Freilicher, Alex Katz, R.
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Safe in Your Thoughtful Arms' Cran, Rona
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Selected Bibliograph | Writings on Art and Limited Editions
JOHN ASHBERY BIBLIOGRAPHY [2] John Ashbery was born in Rochester, New York, in 1927, he is well known as an art critic and poet. He is perhaps one of the best known Poets of the “New York School”. Ashbery graduated from Har- vard in 1947 where he wrote a study on his favourite poet Wallace Stevens. The poetry of Stevens has influenced Ashbery’s own poetry, however his poetry is characterized by originality in both his form of poems and their content. Ashbery received his B.A. degree in literature from Harvard in 1949 and moved to New York City where he was affiliated with poets Frank O’Hara, James Schuyler, Barbara Guest, Kenneth Koch, and painters Jane Freilicher, Larry Rivers, Nell Blaine, and Fairfield Porter.Ash- bery’s writings also include several plays, novels and distinguished works of literary criticism, as well as numerous English translations of French literature. He has also enjoyed a distinguished career as an art critic for the Paris edition of the New York Herald Tribune and Newsweek, and as editor of Art News. He is an authority, in particular, on the work of the late American realist painter Fairfield Porter. In addition to all regular editions, there have been many privately printed, small press and fine art edi- tions, as well as volumes combining several titles. Hanns Schimansky, one of the proof etchings for the Recital, with a prose poem by John Ashbery SELECTED WRITINGS ON ART AND OTHER WRITINGS Nouveau dictionnaire de la peinture moderne, published with the collaboration of John Ashbery. Paris : F.
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C COMICS JOE BRAINARD THROUGHOUT RARE NEW YORK POETS Item Number: 250195210128
Buy Sell My eBay Community Help Sign out Site Map All Categories Search Advanced Search Categories Motors Express Stores Back to My eBay Listed in category: Books > Antiquarian & Collectible C COMICS JOE BRAINARD THROUGHOUT RARE NEW YORK POETS Item number: 250195210128 Bidding has ended for this item Sell an item like this or buy a similar item below. Find more items from the same seller. Bid or Buy Now! EARLY PLASTIC GAY MEMOIR SUMMER OF AMIRI BARAKA 9 PAGES '91 BLACK MUSIC EARLY PLASTIC GAY MEMOIR SUMMER OF WILLIAM S. BURROUGHS WILD BOYS 1ST LOVE 1960s - $9.98 RESEARCH JOURNAL LOVE 1960s - $9.98 GROVE PRINTING 0 bids: US $9.97 0 bids: US $9.99 0 bids: US $9.97 3 bids: US $16.50 US $9.98 Time left: 3d 22h 53m US $9.98 Time left: 1d 16m Time left: 1d 23h 48m Time left: 1d 23h 48m View more items from this seller Similar items from all eBay sellers Item Name Price c.1920 Egg Farming in California by Charles Weeks--Rare US $48.50 Indian History Books Rare Collection US $75.00 LANGSTON HUGHES SIGNED LTD~A NEW SONG~1938 VERY Rare! US $128.51 Western PA Poets An Anthology 1934-35 HC 1st US $25.00 See all similar items... Find similar items on eBay Express... Meet the seller Winning bid: US $500.00 Seller: drchilledair ( 1349 ) No payments for 90 days Feedback: 99.8% Positive Apply Member: since Aug-24-99 in United States See detailed feedback Ended: Dec-12-07 09:55:37 PST Ask seller a question Shipping costs: US $3.00 Add to Favorite Sellers Standard Flat Rate Shipping View seller's other items Service Service to United States Buy safely Ships to: United States 1.
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The Nancy Book by Joe Brainard
March 10, 2008 FOR IMMEDIATE RELEASE CONTACT: Lisa Pearson, Publisher (310) 857-6935 [email protected] www.sigliopress.com The Nancy Book by Joe Brainard $39.50 CASEBOUND 9-3/4 x 7-1/2 144 PAGES 78 FULL PAGE ILL. (46 COLOR, 32 B/W) ISBN 978-0-9799562-0-1 PUB DATE: APRIL 30, 2008 PUBLISHED BY SIGLIO PRESS Joe Brainard’s pursuit of the once ubiquitous fuzzy-haired pest Nancy chronicled one of the great love-hate relationships in American popular culture. It’s wonderful to have it all between the covers of a book. —John Ashbery From 1963 to 1978 Joe Brainard (author of I Remember) created more than one hundred works of art that appropriated the classic comic strip character Nancy and sent her into an astonishing variety of spaces, all electrified and complicated by the incongruity of her presence. In The Nancy Book, Joe Brainard’s Nancy traverses high art and low, the poetic and pornographic, the surreal and the absurd. Whether inserted into hypothetical situations, dispatched on erotic adventures, or seemingly rendered by the hands of artists as varied as Leonardo da Vinci, R. Crumb, Larry Rivers, Pablo Picasso, and Willem de Kooning, Brainard’s Nancy revels in as well as transcends her two-dimensionality. The Nancy Book is the long-awaited, first ever collection of Brainard’s Nancy texts, drawings, collages and paintings, with full page reproductions in color and b/w. The Nancy Book features several works that have neither been published nor publicly exhibited. The Nancy Book includes several collaborations with luminary poets, including “Personal Nancy Love,” a very early Ted Berrigan—Joe Brainard comic collaboration; a Nancy collage made with Frank O’Hara in 1964; the infamous (and raunchy) “Recent Visitors,” created with Bill Berkson in the summer of 1971 in Bolinas; an excerpt from “The Class of ‘47,” a collaboration with Robert Creeley; as well as works made with Ron Padgett, James Schuyler and Frank Lima from the ground-breaking C Comics 2.
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Selected Publications by Ron Padgett
Selected Publications by Ron Padgett Left: silver gelatin photograph of RP by Lorenz Gude, bound in first edition of In Advance of the Broken Arm. Lorenz Gude, 1964. Right: collage by Joe Brainard for Quelques Poèmes / Some Translations / Some Bombs. N.p., 1963. Description of the Collection Poet, writer, translator, and editor Ron Padgett (b. 1942) has published extensively in unique printed forms: mimeographed magazines and pamphlets with covers by Joe Brainard, George Schneeman, and Andy Warhol; C Press projects such as William Burroughs’ Time; and small-edition collaborations with artists and publishers such as Bertrand Dorny and Gervais Jassaud. This collection of Ron Padgett publications presents the above assortment as well as other volumes, including his first self- published work in 1960 (Summer Balloons) and an array of books he edited for Full Court Press from 1974–1989. Nearly all of the following items are from Padgett’s personal collection and most bear his signature, including a number of exceedingly rare volumes. Not all items are pictured; all available Ron Padgett items are available at www.granarybooks.com. Books and Websites Cited TB = Ted Berrigan. Some Notes about “C.” Unpublished manuscript, May 1964. Miles = Barry Miles. Call Me Burroughs: A Life. New York: Twelve, 2013. RP = Ron Padgett. Email correspondence, Oct. 2019. Dorny = “Ron Padgett and Bertrand Dorny: What Happened to the Renaissance.” Artcritical: The Online Magazine of Arts and Ideas. Dec. 18, 2014. Simon = “Joan Simon with Anne Sherwood Pundyk.” Brooklyn Rail. Jul–Aug 2012. Wolf = Reva Wolf. Andy Warhol, Poetry, and Gossip in the 1960s. Chicago: University of Chicago Press, 1997.
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Postmodernism, Lyricism, and Queer Aesthetics in 1970S New York Poetry
University of Mississippi eGrove Electronic Theses and Dissertations Graduate School 2017 Cold War New York: Postmodernism, Lyricism, And Queer Aesthetics In 1970s New York Poetry Jared James O'Connor University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/etd Part of the American Literature Commons Recommended Citation O'Connor, Jared James, "Cold War New York: Postmodernism, Lyricism, And Queer Aesthetics In 1970s New York Poetry" (2017). Electronic Theses and Dissertations. 991. https://egrove.olemiss.edu/etd/991 This Thesis is brought to you for free and open access by the Graduate School at eGrove. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of eGrove. For more information, please contact [email protected]. COLD WAR NEW YORK: POSTMODERNISM, LYRICISM, AND QUEER AESTHETICS IN 1970S NEW YORK POETRY A Thesis presented in partial fulfillment of requirements for a degree of Master of Arts in the Department of English The University of Mississippi by JARED J. O'CONNOR May 2017 Copyright © 2017 by Jared O'Connor ALL RIGHTS RESERVED ABSTRACT This thesis explores the poetry of Joe Brainard and Anne Waldman, two poets of the critically neglected Second-Generation New York School. I argue that Brainard and Waldman help define the emerging discourse of postmodern poetry through their attention to Cold War culture of the 1970s, countercultural ideologies, and poetic form. Both Brainard and Waldman enact a poetics of vulnerability in their work, situating themsleves as wholly unique from their late-modernist predecessors. In doing so, they help engender a poetics concerned not only with the intellectual stakes but with the cultural environment they are forced to navigate.
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Reviews & Press •
REVIEWS & PRESS Joe Brainard. I Remember. Granary Books, 2001. • Mlinko, Ange. "Review of Joe Brainard: A Retrospective." Shark 4 (Summer 2002). "There is an artistic theory of knowledge different from a scientific or philosophical one." - Fairfield Porter When James Schuyler, a great aficionado of flowers, wrote about them in "Salute," he thought of them species by species, "Like that gathering of one of each I planned, to gather one of each kind of clover, daisy, paintbrush that grew in that field the cabin stood in and study them one afternoon before they wilted. Past is past. I salute that various field." One might say that Joe Brainard takes the study even further in his Garden series, seeking the differentio specifica beyond even species. In these collage works, he individually painted and cut each blossom, pasting them on medium-sized rectangular canvases in a dense "seed-packet look" as John Ashbery notes in the catalog. Schuyler, writing in Art News in 1967, remarked: "the scale is the size of a petal, or its color... Nor is scale realistic. A white Oriental poppy is smaller than a morning glory. Johnny-jump-ups are huge because life-size. Parts of this fiction are nearer than others, although distance has been suppressed, or rather, not called into being." These nonhierarchical flowers—always individual even when identical with their species, each species scaled to its neighbor—are not Linnaean flowers, organized within the usual taxonomy or nomenclature. They are, however, a figure for Brainard's creativity both in its fecundity and in its resistance to categorization.
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