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Ruptures and Continuities in Avant-Garde Art 119 Vi Table of Contents NEO-AVANT-GARDE AVANT-GARDE CRITICAL STUDIES 20 Editor Klaus Beekman Associate Editors Sophie Berrebi, Ben Rebel, Jan de Vries, Willem G. Weststeijn International Advisory Board Henri Béhar, Hubert van den Berg, Peter Bürger, Ralf Grüttemeier, Hilde Heinen, Leigh Landy Founding Editor Fernand Drijkoningen† NEO-AVANT-GARDE Edited by David Hopkins Editorial Assistant Anna Katharina Schaffner Amsterdam - New York, NY 2006 Martin Puchner’s essay appears in a different form in ‘Poetry of the Revolution : Marx, Manifestoes and the Avant-Gardes ( Princeton University Press, 2006 ) and appears courtesy Princeton University Press. Cover design: Aart Jan Bergshoeff All titles in the Avant Garde Critical Studies series (from 1999 onwards) are available to download from the Ingenta website http://www.ingenta.com The paper on which this book is printed meets the requirements of “ISO 9706: 1994, Information and documentation - Paper for documents - Requirements for permanence”. ISBN-10: 90-420-2125-X ISBN-13: 978-90-420-2125-9 Editions Rodopi B.V., Amsterdam - New York, NY 2006 Printed in The Netherlands CONTENTS Preface ix David Hopkins Introduction 1 I. ART AND LIFE David Hopkins ‘Art’ and ‘Life’… and Death: Marcel Duchamp, Robert Morris and Neo-Avant-Garde Irony 19 Mark Silverberg Working in the Gap between Art and Life: Frank O’Hara’s Process Poems 37 Anna Dezeuze ‘Neo-Dada’, ‘Junk Aesthetic’ and Spectator Participation 49 II. ACROSS ART FORMS Günter Berghaus Neo-Dada Performance Art 75 Anna Katharina Schaffner Inheriting the Avant-Garde: On the Reconciliation of Tradition and Invention in Concrete Poetry 97 R. Bruce Elder The Structural Film: Ruptures and Continuities in Avant-Garde Art 119 vi Table of Contents III. CENTRES/PERIPHERIES Tania Ørum Minimal Requirements of the Post-War Avant-Garde of the 1960s 145 Claus Clüver The “Ruptura” Proclaimed by Brazil’s Self-Styled “Vanguardas” of the Fifties 161 Richard J. Williams Towards an Aesthetics of Poverty: Architecture and the Neo-Avant-Garde in 1960s Brazil 197 IV. ‘HIGH’/‘LOW’ Keith Aspley The Avant-Garde, Neo-Avant-Garde and Radio: Robert Desnos and Philippe Soupault 223 Ben Highmore Home Furnishings: Richard Hamilton, Domesticity and ‘Post-Avant-Gardism’ 243 V. BODY/GENDER Katharine Swarbrick Gender Trouble? Body Trouble? Reinvestigating the Work of Marisol Escobar 263 Gavin Butt Joe Brainard’s Queer Seriousness, or, How to Make Fun out of the Avant-Garde 277 Table of Contents vii VI. DISCOURSE/ POLITICS Michael Corris The Dialogical Imagination: The Conversational Aesthetic of Conceptual Art 301 Frances Stracey Destruktion RSG-6: Towards a Situationist Avant-Garde Today 311 VII. DISSEMINATION Friedrich W. Block “Movens” or The Aesthetics of Movement as a Programmatic Perspective 333 Martin Puchner The Avant-Garde is Dead; Long Live the Avant-Garde! 351 VIII. THEORETICAL REFLECTIONS Hubert F. van den Berg Towards a “Reconciliation of Man and Nature”. Nature and Ecology in the Aesthetic Avant-Garde of the Twentieth Century 371 Martin J. C. Dixon “Blackbirds rise from a field...”: Production, Structure and Obedience in John Cage’s Lecture on Nothing 389 Dafydd Jones “Jeder kann Dada”: The Repetition, Trauma and Deferred Completion of the Avant-Garde 403 List of Illustrations 423 Abstracts 427 Contributors 437 Index 445 This page intentionally left blank PREFACE This volume of essays represents the outcome of a conference titled ‘Mapping the Neo-Avant-Garde’ which took place at the University of Edinburgh between 23rd–25th September 2005. Most of the contributors took part in that conference, but I have commissioned three new essays (from Richard Williams, Anna Katharina Schaffner and Martin Dixon). Needless to say, the essays in the book often depart considerably from their original form as papers, but the affirmative ethos of this collection as a whole owes much to the spirit of that conference. The fact that the event was so constructive in tone was remarkable given that it took place so shortly after the tragically sudden and unexpected death of Dietrich Scheunemann, the instigator of the research project on the European avant-garde at the University of Edinburgh which reaches its conclusion with the current volume. ‘Mapping the Avant-Garde’ was the fourth in a sequence of conferences at Yale and Edinburgh concerned with re-defining the theorisation of the concept of the avant-garde. (The first conference at Yale resulted in the publication ‘European Avant-Garde: New Perspectives’ in Rodopi’s ‘Avant Garde: Critical Studies’ series [no. 15, ed. Scheunemann, 2000], and the outcomes of the previous two conferences at Edinburgh are ‘Avant-Garde/Neo-Avant-Garde’ [no 17, ed. Scheunemann, 2005] and ‘Avant-Garde Film’, to be published later this year.) Everybody involved in the conference felt Dietrich’s loss very deeply, and it was only due to the commitment and tenacity of certain of his former students, notably Dr Anna Katharina Schaffner and Dr Ruth Hemus, that I was able to go ahead with the conference which I had originally planned in collaboration with Dietrich. Naturally the character of the event changed fairly rapidly with my own bias as an art historian becoming much more apparent. The strongly interdisciplinary ethos of the event, however, which I discuss in the introduction, still spoke of its intellectual roots in a department of comparative literature. I would like to acknowledge the assistance of several individuals and funding bodies in bringing this collection of essays to fruition. I am x David Hopkins particularly grateful to Dr Ian Revie, Head of the School of Literatures, Languages and Cultures at the University of Edinburgh who has been unstinting in his support of the project. The entire enterprise would undoubtedly have ground to a halt after Dietrich’s death without Dr Revie’s backing. I am also grateful to Professor Alison Yarrington in my own department at Glasgow University for granting the research leave which allowed me to work on this volume. In terms of funding, thanks are due to the Arts and Humanities Research Council (AHRC) which funded the three year research project at the Universities of Edinburgh and Glasgow that culminated in this and two other publications (see above). I should also like to thank Professor Sarah Colvin who took on certain of Dietrich’s administrative duties as director of the project from the Edinburgh University end, allowing me to concentrate on editing the book in my role as the research project’s co-director from the University of Glasgow end. A word of special thanks is due to Dr Anna Katharina Schaffner who, as already noted, has proved so essential to the realisation of this project over the last year. Anna has worked tirelessly as editorial assistant for this publication, and her practical and intellectual expertise have been absolutely fundamental to its success. I would like finally to thank both Anna and the other authors of the essays in this volume for working so hard in producing such a stimulating reconsideration of the neo-avant-garde. It has been a great personal pleasure to work with such a talented group of scholars. David Hopkins University of Glasgow June 2006 INTRODUCTION DAVID HOPKINS As far as I am aware, the present volume is the first substantial collection of essays which deals with the concept of the neo-avant- garde from an interdisciplinary standpoint. Although the majority of essays in this book conform to a common tendency in writings on the neo-avant-garde to concentrate on fine art, particularly painting and sculpture, thereby adding significantly to the growing art historical literature in the field, a number of the contributions focus on poetry, performance, theatre, film, architecture and music. Given that there are also major essays in this collection dealing with geographical blind spots in current neo-avant-garde studies, with important thematic issues such as art’s entanglement with gender, mass culture and politics, with key neo-avant-garde publications, and with the purely theoretical problems attaching to the theorisation of the topic, this collection offers a distinctly multi-dimensional approach to the subject. At the same time, this book can be read as an over-view of the neo- avant-garde in its historical time frame, from approximately the mid 1950s to the mid 1970s, although it can hardly claim to be exhaustive. It might initially be worth saying something about this issue of periodisation. Strictly speaking, the neo-avant-garde is a theoretical construct, which stands in a dialectical relation to the notion of the ‘historical avant-garde’ of the early twentieth century; it is not a term which has any agreed periodising function (Bürger 1984). The fact is, however, that the concept is generally assumed to delimit a particular historical period and range of art movements and cultural manifestations. Most accounts of the neo-avant-garde tend to stick to the 1950s and 60s, giving special emphasis to trends and formations in fine art in the USA and Western Europe such as Neo-Dada, Nouveau Réalisme, Fluxus, Pop, Minimalism and Conceptual Art. Important literary manifestations of the neo-avant-garde include the ‘Nouveau Roman’ novelists such as Robbe Grillet and the concrete and sound 2 David Hopkins poets, while music is most famously represented by John Cage. Key political-cum-cultural formations include the Situationist International in France. In terms of the visual arts, some accounts stray into the 1970s with a cut-off point frequently coming in the mid 70s with some of the later manifestations of Conceptualism, Land Art and Performance/Body Art. (It is worth noting in passing that some writers even see aspects of 1980s and 1990s neo-conceptualism as neo-avant-garde in spirit.) The termination date for neo-avant-gardism is often placed somewhere between the late 1960s and late 70s and is normally seen as a consequence of key social and economic shifts in society that occurred around this time.
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