Women, the New York School, and Other True Abstractions by Maggie Nelson

By Maggie Nelson

Maggie Nelson offers the 1st prolonged attention of the jobs performed via girls in and round the manhattan tuition of poets, from the Nineteen Fifties to the current, and gives remarkable analyses of the paintings of Barbara visitor, Bernadette Mayer, Alice Notley, Eileen Myles, and summary painter Joan Mitchell in addition to a reconsideration of the paintings of many male manhattan university writers and artists from a feminist standpoint.

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Extra resources for Women, the New York School, and Other True Abstractions

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That was my first response to Linda Nochlin’s essay. I was curious about how a man would react. Alex Katz thought it would be a cop-out to answer the piece. Sherman (Drexler) thought it would be a cop-out not to answer it. ” I agree with all of them. (Hesse, 56) “Let’s get the hell out of here” seems to me an understandable response. But the progress of de Kooning’s comment is telling, insofar as her next response is to canvass the important men in her life, as if a chorus of male opinion were a prerequisite to knowing what she wanted to say.

Joan mitchell: I don’t think. . No, no, [Conrad] Marca-Relli [shows at McGee now] and Nic Carone [teaches at Studio School] in the 9 abstrac t prac tices Stable Gallery, they . . Hans Hofmann was very supportive—of me. I used to run into him in the park. ” Very nice. ” linda nochlin: Umm. But what if you . . joan mitchell: Oh, no, I was very seriously involved in painting, they knew that. linda nochlin: Yeah. joan mitchell: Philip Guston was very nice to me. linda nochlin: Yes. So you didn’t feel any difference?

Indeed, regardless of its hold on the twentiethcentury imagination, abstraction is not any one thing (as a cursory walk through a gallery containing works by artists such as Kandinsky, Miró, Rothko, Agnes Martin, Robert Ryman, Bridget Riley, and Amy Sillman, for example, would quickly make clear). Similarly, the various kinds of abstraction explored by writers of the past century or so are nothing if not diverse: no one would say that Mallarmé, Stein, Creeley, Celan, and Ashbery, for example, contend with abstraction in the same, or even similar, ways.

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