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Stephen J Ross

Invisible Terrain

John Ashbery and the Aesthetics of Nature

€ 97.85


In his debut collection, Some Trees (1956), the American poet John Ashbery poses a question that resonates across his oeuvre and much of modern art: `How could he explain to them his prayer / that nature, not art, might usurp the canvas?` When Ashbery asks this strange question, he joins a host of transatlantic avant-gardists-from the Dadaists to the 1960s neo-avant-gardists and beyond-who have dreamed of turning art into nature, of creating art that would be `valid solely on its own terms, in the way nature itself is valid, in the way a landscape-not its picture-is aesthetically valid` (Clement Greenberg, 1939). `Invisible terrain` reads Ashbery as a bold intermediary between avant-garde anti-mimeticism and the long western nature poetic tradition. In chronicling Ashbery`s articulation of `a completely new kind of realism` and his engagement with figures ranging from Wordsworth to Warhol, the book presents a broader case study of nature`s dramatic transformation into a resolutely unnatural aesthetic resource in 20th-century art and literature.0The story begins in the late 1940s with the Abstract Expressionist valorization of process, surface, and immediacy-summed up by Jackson Pollock`s famous quip, `I am Nature` - that so influenced the early New York School poets. It ends with `Breezeway,` a poem about Hurricane Sandy. Along the way, the project documents Ashbery`s strategies for literalizing the `stream of consciousness` metaphor, his negotiation of pastoral and politics during the Vietnam War, and his investment in `bad` nature poetry



Taal / Language : English

Extra informatie: 
Hardback
208 pagina's
Januari 2017
423 gram
216 x 135 x 24 mm
OXFORD UNIVERSITY PRESS ACADEM us


Levertijd: 5 tot 11 werkdagen