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The year was 1963 and from Birmingham to Washington, D.C., from Vietnam to the Kremlin to the Berlin Wall, the world was in the throes of political upheaval and historic change. But that same year, in New York's Greenwich Village, another kind of history and a different sort of politics were being made. This was a political history that had nothing to do with states or governments or armies--and had everything to do with art. And this is the story that Sally Banes tells, a year in the life of American culture, a year that would change American life and culture forever. It was in 1963, as Banes's book shows us, that the Sixties really began.
A leading writer on cultural history, Banes draws a vibrant portrait of the artists and performers who gave the 1963 Village its exhilarating force, the avant-garde whose interweaving of public and private life, work and play, art and ordinary experience, began a wholesale reworking of the social and cultural fabric of America. Among these young artists were many who went on to become acknowledged masters in their fields, including Andy Warhol, John Cage, Yoko Ono, Yvonne Rainer, Lanford Wilson, Sam Shepard, Brian de Palma, Harvey Keitel, Kate Millet, and Claes Oldenburg. In live performance--Off-Off Broadway theater, Happenings, Fluxus, and dance--as well as in Pop Art and underground film, we see this generation of artists laying the groundwork for the explosion of the counterculture in the late 1960s and the emergence of postmodernism in the 1970s. Exploring themes of community, freedom, equality, the body, and the absolute, Banes shows us how the Sixties artists, though shaped by a culture of hope and optimism, helped to galvanize a culture of criticism and change. As 1963 came to define the Sixties, so this vivid account of the year will redefine a crucial generation in recent American history.
- Sales Rank: #1587198 in Books
- Published on: 1993-09-09
- Original language: English
- Number of items: 1
- Dimensions: 9.22" h x .97" w x 6.02" l, 1.36 pounds
- Binding: Paperback
- 352 pages
From Publishers Weekly
Despite the oblique subtitle, this is an engaging piece of cultural history and analysis. Banes ( Terpsichore in Sneakers: Post-Modern Dance ) declares 1963 a watershed year, the peak of the transition between the 1950s and 1960s. The avant-garde neighborhood of Greenwich Village produced "the first generation of postmodern artists," mixing vanguard and popular culture. Banes offers a genealogy of the neighborhood, then shows how art and arts institutions like the Living Theater helped reconstitute community there. Her approach is thematic: she explores avant-garde artists' appropriation of folkloric techniques and suggests that choreographers like Yvonne Rainer and artists like Andy Warhol mirrored the "equalizing impulse of the Sixties" in their work. She discusses the impact of growing racial consciousness on an art world in flux, and shows how American art became caught up in Cold War cultural competition with the Soviets. Most interesting is her analysis of how, during a time when American culture began to liberate the body, artists led the way with portrayals of the "effervescent body"--concerned with eating, excretion, birth and death. Photos not seen by PW.
Copyright 1993 Reed Business Information, Inc.
Review
"Sally Banes . . . has provided her readers with a sympathetic yet finely nuanced account of the artistic explorations of this avant-garde and of its attempts to interrogate the norms and values of the dominant culture."
--Leslie Fishbein," The Journal of American History"
From the Back Cover
This book does not aim to document comprehensively the extraordinarily rich activity in New York City in the early 1960's. Instead, the author focuses on one year, 1963. This was the most productive year of the period 1958-64, the transition between the Fifties and Sixties. The author also focuses on one other place---Greenwich Village in lower Manhattan. For it was primarily here, in a place already historically and culturally mythologized as avant-garde terrain, that the emerging generation of vanguard artists lived, worked, socialized, and remade the history of the avant-garde. - from the Introduction.
Most helpful customer reviews
4 of 5 people found the following review helpful.
Community, Equality and Freedom
By Amazon Customer
In Sally Banes' historical look at the art scene in Greenwich Village in 1963 and 1964, one gets a dense book of information that covers the kind of art made, the creative processes involved, and the key players within this New York season of art. She chooses to look at dance (Judson Church), underground film, the Fluxus movement, Pop Art, and theater (Living Theater, Open Theater, LaMama, Cafe Chino). This all inclusiveness is beneficial in her points on this era's sense of community, equality, and freedom of expression.
Overall, I enjoyed this book. I believe that it is chock full of historical knowledge that will benefit artists and art lovers alike. I do however wish that I could make my parents read it. That could be considered one downfall of this publication. It is interesting for me to read, as a choreographer, but it is lacking a sense of awareness for the non-artist. I also felt that Banes has an annoying writing trait of repeating herself.
I would recommend reading this book. It is a good introduction to the people and the era of the early sixties. The most interesting chapters were when Banes chose to contextualize and involve social and political facts/theories with what the artists motivations were. I particularly enjoyed the section covering LeRoi Jones (Baraka) and his plays.
It is interesting because we are still in the thick of post-modern art. Even though this book is a historical look back at New York's downtown, it points out common themes that are in the art world today. For example, feminist pedagogy, taking art from everyday life, community through art, and political art are concepts embraced by dancers, painters, actors, and independent film makers across America.
1 of 2 people found the following review helpful.
63 please oh please come back
By tyron crawleee
the coming together of once repressed forces-cagean chance, dada nihilism, artaudian viscerality surfacing as -performance/dance/music/writing/film fused alogically-much like the experiments at black mountain- 1963 may very well have been the culmination and dissolution ? of significant art in NYC. this is a well researched, symapathetic account of that period.
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