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It was a question of extraordinary, yet transmissible qualities.’The new journal had somehow to affirm its originality in an already crowded field.Thus, it could not have anything in common with the hegemonic Sartrean journal, (something all the more striking when we remember that France was then still in the throes of the Algerian war).And what, finally, about the spectacle of political and ideological defection, of which offers so many striking dramatisations, from literature to politics, from Soviet Communism to Maoism, from Maoism to pro-Americanism, from Marxism to religion?Any one of these moves might mark you for life; the accumulation (like the dialectic of quantity and quality) begins to offer a somewhat different picture, giving apostasy a bad name and opening the door wide to the debunking analysis of intellectual opportunism pioneered by Pierre Bourdieu – and exemplified here in a particularly satisfying way by Niilo Kauppi’s book.The generation of Robert Creeley or Ed Dorn, writers born for the most part in the 1920s, had managed by and large to hang on to its radical and progressive credentials until the 1980s - until, that is, the advent of Language poetry.Before turning to the poetry of today, it may be useful to sketch once more the literary terrain of the post-war period in which that earlier radicalism took root.On Fe­bruary 5, 1976 Peter and Irene Lud­wig and the Ci­ty of Cologne signed a do­na­tion con­tract found­ing the Mu­se­um Lud­wig.The con­tact stip­u­lat­ed that the cou­ple would do­nate 350 works of mod­ern art and that the Ci­ty of Cologne would in turn erect an in­de­pen­dent “Mu­se­um Lud­wig” for th­ese ob­jects cre­at­ed af­ter 1900.

Again, for those interested in collective dynamics, or in intellectuals and their sociology, the group offers an interesting laboratory experiment, while for those bent on denouncing the modern and hastening its dissolution into Post-Modernism, the charismatic role of ’s leader, Philippe Sollers, will confirm many dark suspicions about the relations between power and the very ideal of an avant garde (including the vanguard political parties, most notably the Bolsheviks, on which the aesthetic ones were explicitly based).The best art-history class in New York right now is happening, free, in a cozy storefront gallery on West 24th Street called Freight Volume.That’s where Loren Munk, the shape-shifting voracious consumer and chronicler of culture, is showing his paintings that lay out the story of Modernism—its cast of characters, styles, trends, philosophies, politics, and innumerable interconnections, as told through his series of proudly garish charts, maps, diagrams, and flowcharts.In Oc­to­ber 1946 a se­lec­tion of one hun­dred paint­ings was shown for the first time at the old Uni­ver­si­ty of Cologne.Peter Lud­wig, then a young stu­dent, was among those who saw this ex­hi­bi­tion.Con­ceived by the Cologne ar­chi­tects Peter Bus­mann and God­frid Haber­er, the “dou­ble mu­se­um,” which housed both the Wall­raf-Richartz Mu­se­um and the Mu­se­um Lud­wig, opened in 1986.In 1994 it was de­cid­ed to di­vide the two in­sti­tu­tions. The rise to critical prominence in the United States of the so-called 'Language' poets is both remarkable in itself, and a development that sets the achievements and dominant styles of post-war American Poetry in a new, and a questionable light.What follows is first of all a critical introduction to Language poetry; to its origins, personnel, stated aims, and distinguishing features of method and content.From this point on, the build­ing on the Bis­chof­garten­s­trasse has housed sole­ly the Mu­se­um Lud­wig.To­day the col­lec­tion of the Mu­se­um Lud­wig in­cludes the most sig­ni­f­i­cant trends of twen­ti­eth-cen­tu­ry and con­tem­po­rary art.The new poem will include ab initio 'a preconception of how, when and where it will be read.'[2] (Apparent echoes of Reception Theory and poststructuralist accounts of the writing process are not coincidental, and will bear investigation at a later stage.)It would be easy to show the divergence of Language poetry from the more conservative traditions of American verse; a Language poem looks and sounds nothing like a poem by Robert Lowell or James Dickey or Louise Gluck.More vexed, and likely to prove of greater historical consequence, is the relationship between Language writing and the various post-war American avant-gardes; the Beats, the Black Mountain or New York schools.Barr Jr., Mo MA’s founding director, whose influential chart of modern art, published on his “Cubism and Abstract Art” catalogue in 1936, ended in two categories: non-geometrical abstract art and geometrical abstract art.The urge to organize information might seem counter to the sensibility of an artist-instigator like George Maciunas, founder of the irreverent, anti-institutional, international collective known as Fluxus.




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