Word: gardistes
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Dates: during 1970-1979
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...exploitative self-interest" of the beer drinkers. Plainly, something had happened to the avant-garde in the half-century since Marcel Duchamp suggested using a Rembrandt as an ironing board. Had it died of its own pomposity? If not, where was Beuys' claim to be an avant-gardist left? The problem is simple: there is no avant-garde any more, since its old ambitions of provocation and social attack have been swallowed by the prostrate tolerance of institutions. Its only battle is a shadow play, the game of opposing (or marginally embarrassing) its patrons, the bankers and art dealers...
Veteran Avant-Gardist Brant, 65, has long believed space is as important an element in composition as pitch or time values. In such works as Prevailing Winds (1974), for woodwind quintet, or the orchestral piece Antiphony One (1963), which requires five conductors, he deployed musicians all over the boxes, balconies and aisles of the hall instead of clustering them solely onstage. Greater complexity and expressiveness are his aim. "It's easier on the nervous system to have the music spaced," he says, "because you don't get it in a compact blast-you get it fragmented from different...
Author Robert Coover, 45, is not a household name, unless the house happens to be a college dormitory. An on-and-off teacher, Coover has won a campus reputation as an avant-gardist who can do with reality what a magician does with a pack of cards: shuffle the familiar into unexpected patterns. Devotees religiously pass along The Universal Baseball Association, Inc., an eerie tale of a recluse who invents and maintains an eight-team baseball league and the lives of hundreds of players. First editions of his first novel (The Origin of the Brunists) and a collection of short...
...Buffalo and now at New York's Whitney Museum, is as masterly a demonstration of a sensibility in growth as any living painter could set forth. He is not, as the condescending tag once read, a California artist, but a world figure. He is not an avant-gardist either, and his work keeps alluding to its sources: the color to Bonnard and Matisse, the strong, fractionally unstable drawing to Mondrian and Matisse again. Diebenkorn's best paintings mediate between the moral duty to acknowledge the ancestor and the desire to claim one's own experience as unique...