The definitive retrospective on Ernest L. Blumenschein (1874-1960), one of the founders of the Taos Society of Artists and perhaps the most accomplished of all the painters associated with that organization. Reproducing masterworks from a new exhibit along with additional works and historical photographs, this volume forms the most comprehensive assemblage of his paintings ever published.

In the half-century between 1890 and 1950, a variety of fields and disciplines, from musicology and literary studies to biology, psychology, genetics, and eugenics, expressed a profound interest in the subject of rhythm. In this book, Michael Golston recovers much of the work done in this area and situates it in the society, politics, and culture of the Modernist period. He then filters selected Modernist poems through this archive to demonstrate that innovations in prosody, form, and subject matter are based on a largely forgotten ideology of rhythm and that beneath Modernist prosody is a science and an accompanying technology. In his analysis, Golston first examines psychological and physiological experiments that purportedly proved that races responded differently to rhythmic stimuli. He then demonstrates how poets like Ezra Pound, W. B. Yeats, Mina Loy, and William Carlos Williams either absorbed or echoed the information in these studies, using it to hone the innovative edge of Modernist practice and fundamentally alter the way poetry was written. Golston performs close readings of canonical texts such as Pound's Cantos, Yeats's "Lake Isle of Innisfree," and William Carlos Williams's Paterson, and examines the role the sciences of rhythm played in racist discourses and fascist political thinking in the years leading up to World War II. Recovering obscure texts written in France, Germany, England, and America, Golston argues that "Rhythmics" was instrumental in generating an international modern art and should become a major consideration in our reading of reactionary avant-garde poetry.

An exploration of rhythm and the richness of musical time from the perspective of performers, composers, analysts, and listeners.

« Rhythm and movement engage our inner creative resources and connect the body, mind, and emotions. Innate musical talent is not necessary to take advantage of these easy-to-learn techniques. All that is required is a willingness to open to the experience. Practicing these exercises with the included recording, you will discover greater body awareness, improve learning and communication skills, feel greater ease and personal integration, and experience instant success - even as a beginner. With the combined goals of comprehending the true nature of music and understanding the inner self, the authors explore the art of harmonizing expressive physical movements to musical improvisation. »--4e de couverture

This book examines the psychology involved in handling, and responding to, materials in artistic practice, such as oils, charcoal, brushes, canvas, earth, and sand. Artists often work with intuitive, tactile sensations and rhythms that connect them to these materials. Rhythm connects the brain and body to the world, and the world of abstract art. The book features new readings of artworks by Matisse, Pollock, Dubuffet, Tápies, Benglis, Len Lye, Star Gossage, Shannon Novak, Simon Ingram, Lee Mingwei, L. N. Tallur and many others. Such art challenges centuries of philosophical and aesthetic order that has elevated the substance of mind over the substance of matter. This is a multidisciplinary study of different metastable patterns and rhythms: in art, the body, and the brain. This focus on the propagation of rhythm across domains represents a fresh art historical approach and provides important opportunities for art and science to cooperate.

How have American writers written about jazz, and how has jazz influenced American literature? In Fascinating Rhythm, David Yaffe explores the relationship and interplay between jazz and literature, looking at jazz musicians and the themes literature has garnered from them by appropriating the style, tones, and innovations of jazz, and demonstrating that the poetics of jazz has both been assimilated into, and deeply affected, the development of twentieth-century American literature. Yaffe explores how Jewish novelists such as Norman Mailer, J. D. Salinger, and Philip Roth engaged issues of racial, ethnic, and American authenticity by way of jazz; how Ralph Ellison's descriptions of Louis Armstrong led to a "neoconservative" movement in contemporary jazz; how poets such as Wallace Stevens, Hart Crane, Langston Hughes, and Frank O'Hara were variously inspired by the music; and how memoirs by Billie Holiday, Charles Mingus, and Miles Davis both reinforced and redeemed the red light origins of jazz. The book confronts the current jazz discourse and shows how poets and novelists can be placed in it--often with problematic results. Fascinating Rhythm stops to listen for the music, demonstrating how jazz continues to speak for the American writer.