The Jewish Museum’s spectacular historical show of art and documentation, “New York: 1962-1964,” captures an era of near-weekly advances in the arts.
This is where I came in. A spectacular historical show of art and documentation, “New York: 1962-1964,” at the Jewish Museum, addresses the exact years of my tatterdemalion arrival, from the Midwest, as an ambitious poet, a jobber in journalism, and a tyro art nut. I gravitated through the time’s impecunious Lower East Side poetry scene into the booming though not yet oligarchic art world.
With Pop art and nascent Minimalism, New York artists were turning no end of tables on solemnly histrionic Abstract Expressionism, which had established our town as the new wheelhouse of creative origination worldwide. Instrumental to the moment was a brilliant critic and curator, Alan Solomon, who died too soon, at the age of forty-nine, in 1970.
Artists and guests at the Jewish Museum’s 1963 retrospective of Robert Rauschenberg’s work, photographed in front of the artist’s “Barge,” from 1962-63. Standing, from left: Sherman Drexler, Claes Oldenburg, Richard Lippold, Merce Cunningham, Robert Murray, Peter Agostini, Edward Higgins, Barnett Newman, Robert Rauschenberg, Perle Fine, Alfred Jensen, Ray Parker, Friedel Dzubas, Ernst Van Leyden, Andy Warhol, Marisol, James Rosenquist, John Chamberlain, and George Segal.
: a pop-up storefront emporium, on East Second Street, of consumer goods represented in lumpy plaster and slapdash paint. Poeticized by uselessness, the work bridges gee-whiz delight and sardonic irony, seeming at once to brag of and to complain about the virulently commercialized culture that was both crowning and roughing up America’s peak power, prosperity, and—face it—hubris.
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