Archives for posts with tag: New York School

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MEDITATIONS IN AN EMERGENCY (Excerpt)
by Frank O’Hara (1926-1966)

        … I have never clogged myself with the praises of pastoral life, nor with nostalgia for an innocent past of perverted acts in pastures. No. One need never leave the confines of New York to get all the greenery one wishes—I can’t even enjoy a blade of grass unless I know there’s a subway handy, or a record store or some other sign that people do not totally regret life. It is more important to affirm the least sincere; the clouds get enough attention as it is and even they continue to pass. Do they know what they’re missing? Uh huh. 

Read the rest of the poem at poetryfoundation.org.

“Meditations in an Emergency” is found in Frank O’Hara’s 1957 poetry collection of the same name. The 52-page book, reissued by Grove Press in 1996, is available at Amazon.com.

AUTHOR BIO FROM THE POETRY FOUNDATION: Frank O’Hara (born in 1926) was a dynamic leader of the “New York School” of poets, a group that included John Ashbery, Barbara Guest, Kenneth Koch, and James Schuyler. From the beginning, O’Hara’s poetry was engaged with the worlds of music, dance, and painting. In that complex of associations, he devised an idea of poetic form that allowed the inclusion of many kinds of events, including everyday conversations and notes about New York advertising signs. Since his death in 1966 at age forty, the depth and richness of his achievements as a poet and art critic have been recognized by an international audience.

PAINTING: Portrait of Frank O’Hara by Larry Rivers (1955)

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Portrait of Frank O’Hara by Larry Rivers (1955)

FROM POETS.ORG: During the 1950s, poet Frank O’Hara was the subject of numerous portraits by New York School painters, including Nell Blaine, Grace Hartigan, Larry Rivers, and Jane Freilicher, who suggested that O’Hara appeared in so many paintings because he was always hanging around artists’ studios. O’Hara wanted to be as involved in the artistic process as possible, whether it meant stretching canvases or posing as a model. He built close associations with Willem de Kooning and Jackson Pollock, who were just beginning to be known as Abstract Expressionists. He also befriended up-and-coming painters such as Richard Diebenkorn and Cy Twombly.