By Dallas Museum of Fine Arts
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Additional info for Poets of the Cities: New York and San Francisco, 1950-1965
Example text
The guard wouldn't let me carry it inside the museum. The box sat in the center of the entry way and everyone walked around it. After the opening we took the Staten Island Ferry and Ray and I threw it off the ferry in front of the Statue of Liberty. D. to Jim Kweskin and it hung in the stairwell of his house back in 1964-5. ** • William C. Seitz, The Art of Assemblage, New York, The Museum of Modern Art, 1961 , Note 5, p. 150. From a letter to the author, July 5, 1974. 38 ROBERT RAUSCHENBERG AND THE EPIPHANY OF THE EVERYDAY Lana Davis Th is expression.
In 1960 the important exhibition New Forms New Media was shown at the Martha Jackson Gal lery in New York, followed the next year by Environments Situations Spaces at that gallery and by the monumental survey The Art of Assemblage at The Museum of Modern Art. Even in a random li sting such as this , far from comp lete, one is struck by the productivity, the number of "firsts" and the pioneering character of the arts during this period , as well as the beginning of an integration of these various arts.
Also, both were closely associated with other artists and poets during the late '50s. In 1959, Leslie , with Robert Frank, produced the film "Pull my Daisy," shot in Leslie's studio, which included narration by Jack Kerouac (whose story provided the film's scenario) , 34 and in which Allen Ginsberg, Peter Orlovsky, Gregory Corso, Larry Rivers and others appeared . Similarly, J. De Feo's painting "The White Rose" was the subject for a Bruce Conner film which recorded the removal of the huge canvas from her studio in San Francisco, and De Feo was also close to poets such as Michael McClure.