David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Jack Alan Reynolds
Learn more about PhilPapers
Avant 3 (T):329-343 (2012)
This essay is an excerpt for a larger paper exploring the concept of autonomy as it emerges in the life and work of the composer, performer, record label executive and club-owner John Zorn. Zorn’s activities over his wide-ranging career span from performing at jazz lofts in the 1970s to winning the MacArthur “genius” grant in 2008, while maintaining his status as a prolific composer and producer of avant-garde music. In interviews, documentaries, and in his music, Zorn often comments on his status as an avant-garde producer, specifically within the context of the record industry and within New York City’s so-called “Downtown” scene. Economics take the forefront in determining artistic attitudes towards both production of music and the music itself, as Zorn has, seemingly, been forced by the “mainstream market” to create a parallel, vertically-integrated economic system to support the livelihood of himself and his collaborators. This excerpt, from the first third of the essay, unpacks Zorn’s relationship with Downtown scene, his conception of the avant-garde, and his attitude towards artists who have set precedents for Zorn’s version of autonomous cultural production. It also notes the idiosyncratic way that both Zorn and his critics have placed Zorn’s music both within and without two distinct traditions: Avant-Garde composition and free Jazz
|Keywords||John Zorn New York Downtown Avant-Garde Autonomy|
|Categories||categorize this paper)|
Setup an account with your affiliations in order to access resources via your University's proxy server
Configure custom proxy (use this if your affiliation does not provide a proxy)
|Through your library|
References found in this work BETA
No references found.
Citations of this work BETA
No citations found.
Similar books and articles
John Lowell Brackett (2012). Zorn: Avant/Après/Passé. Avant 3 (T):316-323.
Gerald Keaney (2011). A New Avant-Garde? Rethinking Marxism 23 (4):556-564.
Antti Salminen (2010). From Avant-Garde to Para-Garde : "The Truth About Marika". In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
Daniel Alan Herwitz (1993). Making Theory/Constructing Art: On the Authority of the Avant-Garde. University of Chicago Press.
Philippe Sers (forthcoming). Point de Vue Critique: Avant-Garde Radicale Et Avant-Garde Contemporaine En Art. Cités.
Alexander Starkweather Fobes (2010). Huidobro, Cagliostro : Demiurge as Mage Conjuring a Metaphor for the Avant-Garde. In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
Giovanna Montenegro (2010). Venezuelan Avant-Garde : María Calcaño's Erotic Poetry. In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
Barnaby Dicker (2010). Franciszka Themerson's "Ubu Comic Strip" : Autography, Caricature, and the Avant Garde. In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
Craig Saper (2010). A Quick Read(Ies) : Speed and Formula in Bob Brown's Pulp Fiction and Avant-Garde Machines. In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
Bert Cardullo (2011). Art-House Cinema, Avant-Garde Film, and Dramatic Modernism. Journal of Aesthetic Education 45 (2):1-16.
Kim Socha (2012). Women, Destruction, and the Avant-Garde: A Paradigm for Animal Liberation. Rodopi.
Siona Wilson (2010). Reading Freire in London : Jo Spence's Photographs Between Popular and Avant-Garde. In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
Caroline Levine (2002). The Paradox of Public Art: Democratic Space, the Avant-Garde, and Richard Serra's "Tilted Arc". Philosophy and Geography 5 (1):51 – 68.
Added to index2012-10-06
Total downloads7 ( #194,930 of 1,101,843 )
Recent downloads (6 months)1 ( #306,556 of 1,101,843 )
How can I increase my downloads?