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• Avant Garde Fashion

Avant-garde (French pronunciation: ​[avɑ̃ ɡaʁd]) is French for 'vanguard'.^[1] The term is commonly used in French, English, and German to refer to people or works that are experimental or innovative, particularly with respect to art and culture.

Avant-garde represents a pushing of the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The notion of the existence of the avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Postmodernism posits that the age of the constant pushing of boundaries is no longer with us and that avant-garde has little to no applicability in the age of Postmodern art.

Avant Garde: Visual artists[edit]

• Pierre Alechinsky (Belgian artist, member of CoBrA)
• Alexander Archipenko (Ukrainian sculptor)
• Magdalena Abakanowicz (Polish sculptor)
• Hans Bellmer (German artist)
• Joseph Beuys (German artist)^[2]
• Francisco Bores (Spanish painter)
• Constantin Brâncuși (Romanian sculptor)^[3]
• Georges Braque (French painter)^[4]
• David Burliuk (Ukrainian painter, illustrator)
• Wladimir Burliuk (illustrator, Jack of Diamonds)
• Giorgio de Chirico (painter)^[5]
• Joseph Csaky (Hungarian-French sculptor)
• Salvador Dalí (Spanish painter)
• Theo van Doesburg (Dutch artist) the founder of De Stijl.^[6][7]
• Jean Dubuffet (French painter)^[8]
• Marcel Duchamp (French artist)^[9]
• Naum Gabo (sculptor)^[10]
• Pablo Gargallo (Spanish sculptor)
• Paul Gauguin(P GO)^[11]
• Alberto Giacometti (sculptor)^[12]
• Albert Gleizes (French painter and theorist)
• Julio González (Spanish sculptor)^[13]
• Natalia Goncharova (Russian painter)
• Arshile Gorky (painter)
• George Grosz (German painter)
• Neil Harbisson (English artist)
• Asger Jorn (Danish artist, member of CoBrA)
• Wassily Kandinsky (Russian artist)^[14]
• Allan Kaprow (painter/happenings)^[15]
• Roger Kemp (Pioneer Australian abstractionist)
• Frederick John Kiesler (designer), (sculptor), (visual artist)
• Willem de Kooning (painter)^[16]
• Yayoi Kusama (Japanese artist and writer)
• Fernand Léger (painter)
• El Lissitzky (Russian artist)^[17]
• Kazimir Malevich (Ukrainian artist)^[18]
• Agnes Martin (painter)^[19]
• Henri Matisse (painter)^[20]
• Jean Metzinger (French painter and theorist)
• Joan Miró (Spanish painter and sculptor)
• Piet Mondrian (Dutch artist)^[21]
• Henry Moore (sculptor)^[22]
• Barnett Newman (painter)^[23]
• Georgia O'Keeffe (American artist)^[24]
• Claes Oldenburg (sculptor)^[25]
• Yoko Ono (Japanese-American sculptor/installation artist/musician)
• Francis Picabia (painter)
• Pablo Picasso (Spanish painter and sculptor)
• Antoine Pevsner (sculptor)
• Jackson Pollock (painter)^[26]
• Robert Rauschenberg (painter)^[27]
• Man Ray (painter and visual artist)
• Ad Reinhardt (painter)^[28]
• Jean-Paul Riopelle (Canadian artist)
• Alexander Rodchenko (Russian artist)
• Olga Rozanova (Russian artist)
• Louis Schanker (American printmaker and sculptor)
• Kurt Schwitters (German artist)
• David Smith (American sculptor)
• Kenneth Snelson (sculptor)
• Frank Stella (painter)^[29]
• Vladimir Tatlin (Russian artist)
• Sergei Tretyakov (Russian artist)
• Remedios Varo (Mexican-Spanish painter)
• Wolf Vostell (German Artist)^[30]
• Andy Warhol (American painter and director)^[31]
• Wols (German painter and photographer)

Avant Garde: Architects[edit]

Avant Garde: Jazz, composers, performance artists[edit]

Avant Garde Fashion

• Laurie Anderson (American composer)
• George Antheil (American composer)
• Marcel·lí Antúnez Roca (Catalan performance artist)
• Albert Ayler (Free jazz)^[32]
• John Balance (Music Composer, poet)
• The Beatles (English rock lyricists, composers, and singers)^[33][34]
• Luciano Berio (Italian composer)
• Arthur Brown (English rock singer and performer)
• Pierre Boulez (French composer)
• David Bowie (English rock singer and performer)
• Glenn Branca (American guitarist and composer)
• Günter Brus (Austrian performance artist)
• John Zorn (American musician and composer)
• Harold Budd (American composer)
• John Cage (American composer)
• Les Claypool (American musician, singer, bassist, film maker, novelist, composer)
• Ornette Coleman (American jazz musician)
• John Coltrane (American jazz musician)
• Conlon Nancarrow (American composer)
• Tony Conrad (American violinist and composer)
• Ivor Cutler (Scottish avant-musician and poet)
• Miles Davis (American jazz musician)
• Claude Debussy (French composer)^[35]
• Eric Dolphy (American jazz musician)
• Marco Donnarumma (Italian performance artist)
• Duke Ellington (American jazz musician, band leader and composer)
• Don Ellis (American jazz musician, band leader and composer)
• Brian Eno (English musician and composer)
• Aphex Twin (British musician and composer)
• Morton Feldman (American composer)
• Brigitte Fontaine (French Singer, novelist, playwright and actress)
• Aaron Funk (Canadian electronic musician)
• Diamanda Galás (American Musician, composer and performance artist)
• Philip Glass (American composer)
• Dave Holland (British jazz musician)
• Daryl Hayott (American Jazz Musician/Composer)
• Charles Ives (American composer)^[36]
• Roland Kirk (American jazz musician)
• Bill Laswell (Avant-Garde musician)
• György Ligeti (Hungarian/Austrian/Romanian composer)
• Witold Lutosławski (Polish composer)
• Béla Bartók (Hungarian composer)
• Lydia Lunch (American singer, poet, writer and actress)
• Angus MacLise (American percussionist)
• Charles Mingus (American jazz musician)
• Thelonious Monk (American jazz musician)
• Max Neuhaus (composer)
• Hermann Nitsch (Austrian performance artist)
• Mike Oldfield (English composer)
• Pauline Oliveros (American composer and accordionist)
• Yoko Ono (Japanese artist and musician)
• Harry Partch (American composer and instrument designer)
• Mike Patton (American musician, singer and composer)
• Krzysztof Penderecki (Polish composer)
• Ástor Piazzolla (Argentine Nuevo Tango pioneer)
• Jarosław Pijarowski (Polish contemporary musician, poet, photographer, creator of fine arts and theatre-music spectacles)
• Sun Ra (Free jazz innovator)
• Steve Reich (American composer)
• Stelarc (Cyprus-born performance artist)
• Terry Riley (American composer)
• Arthur Russell (American musician, singer and composer)
• Pharoah Sanders (American jazz musician)
• Erik Satie (French composer and pianist)
• Pierre Schaeffer (French composer, writer, broadcaster, engineer, musicologist and acoustician)
• Arnold Schoenberg (Austrian/American composer)
• Archie Shepp (American jazz musician)
• Karlheinz Stockhausen (German composer)
• Igor Stravinsky (Russian composer)^[37]
• David Tudor (American composer)
• Arto Tunçboyacıyan (Armenian vocalist, multiinstrumentalist)
• Edgard Varèse (French composer, later naturalized American citizen)
• David Vorhaus (American electronic composer)
• Igor Wakhevitch (French composer)
• Anton Webern (Second Viennese School)
• Robert Wyatt (English singer and songwriter)
• Iannis Xenakis (Greek composer and architect)
• Kathleen Yearwood (Canadian composer)
• La Monte Young (American composer)
• Frank Zappa (American composer, guitarist and satirist)

• Autopsia (ex-Yugoslavian/Czech post-industrial band)
• Amon Düül II (German krautrock band)
• Arcturus (Norwegian avant-garde band)
• Maya Beiser (experimental cellist)
• Captain Beefheart (experimental rock singer)
• Boredoms (Japanese noise band)
• Björk (Icelandic musician)
• Buckethead (American composer and guitarist)
• Butthole Surfers (American experimental rock band)
• John Cale (Welsh avant-garde musician)
• Can (Avant-garde rock band)
• Coil (British electronic post-industrial band)
• Cluster (German krautrock group)
• Einstürzende Neubauten (German industrial band)
• Brian Eno (English avant-rock/electronic/ambient musician and producer)
• Fantomas (band) (Noise metal band)
• Faust (German krautrock band)
• Pink Floyd (English avant-garde/psychedelic/art rock Band)
• Gong (French-English avant-garde/progressive rock band)
• Half Japanese (American alternative band)
• Hella (band) (American avant-garde/experimental band)
• Henry Cow (British avant-garde/progressive rock band)
• Iwrestledabearonce (American progressive/avant-garde metal band)
• Jonathan Davis and the SFA (American avant-garde band)
• Kayo Dot (American avant-rock/metal band)
• Kraftwerk (German electronic/krautrock group)
• Laibach (Slovenian experimental/avant-garde/industrial music group)
• The Mars Volta (American experimental/fusion rock band)
• The Melvins (American experimental rock)
• Meshuggah (Swedish experimental/progressive metal band)^[38]
• Moondog (American avant-garde artist)
• Neurosis (American sludge/drone/post-metal band)
• The Observatory (Singaporean experimental rock band)
• Ours To Destroy (avant-garde folk rock band)
• Pan.Thy.Monium (Swedish progressive metal band)
• Pere Ubu (American post-punk band)
• Art Bears (British avant-rock band)
• Public Image Ltd (British post-punk band)
• Ram-Zet (Norwegian avant-garde metal band)
• Rasputina (experimental rock band)
• Recoil (band) (British avant-garde/electronic musical project)
• The Residents (American avant-rock band)
• Scars on Broadway (Experimental rock band)
• Scott Walker (American experimental avant-garde pop musician)
• Sigh (Japanese progressive/avant-gardeblack metal band)
• Sleepytime Gorilla Museum (American avant-garde metal/rock group)
• Soft Machine (English avant-garde/progressive rock band)
• Sonic Youth (American alternative band)
• Sunn O))) (American drone/metal/ambient band)
• Swans (American post-punk/No Wave band)
• Throbbing Gristle (English industrial band)
• Mr. Bungle (American avant garde metal group)
• The Velvet Underground (American art/protopunk band)
• Lou Reed (American alternative/avant-garde/protopunk musician)
• Patti Smith (American protopunk singer)
• Vernian Process (American steampunk/avant-garde band)
• Uz jsme doma (Czech Avant-Garde Band)
• What's He Building in There? (Canadian Avant-garde metal group)
• Waltari (Finnish progressive/avant-garde/alternative metal band)

Avant Garde: authors, playwrights, actors, directors (theater) and poets[edit]

• JoAnne Akalaitis (writer/director/ Mabou Mines)
• Guillaume Apollinaire (writer)
• Antonin Artaud (French actor, director and theorist)
• H. C. Artmann (Austrian-born poet and writer)
• Hugo Ball (German writer, dadaist)
• J. G. Ballard (British author)
• Georges Bataille (French writer and essayist)
• Julian Beck (actor/director/ The Living Theater)
• Samuel Beckett (Irish playwright)
• Maurice Blanchot (French writer and essayist)
• Jorge Luis Borges (Argentine short story writer)
• André Breton (French author)
• Hermann Broch (Austrian writer)^[39]
• Christine Brooke-Rose (British writer and literary critic)
• William S. Burroughs (author, poet, essayist)
• Jim Carroll (avant-garde poet)
• Louis-Ferdinand Celine (author)
• Gregory Corso (experimental Beat poet)
• Jayne Cortez (American poet and spoken-word artist)
• E. E. Cummings (poet)
• Jeffrey Daniels (American Poet)
• Guy Debord (French author, and philosopher)
• John Dos Passos (American writer)
• Duncan Fallowell (English writer)
• Benjamin Fondane (Romanian/French poet, critic, existentialist philosopher)
• Richard Foreman (American Director/designer/playwright/compositional theater maker)
• Akasegawa Genpei (Japanese artist and novelist)
• Allen Ginsberg (poet)
• Witold Gombrowicz (writer)
• Eugen Gomringer (the father of concrete poetry)
• Jerzy Grotowski (director)
• Stewart Home (writer)
• Ernst Jandl (Austrian writer, poet, and translator)
• Alfred Jarry (writer)
• James Joyce (writer)
• Franz Kafka (writer)
• Tadeusz Kantor (director)
• Lajos Kassák (1887–1967, Hungarian avant-garde poet and painter)
• Srečko Kosovel (Slovene poet)
• Jackson Mac Low, American poet
• Mina Loy (British painter/poet)
• Dimitris Lyacos (writer/playwright/poet)
• Judith Malina (actor/director/ The Living Theater)
• Filippo Tommaso Marinetti (founder of Italian futurism)
• Vladimir Mayakovsky (Russian futurist writer and poet)
• Vsevolod Meyerhold (director)
• Henry Miller (author)
• Ion Minulescu (Romanian poet, novelist, short story writer, journalist, literary critic, playwright)
• Yukio Mishima (writer, playwright, poet)
• Vladimir Nabokov (Russian author)
• Anaïs Nin (French diarist, author, poet)
• Ezra Pound (American poet)
• Alain Robbe-Grillet (French author, playwright, filmmaker)
• Raymond Roussel (writer)
• Bruno Schulz (writer)
• Gertrude Stein (author, essayist)
• Ellen Stewart (theater director/ La MaMa)
• Jean Tardieu (artist, playwright, poet)
• Tristan Tzara (Romanian poet)
• Urmuz (Romanian writer)
• Ilarie Voronca (Romanian poet, essayist)
• William Carlos Williams (American poet)
• Miroslav Wanek (Czech composer, poet, singer)
• Stanisław Ignacy Witkiewicz (writer)
• Robert Wilson (director)
• Virginia Woolf (English author)

Avant garde: photographers, filmmakers, video artists, directors[edit]

• John Abraham (Indian Movie Director)
• Kenneth Anger (American filmmaker)
• Diane Arbus (American photographer)
• Berenice Abbott (American photographer)
• Matthew Barney (American performance artist, filmmaker, photographer)
• Jordan Belson (American filmmaker)
• Patrick Bokanowski (French filmmaker)
• Stan Brakhage (American filmmaker)
• Luis Buñuel (Spanish filmmaker)
• John Cassavetes (American filmmaker)
• Věra Chytilová (Czech filmmaker)
• Jean Cocteau (French poet, artist, filmmaker)
• Bruce Connor (American filmmaker, sculptor, and painter)
• Tony Conrad (American video artist, experimental filmmaker)
• Maya Deren (American filmmaker)
• Nathaniel Dorsky (American filmmaker)
• Germaine Dulac (French filmmaker)
• Harun Farocki (German filmmaker)
• Rainer Werner Fassbinder (German filmmaker)
• David Gatten (American filmmaker)
• Ernie Gehr (American filmmaker)
• Jean-Luc Godard (French filmmaker)
• Philippe Grandrieux (French filmmaker)
• Peter Hutton (American filmmaker)
• Ken Jacobs (American filmmaker)
• Alejandro Jodorowsky (Chilean director)
• Mary Jordan (American filmmaker, performance artist, activist)
• Jaromil Jireš (Czechoslovak filmmaker)
• Harmony Korine (American filmmaker)
• Kurt Kren (Austrian filmmaker)
• Stanley Kubrick (American filmmaker)
• Jørgen Leth (Danish filmmaker)
• David Lynch (American filmmaker)
• Robert Mapplethorpe (American photographer)
• Jonas Mekas (Lithuanian-American filmmaker)
• Otto Muehl (Austrian filmmaker)
• Dudley Murphy (Experimental filmmaker)
• Ryūtarō Nakamura (Japanese director and animator)
• Nikos Nikolaidis (Greek filmmaker)
• Mamoru Oshii (Japanese filmmaker)
• Pier Paolo Pasolini (Italian filmmaker, poet and writer)
• Simone Rapisarda Casanova (Italian filmmaker)
• Man Ray (American/French, photographer and filmmaker)
• Alain Resnais (French filmmaker)
• Jacques Rivette (French filmmaker)
• Jean Rouch (Ethnographic filmmaker)
• Rudolf Schwarzkogler (Austrian filmmaker)
• Jack Smith (American filmmaker)
• Michael Snow (Canadian artist, filmmaker)
• Sion Sono (Japanese filmmaker, dramatist and poet)
• Straub-Huillet (French filmmakers)
• Perry Mark Stratychuk (Canadian filmmaker, poet and writer)
• Phil Solomon (American filmmaker)
• Léopold Survage (French artist of Russian-Danish-Finnish descent)
• Shūji Terayama (Japanese dramatist, filmmaker, poet and writer)
• Lars von Trier (Danish filmmaker)
• Andy Warhol (American artist)
• Peter Weibel (Austrian filmmaker)
• Joel-Peter Witkin (American photographer)
• Fred Worden (American filmmaker)
• Kansuke Yamamoto (Japanese photographer and poet)
• Thierry Zéno (Belgian filmmaker)

Avant garde: Dancers and Choreographers[edit]

• Loie Fuller (pioneer of modern dance)
• Isadora Duncan (pioneer of modern dance)
• Vaslav Nijinsky (pioneer of modern dance)
• Léonide Massine (pioneer of modern dance)
• Ruth St. Denis (pioneer of modern dance)
• Ted Shawn (pioneer of modern dance)
• Doris Humphrey (pioneer of modern dance)
• Charles Weidman (pioneer of modern dance)
• Hanya Holm (pioneer of modern dance)
• Helen Tamiris (pioneer of modern dance)
• Mary Wigman (German dancer, choreographer)
• Martha Graham (American dancer, choreographer)
• Anna Sokolow (American dancer, choreographer)
• Merce Cunningham (American dancer, choreographer)
• Alwin Nikolais (American dancer, choreographer)
• Twyla Tharp (American choreographer, dancer)
• Lucinda Childs (American dancer, choreographer)
• Deborah Hay (American dancer, choreographer)
• Anna Halprin (American dancer, choreographer)
• Yvonne Rainer (American dancer, choreographer)
• Pina Bausch (German dancer, choreographer)
• Trisha Brown (American dancer, choreographer)
• Erick Hawkins (American dancer, choreographer)
• Sally Gross (American dancer, choreographer)

Other[edit]

• Yuri Landman (Experimental instrument builder)

See also[edit]

Sources[edit]

• Cage, John. 1961. Silence: Lectures and Writings. Middletown, Connecticut: Wesleyan University Press. Unaltered reprints: Weslyan University press, 1966 (pbk), 1967 (cloth), 1973 (pbk ['First Wesleyan paperback edition'], 1975 (unknown binding); Cambridge, Mass: MIT Press, 1966, 1967, 1969, 1970, 1971; London: Calder & Boyars, 1968, 1971, 1973 ISBN0-7145-0526-9 (cloth) ISBN0-7145-1043-2 (pbk). London: Marion Boyars, 1986, 1999 ISBN0-7145-1043-2 (pbk); [n.p.]: Reprint Services Corporation, 1988 (cloth) ISBN99911-780-1-5 [In particular the essays 'Experimental Music', pp. 7–12, and 'Experimental Music: Doctrine', pp. 13–17.]
• Cope, David. 1997. Techniques of the Contemporary Composer. New York, New York: Schirmer Books. ISBN0-02-864737-8.
• Mauceri, Frank X. 1997. 'From Experimental Music to Musical Experiment'. Perspectives of New Music 35, no. 1 (Winter): 187-204.
• Meyer, Leonard B. 1994. Music, the Arts, and Ideas: Patterns and Predictions in Twentieth-Century Culture. Second edition. Chicago: University of Chicago Press. ISBN0-226-52143-5
• Nicholls, David. 1998. 'Avant-garde and Experimental Music.' In Cambridge History of American Music. Cambridge and New York: Cambridge University Press. ISBN0-521-45429-8
• Nyman, Michael. 1974. Experimental Music: Cage and Beyond. New York: Schirmer Books. ISBN0-02-871200-5. Second edition, Cambridge & New York: Cambridge University Press, 1999. ISBN0-521-65297-9
• A. L. Rees, A History of Experimental Film and Video (BFI, 1999).
• Malcolm Le Grice, Abstract Film and Beyond (MIT, 1977).
• Scott MacDonald, A Critical Cinema, Volumes 1, 2 and 3 (Berkeley: University of California Press, 1988, 1992 and 1998).
• Scott MacDonald, Avant-Garde Film: Motion Studies (Cambridge: Cambridge University Press, 1993).
• James Peterson, Dreams of Chaos, Visions of Order: Understanding the American Avant-Garde Cinema (Detroit: Wayne State University Press, 1994).
• Jack Sargeant, Naked Lens: Beat Cinema (Creation, 1997).
• P. Adams Sitney, Visionary Film: The American Avant-Garde, (New York: Oxford University Press, 1974).
• Michael O’Pray, Avant-Garde Film: Forms, Themes and Passions (London: Wallflower Press, 2003).
• David Curtis (ed.), A Directory of British Film and Video Artists (Arts Council, 1999).
• David Curtis, Experimental Cinema - A Fifty Year Evolution. (London. Studio Vista. 1971)
• Wheeler Winston Dixon, The Exploding Eye: A Re-Visionary History of 1960s American Experimental Cinema. (Albany, NY. State University of New York Press, 1997)
• Wheeler Winston Dixon and Gwendolyn Audrey Foster (eds.) Experimental Cinema - The Film Reader, (London: Routledge, 2002)
• Stan Brakhage. Film at Wit's End - Essays on American Independent Filmmakers. (Edinburgh, Polygon. 1989)
• Stan Brakhage. Essential Brakhage - Selected Writings on Filmmaking. (New York, McPherson. 2001)
• Parker Tyler, Underground Film: A Critical History. (New York: Grove Press, 1969)
• Saunders, Frances Stonor, The cultural cold war: the CIA and the world of arts and letters (New York: New Press: Distributed by W.W. Norton & Co., 2000) ISBN1-56584-596-X
• O'Connor, Francis V. Jackson Pollock [exhibition catalogue] (New York, Museum of Modern Art, [1967]) OCLC 165852
• The Philosophy and Politics of Abstract Expressionism 1940-1960 Cambridge University Press, Cambridge, United Kingdom, 2000 ISBN0-521-65154-9
• Tapié, Michel. Hans Hofmann: peintures 1962 : 23 avril-18 mai 1963. (Paris: Galerie Anderson-Mayer, 1963.) [exhibition catalogue and commentary] OCLC: 62515192
• Tapié, Michel. Pollock (Paris, P. Facchetti, 1952) OCLC: 30601793
• Jeffrey Wechsler (2007). Pathways and Parallels: Roads to Abstract Expressionism. New York: Hollis Taggart Galleries. ISBN0-9759954-9-9.
• Graham, Martha (1991). Blood Memory: An autobiography. NYC: Doubleday. ISBN0-385-26503-4.
• Freedman, Russell (1998). Martha Graham: A Dancer's Life. NYC: Clarion Books. ISBN0-395-74655-8.
• Horosko, Marian (2002). Martha Graham: The Evolution of Her Dance Theory and Training. Gainesville, FL: Univ. Press of Florida. ISBN0-8130-2473-0.
• Morgan, Barbara (1980). Martha Graham: Sixteen Dances in Photographs. Morgan & Morgan. ISBN0-87100-176-4.
• Tracy, Robert (1997). Goddess - Martha Graham's Dancers Remember. Pompton Plains, NJ: Limelight Editions. ISBN0-87910-086-9.
• Bird, Dorothy; Greenberg, Joyce (2002). Bird's Eye View: Dancing With Martha Graham and on Broadway (reprint ed.). Pittsburgh, PA: Univ. of Pittsburgh Press. ISBN0-8229-5791-4.

References[edit]

1. ^'Avant-garde definitions'. Dictionary.com. Lexico Publishing Group, LLC. Retrieved 2007-03-14.
2. ^See Claudia Schmuckli: ‘Chronology and Selected Exhibition History,’ in Joseph Beuys: Actions, Vitrines, Environments (Tate, 2005).This account of Beuys’s biography is indebted to Schmuckli’s chronology.
3. ^'Constantin Brancusi'Archived 2006-12-20 at the Wayback Machine at brainjuice.com. (Accessed March 27, 2007.)
4. ^Artcyclopedia - Links to Braque's works and information
5. ^Giorgio de Chirico in the Museum of Modern Art
6. ^'De Stijl'. Tate Glossary. The Tate. Retrieved 2006-07-31.
7. ^Curl, James Stevens (2006). A Dictionary of Architecture and Landscape Architecture (Second ed.). Oxford University Press. ISBN0-19-860678-8.
8. ^Jean Dubuffet at the Museum of Modern Art (MoMA)
9. ^Calvin Tomkins: Duchamp: A Biography.
10. ^Naum Gabo at the Tate Gallery Archive
11. ^[1]
12. ^James Lord (1997) Giacometti: A Biography, Farrar, Straus and Giroux* Alberto Giacometti. Kunsthaus Zürich, 2001; New York, The Museum of Modern Art, 2001-2002.
13. ^Guggenheim Museum biographyArchived 2008-05-09 at the Wayback Machine
14. ^Hajo Düchting. Wassily Kandinsky 1866–1944: A Revolution in Painting. (Taschen, 2000). ISBN3-8228-5982-6
15. ^Cotter, Holland (November 19, 1999). 'ART IN REVIEW; Allan Kaprow and Robert Watts -- 'Experiments in the Everyday''. The New York Times. Retrieved 2008-04-29.
16. ^Willem de Kooning, Britannica.com, p1
17. ^Mayakovsky, Vladimir; El Lissitzky (2000). For the Voice (Dlia golosa). The MIT Press. ISBN0-262-13377-6.
18. ^Guggenheim: Kazimir Malevich
19. ^http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A3787
20. ^Hilary Spurling. The Unknown Matisse: A Life of Henri Matisse, Vol. 1, 1869-1908. London, Hamish Hamilton Ltd, 1998. ISBN0-679-43428-3.
21. ^Hans Locher: Piet Mondrian. Colour, Structure, and Symbolism. Bern-Berlin: Verlag Gachnang & Springer, 1994. ISBN978-3-906127-44-6
22. ^Review in Sculpture Magazine
23. ^Barnett Newman Selected Writings and Interviews, (ed.) by John P. O'Neill, University of California Press, 1990.
24. ^Roxana Robinson. 1990. Georgia O'Keeffe: A life. Bloomsbury, London. ISBN0-7475-0557-8
25. ^Oldenburg Biography at the Guggenheim MuseumArchived 2003-10-07 at the Wayback Machine
26. ^Piper, David. The Illustrated History of Art, ISBN0-7537-0179-0, p460-461.
27. ^Marlena Donohue (28 November 1997). 'Rauschenberg's Signature on the Century'. Christian Science Monitor. Archived from the original on 7 July 2006. Rauschenberg's mammoth career retrospective at the Solomon R. Guggenheim Museum (and other New York sites) from Sept. 19 to Jan. 7, 1998… along with longtime friends pre-Pop painter Jasper Johns and the late conceptual composer John Cage, Rauschenberg pretty much defined the technical and philosophic art landscape and its offshoots after Abstract Expressionism.
28. ^Ad Reinhardt bio at Guggenheim Museum siteArchived 2005-02-07 at the Wayback Machine
29. ^Frank Stella Biography, Guggenheim MuseumArchived 2006-04-27 at the Wayback Machine
30. ^Wolf Vostell at the Museum Ludwig in Cologne
31. ^Andy Warhol at the Museum of Modern Art (MoMA)
32. ^http://www.allmusic.com/artist/albert-ayler-p6036/biography Albert Ayler Biography at AllMusic
33. ^https://www.loudersound.com/features/the-beatles-how-the-white-album-changed-everything
34. ^https://www.aaronkrerowicz.com/beatles-blog/five-main-characters-an-overview-of-the-beatles-and-the-avant-garde
35. ^http://www.allmusic.com/artist/claude-debussy-q7223 Information about Claude Debussy
36. ^http://www.classical.net/music/comp.lst/ives.php Charles Ives at Classical Net
37. ^http://www.allmusic.com/artist/igor-stravinsky-q8016/biography Stravinsky bio at Allmusic
38. ^'Meshuggah'. Nuclear Blast. Archived from the original on 2008-05-10. Retrieved 2008-06-10.
39. ^Kaszynski, Stefan H. (2012): 'Kurze Geschichte der Österreichischen Literatur'; Frankfurt am Main: Peter Lang, p.151

External links[edit]

Experimental rock (or avant-rock) is a subgenre of rock music^[2] which pushes the boundaries of common composition and performance technique^[11] or which experiments with the basic elements of the genre.^[12] Artists aim to liberate and innovate, with some of the genre's distinguishing characteristics being improvisational performances, avant-garde influences, odd instrumentation, opaque lyrics (or instrumentals), unorthodox structures and rhythms, and an underlying rejection of commercial aspirations.^[3]

From its inception, rock music was experimental, but it was not until the late 1960s that rock artists began creating extended and complex compositions through advancements in multitrack recording. In 1967, the genre was as commercially viable as pop music, but by 1970, most of its leading players had incapacitated themselves in some form. In Germany, the krautrock subgenre merged elements of improvisation and psychedelic rock with avant-garde and contemporary classical pieces. Later in the 1970s, significant musical crossbreeding took place in tandem with the developments of punk and new wave, DIY experimentation, and electronic music. Funk, jazz-rock, and fusion rhythms also became integrated into experimental rock music.

The first wave of 1980s experimental rock groups had few direct precedents for their sound. Later in the decade, avant-rock pursued a psychedelic aesthetic that differed from the self-consciousness and vigilance of earlier post-punk. During the 1990s, a loose movement known as post-rock became the dominant form of experimental rock. As of the 2010s, the term 'experimental rock' has fallen to indiscriminate use, with many modern rock bands being categorized under prefixes such as 'post-', 'kraut-', 'psych-', and 'noise-'.

• 1History
  • 1.11960s–1970s

History[edit]

1960s–1970s[edit]

—Bill Martin writing in his book Avant Rock (2002)^[13]

Although experimentation had always existed in rock music, it was not until the late 1960s that new openings were created from the aesthetic intersecting with the social.^[14][jargon] In 1966, the boundaries between pop music and the avant-garde began to blur as rock albums were conceived and executed as distinct, extended statements.^[15] Self-taught rock musicians in the middle and late 1960s drew from the work of composers such as John Cage, Karlheinz Stockhausen, and Luciano Berio. Academic Bill Martin writes: 'in the case of imitative painters, what came out was almost always merely derivative, whereas in the case of rock music, the result could be quite original, because assimilation, synthesis, and imitation are integral parts of the language of rock.'^[16]

Martin says that the advancing technology of multitrack recording and mixing boards were more influential to experimental rock than electronic instruments such as the synthesizer, allowing the Beatles and the Beach Boys to become the first crop of non-classically trained musicians to create extended and complex compositions.^[17] Drawing from the influence of George Martin, the Beatles' producer, and the Beach Boys' Brian Wilson, music producers after the mid 1960s began to view the recording studio as an instrument used to aid the process of composition.^{[18][nb 1]} When the Beach Boys' Pet Sounds (1966) was released to a four-month chart stay in the British top 10, many British groups responded to the album by making more experimental use of recording studio techniques.^{[20][nb 2]}

In the late 1960s, groups such as the Mothers of Invention, the Velvet Underground, the Fugs, the Beatles, and the Jimi Hendrix Experience began incorporating elements such as avant-garde music, sound collage, and poetry in their work.^[23] Historian David Simonelli writes that, further to the Beatles' 'Tomorrow Never Knows' (Revolver, 1966), the band's February 1967 double A-side single, pairing 'Strawberry Fields Forever' with 'Penny Lane', 'establish[ed] the Beatles as the most avant-garde [rock] composers of the postwar era'.^[24] Aside from the Beatles, author Doyle Greene identifies Frank Zappa, the Velvet Underground, Plastic Ono Band, Captain Beefheart, Pink Floyd, the Soft Machine and Nico as 'pioneers of avant-rock'.^{[25][nb 3]} In addition, The Quietus' Ben Graham described duos the Silver Apples and Suicide as antecedents of avant-rock.^[27]

In the opinion of Stuart Rosenberg, the first 'noteworthy' experimental rock group was the Mothers of Invention led by composer Frank Zappa,^[2] who professor Kelly Fisher Lowe claims 'set the tone' for experimental rock with the way he incorporated 'countertextural aspects ... calling attention to the very recordedness of the album.'^[28] This would also be reflected in other contemporary experimental rock LPs, such as the Beach Boys' Pet Sounds and Smile, the Who's The Who Sell Out (1967) and Tommy (1969), and the Beatles' Sgt. Pepper's Lonely Hearts Club Band (1967).^[28] The Velvet Underground were a 'groundbreaking group in experimental rock', according to Rosenberg, 'even further out of step with popular culture than the early recordings of the Mothers of Invention.'^[29] The band were playing experimental rock in 1965 before other significant countercultural rock scenes had developed,^[30] pioneering avant-rock through their integration of minimalist rock and avant-garde ideas.^{[31][nb 4]}

The Beatles' album Sgt. Pepper's inspired a new consideration for experimental rock as commercially viable music.^[33] Once the group released their December 1967 film Magical Mystery Tour, author Barry Faulk writes, 'pop music and experimental rock were [briefly] synonymous, and the Beatles stood at the apex of a progressive movement in musical capitalism'.^[34] As progressive rock developed, experimental rock acquired notoriety alongside art rock.^{[2][nb 5]} By 1970, most of the musicians which had been at the forefront of experimental rock had incapacitated themselves.^[36] From then on, the ideas and work of British artist and former Roxy Music member Brian Eno—which suggested that ideas from the art world, including those of experimental music and the avant-garde, should be deployed in the context of experimental rock—were a key innovation throughout the decade.^[37]

Krautrock[edit]

In the late 1960s and early 1970s, Germany's 'krautrock' scene (also referred to as kosmische or elektronische musik) saw bands develop a form of experimental rock^[6][38] that drew on rock sources, such as the Velvet Underground and Frank Zappa, as well as wider avant-garde influences.^[23] Groups such as Can, Faust, Neu!, Amon Düül II, Ash Ra Tempel, Kraftwerk, Tangerine Dream, and Popol Vuh merged elements of psychedelic rock with electronic music, funk rhythms, jazz improvisation, and avant-garde and contemporary classical compositions,^[39][38] as well as new electronic instrumentation.^[23] The ideas of minimalism and composers such as Stockhausen would be particularly influential.^[23] The movement was partly born out of the student movements of 1968, as German youth sought a unique countercultural identity^[38][23] and wanted to develop a form of German music that was distinct from the mainstream music of the period.^[6]

Late 1970s–present[edit]

The late 1970s post-punk movement was devised as a break with rock tradition, exploring new possibilities by embracing electronics, noise, jazz and the classical avant-garde, and the production methods of dub and disco.^{[[[Wikipedia:Citing_sources page needed]]]}-45'>[40] During this era, funk, jazz-rock, and fusion rhythms became integrated into experimental rock music.^[41] Some groups who were categorized as 'post-punk' considered themselves part of an experimental rock trajectory, with This Heat as one of the prominent players.^[42] The late 1970s no wave scene consisted of New York experimental rock bands that aimed to break with new wave,^[8] and who, according to Village Voice writer Steve Anderson, pursued an abrasive reductionism which 'undermined the power and mystique of a rock vanguard by depriving it of a tradition to react against.'^[43] Anderson claims that the no wave scene represented 'New York’s last stylistically cohesive avant-rock movement.'^[43]

The early 1980s would see avant-rock develop significantly following the punk and new wave, DIY experimentation, electronic music, and musical cross-breeding of the previous decade, according to Pitchfork.^[44] Dominique Leone of Pitchfork claims that the first wave of 1980s experimental rock groups, including acts such as Material, the Work, This Heat, Ornette Coleman's Prime Time, James Blood Ulmer, Last Exit, and Massacre, had few direct precedents for their sound.^[44] Steve Redhead noted the resuscitation of New York's avant-rock scene, including artists such as Sonic Youth and John Zorn, in the 1980s.^[45] According to journalist David Stubbs, 'no other major rock group [...] has done as much to try to bridge the gap between rock and the avant garde' as Sonic Youth, who drew on improvisation and noise as well as the Velvet Underground.^[46]

In the late 1980s, avant-rock pursued a 'frazzled, psychedelia-tinged, 'blissed out' aesthetic that differed from the self-consciousness and vigilance of earlier post-punk.^[47] The UK shoegaze scene was seen by some as a continuation of an experimental rock tradition.^[48]Pitchfork described contemporary acts My Bloody Valentine, Spacemen 3, and the Jesus and Mary Chain as 'avant-rock icons.'^[49] According to Paul Hegarty and Martin Halliwell, some 1980s and early 1990s avant-rock acts such as the British musicians David Sylvian and Talk Talk returned to the ideas of progressive rock, which they call 'post-progressive'.^[50] During the 1990s, a loose movement known as post-rock became the dominant form of experimental rock.^[9] In a reaction against traditional rock music formula, post-rock artists combined standard rock instrumentation with electronics and influences from styles such as ambient music, IDM, krautrock, minimalism, and jazz.^[9] In 2015, The Quietus' Bryan Brussee noted uncertainty with the term 'experimental rock', and that 'it seems like every rock band today has some kind of post-, kraut-, psych-, or noise- prefixed to their genre.'^[51]

Footnotes[edit]

1. ^In the popular music of the early 1960s, it was common for producers, songwriters, and engineers to freely experiment with musical form, arrangements, unnatural reverb, and other sound effects. Some of the best known examples are Phil Spector's Wall of Sound production formula and Joe Meek's use of homemade electronics for acts like the Tornados.^[19]
2. ^The Beach Boys followed Pet Sounds several months later with the single 'Good Vibrations' (1966), credited as a milestone in the development of rock music^[21] and, with the Beatles' Revolver, a prime proponent in revolutionizing rock music from live concert performances to studio productions which could only exist on record.^[22]
3. ^Author Barry Miles commented on Pink Floyd, 'They were the first people I'd ever heard who were combining some kind of intellectual experimentation with rock 'n' roll'. Photographer John Hopkins remembers: 'The band did not play music, they were playing sounds. Waves and walls of sound, quite unlike anything anybody in rock 'n' roll had played before. It was like people in serious, nonpopular music'.^[26]
4. ^According to Clash Music, the group's debut March 1967 album The Velvet Underground & Nico was the first art rock record.^[32]
5. ^Martin believes: 'almost everything that is interesting and creative in rock music that comes after about 1970 is influenced one way or another by progressive rock'.^[35] Specific influences on rock musicians were: improvement in musicianship, broad eclecticism, utopianism, romanticism, and a commitment to experimentation.^[35]

References[edit]

1. ^'EXPERIMENTAL ROCK (AVANT-ROCK)'. The Independent. Retrieved February 16, 2016.
2. ^ ^abcdRosenberg 2009, p. 179.
3. ^ ^ab'Experimental Rock'. AllMusic. Retrieved February 16, 2016.
4. ^'Pop/Rock » Art-Rock/Experimental » Prog-Rock'. AllMusic.
5. ^Morse 2009, p. 144.
6. ^ ^abcSavage, Jon. 'Elektronische musik: a guide to krautrock'. The Guardian. Retrieved 14 June 2016.
7. ^ ^abcdOsborn, Brad (October 2011). 'Understanding Through-Composition in Post-Rock, Math-Metal, and other Post-Millennial Rock Genres*'. Music Theory Online. 17 (3).
8. ^ ^abLawrence 2009, p. 344.
9. ^ ^abc'Post-Rock'. AllMusic.
10. ^The Editors of Encyclopædia Britannica (n.d.). 'Post-rock'. Encyclopædia Britannica.
11. ^Bogdanov 2001, p. 10.
12. ^Martin 1998, p. 93.
13. ^Martin 2015, p. 4.
14. ^Martin 2015, p. 3.
15. ^Greene 2016, p. 22.
16. ^Martin 2015, p. 5.
17. ^Martin 2015, p. 75.
18. ^Edmondson 2013, p. 890.
19. ^Blake 2009, p. 45.
20. ^Gillett 1984, p. 329.
21. ^Stuessy & Lipscomb 2009, p. 71.
22. ^Ashby 2004, p. 282.
23. ^ ^abcdeUnterberger, p. 174.
24. ^Simonelli 2013, p. 106.
25. ^Greene 2016, p. 182.
26. ^Schaffner 1992, p. 10.
27. ^Graham, Ben. 'Repetition, Repetition, Repetition: Moon Duo Interview'. The Quietus. Retrieved 17 September 2016.
28. ^ ^abLowe 2007, pp. 38, 219.
29. ^Rosenberg 2009, p. 180.
30. ^John, Mike (July 4, 1970). 'Review of the Velvet Underground at Max's Kansas City'. The New York Times. Retrieved 19 September 2016.
31. ^Greene 2016, p. 143.
32. ^'Classic Albums: The Velvet Underground - The Velvet Underground & Nico'. Clash Music. December 11, 2009. Retrieved March 28, 2015.
33. ^Smith 2006, p. 35.
34. ^Faulk 2016, p. 73.
35. ^ ^abMartin 2015, p. 69.
36. ^Faulk 2016, p. 63.
37. ^Albiez, Sean (2016). Brian Eno: Oblique Music. Bloomsbury Publishing. p. 168. Retrieved 19 September 2016.
38. ^ ^abcSanford, John (April 2013). Encyclopedia of Contemporary German Culture. Routledge Press. p. 353.
39. ^Reynolds, Simon (July 1996). 'Krautrock'. Melody Maker.
40. [[[Wikipedia:Citing_sources page needed]]]_45-0'>^Reynolds 2005, p. ^{[page needed]}.
41. ^Smith 2006, p. 2.
42. ^Stubbs 2009, p. 86.
43. ^ ^abFoege, Alec (October 1994). Confusion Is Next: The Sonic Youth Story. Macmillan. pp. 68–9.
44. ^ ^abLeone, Dominique. 'Massacre: Killing Time - Album Review'. Pitchfork Media. Retrieved 17 September 2016.
45. ^Redhead, Steve (1990). The End of the Century Party: Youth and Pop Towards 2000. Manchester University Press. p. 66.
46. ^Stubbs 2009, p. 91.
47. ^Stubbs 2009, p. 92.
48. ^Rodgers, Jude (2007). 'Diamond Gazers: Shoegaze'. The Guardian. Retrieved 18 September 2016.
49. ^Berman, Stuart. 'The Horrors - Primary Colours'. Pitchfork Media. Retrieved 17 September 2016.
50. ^Hegarty & Halliwell 2011, p. 225.
51. ^Brussee, Bryan (July 8, 2015). 'LIVE REPORT: GZA'. The Quietus.

Bibliography[edit]

• Ashby, Arved Mark, ed. (2004). The Pleasure of Modernist Music: Listening, Meaning, Intention, Ideology. Boydell & Brewer. ISBN978-1-58046-143-6.
• Blake, Andrew (2009). 'Recording practices and the role of the producer'. In Cook, Nicholas; Clarke, Eric; Leech-Wilkinson, Daniel (eds.). The Cambridge Companion to Recorded Music. Cambridge University Press. ISBN978-1-139-82796-6.
• Bogdanov, Vladimir, ed. (2001). All Music Guide to Electronica. Backbeat Books. ISBN0-87930-628-9.
• Edmondson, Jacqueline, ed. (2013). Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories that Shaped our Culture. ABC-CLIO. ISBN978-0-313-39348-8.
• Faulk, Barry J. (2016). British Rock Modernism, 1967-1977: The Story of Music Hall in Rock. Routledge. ISBN978-1-317-17152-2.
• Gillett, Charlie (1984). The Sound of the City: The Rise of Rock and Roll. Perseus Books Group. ISBN978-0-306-80683-4.
• Greene, Doyle (2016). Rock, Counterculture and the Avant-Garde, 1966-1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era. McFarland. ISBN978-1-4766-2403-7.
• Lowe, Kelly Fisher (2007). The Words and Music of Frank Zappa. U of Nebraska Press. ISBN0-8032-6005-9.
• Hegarty, Paul; Halliwell, Martin (2011), Beyond and Before: Progressive Rock Since the 1960s, New York: The Continuum International Publishing Group, ISBN978-0-8264-2332-0
• Lawrence, Tim (2009). Hold On to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973-1992. Duke University Press. ISBN0-8223-9085-X.
• Martin, Bill (1998). Listening to the Future: The Time of Progressive Rock, 1968–1978. Open Court. ISBN0-8126-9368-X.
• Martin, Bill (2015). Avant Rock: Experimental Music from the Beatles to Bjork. Open Court Publishing Company. ISBN978-0-8126-9939-5.
• Morse, Erik (2009). Spacemen 3 And The Birth Of Spiritualized. Omnibus Press. ISBN978-0-85712-104-2.
• Reynolds, Simon (2005). Rip It Up and Start Again: Postpunk 1978–1984. London: Faber and Faber. ISBN978-0-571-21570-6.
• Rosenberg, Stuart (2009). Rock and Roll and the American Landscape: The Birth of an Industry and the Expansion of the Popular Culture, 1955-1969. iUniverse. ISBN978-1-4401-6458-3.
• Schaffner, Nicholas (1992). Saucerful of Secrets: The Pink Floyd Odyssey. Dell. ISBN978-0-385-30684-3.
• Simonelli, David (2013). Working Class Heroes: Rock Music and British Society in the 1960s and 1970s. Lanham, MD: Lexington Books. ISBN978-0-7391-7051-9.
• Smith, Chris (2006). The Greenwood Encyclopedia of Rock History: From arenas to the underground, 1974-1980. Greenwood Press. ISBN978-0-313-33611-9.
• Stubbs, David (2009). Fear of Music: Why People Get Rothko But Don't Get Stockhausen. John Hunt Publishing. ISBN978-1-84694-179-5.
• Stuessy, Joe; Lipscomb, Scott David (2009). Rock and Roll: Its History and Stylistic Development. Prentice Hall Higher Education. ISBN978-0-13-601068-5.
• Unterberger, Richie. Unknown Legends of Rock 'n' Roll. Hal Leonard Corporation. ISBN978-1-61774-469-3.

Further reading[edit]

• Gendron, Bernard (2002). Between Montmartre and the Mudd Club: Popular Music and the Avant-Garde. University of Chicago Press. ISBN978-0-226-28735-5.
• Holm-Hudson, Kevin, ed. (2013). Progressive Rock Reconsidered. Routledge. ISBN978-1-135-71022-4.