Reverence and Resistance: Barbara Guest, Ekphrasis, and the Female Gaze

Abstract

omposer John Gruen, in his reminiscence of the New York arts scene during the 1950s and 1960s, employs both photographs and text to show how ardent artistic endeavor merged in those days with fervent socializing. He chronicles the doings of a group of people whose admiration of each other's as-yet-unrecognized work coincided with delight in each other's conversation and company. Studio photographs of artists at work are mixed with photographs of parties in bars and on beaches; pictures of elegant gallery openings are mixed with comical posings and blurred informal snapshots of leisure and levity. A typical photograph full of people is accompanied by a half-page list of names-of poets, painters, sculptors, scriptwriters, musicians, everyone who was anyone or hoped to be. One photograph, tagged

Cite this work

No public copy is stored for this record, so only the metadata is cited.

Stored only when both papers are in the corpus — 10 citations exist upstream.

Papers that cite the same references — the relational fallback while embeddings are still backfilling.