21 Etchings and Poems
The complete 1960 limited edition was conceived by Peter Grippe in 1951 when he took over the directorship of Atelier 17, an internationally hailed graphic workshop.
Franz Kline with "Poem" by Frank O'Hara
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21 Etchings and Poems
The complete 1960 limited edition was conceived by Peter Grippe in 1951 when he took over the directorship of Atelier 17, an internationally hailed graphic workshop.
Franz Kline with "Poem" by Frank O'Hara

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While teaching in Boulder, Colorado, Cunningham was inspired by children running and skipping on the street below his window. As he watched their playful games, Cunningham remembered, “They were having such a beautiful time. Field Dances came from that because I could see that they were running and skipping and to me it was dancing; but for them it wasn’t different.” Similar to the unstructured, carefree way the children played outside of Cunningham’s window, the dancers in Field Dances made their own choice of movements, leaving each performance different from the next. Each dancer was given a number of small events they could do together, and a few short dances to be done on their own. Robert Rauschenberg designed the colorful costumes, which were leotards with chiffon panels attached to the back for the women, and a sweatshirt for the men, over tights. Field Dances first premiered in 1963, with music by John Cage.
PREMIERE DATE - July 17, 1963 PREMIERE VENUE - University of California LOCATION - Los Angeles, CA MUSIC - John Cage Variations IV COSTUMES - Robert Rauschenberg DURATION - 12 minutes ORGINAL CAST - Shareen Blair, Carolyn Brown, Merce Cunningham, Viola Farber
Jess, “Emblems for Robert Duncan II, 4 (the ayre of the music carries)” (1989), collage, 4 ¼ x 5 5/8 in (image courtesy Tibor de Nagy Gallery, New York)
…for Robert Duncan, “the cadence of the verse, and, in turn, the interpenetration of cadences in sequence is, for me, related to the dance of my physical body… Stress patterns are dancing feet; my ear and voice follow a deeper rhythm, the coming and going of a life/death tide back of the beat of the heart and the breath” (1984, ix). // Ground Work: Before the War
RE: Robert Duncan “Often I Am Permitted to Return to a Meadow”
It is only a dream of the grass blowing east against the source of the sun in an hour before the sun’s going down whose secret we see in a children’s game of ring a round of roses told.
"Ring a Ring o' Roses" or "Ring Around the Rosie" or "Ring a Ring o' Rosie" is a nursery rhyme or folksong and playground singing game. It first appeared in print in 1881, but it is reported that a version was already being sung to the current tune in the 1790s and similar rhymes are known from across Europe. It has a Roud Folk Song Index number of 7925. Urban legend says the song originally described the plague, specifically the Great Plague of London, or the Black Death, but folklorists reject this idea. // Wiki
Common American version:
Ring-a-round the rosie, A pocket full of posies, Ashes! Ashes! We all fall down.
I can only begin a posteriori, by perceiving the world as vast and over-whelming; each moment stands under an enormous vertical and horizontal pressure of information, potent with ambiguity, meaning-full, unfixed, and certainly incomplete. What saves this from becoming a vast undifferentiated mass of data and situation is one’s ability to make distinctions. The open text is one which both acknowledges the vastness of the world and is formally differentiating. It is form that provides an opening.
Lyn Hejinian (via sketchesfromthealbum)
Emblems for Robert Duncan
Jess Collins
14 collages by Jess. [24] p. Gray paper covers. 25 x 22.9 cm. Essay by John Yau.
Publisher: San Jose Museum of Art, 1990
Viola Farber, dancer in "Summerspace", 1958. Black Mountain College (?). Choreographed by Merce Cunningham. Designed by Robert Rauschenberg. Music by Morton Feldman.
Summerspace 1958 PREMIERE DATE - August 17, 1958 PREMIERE VENUE - American Dance Festival, Connecticut College LOCATION - New London, CT MUSIC - Morton Feldman IXION DECOR - Robert Rauschenberg COSTUMES - Robert Rauschenberg DURATION - 15 minutes ORGINAL CAST - Carolyn Brown, Remy Charlip, Merce Cunningham, Viola Farber, Cynthia Stone, Marilyn Wood
This piece is indicative of Cunningham’s unique collaborative method, in which Feldman composed the score, Rauschenberg designed the décor, and Cunningham choreographed independently from each other. Together, the movement, music and décor give the effect of a balmy, summer day. Dressed in painted leotards, the dancers move about the stage in sudden bursts of speed and suspensions, zigzagging every which way, like flying creatures. The delicate music, at times sounds like bubbles of water rising to the surface, and at others, with a muffled rumble in the bass, like distant thunder.

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Robert Duncan (poem), Cy Twombly (woodblock print), and Nicholas Cernovitch (design and printing), Song of the Border-Guard, 1952, ink on paper, 20 x 26.5 inches. Black Mountain College Museum + Arts Center Collection. Gift of Nicholas Cernovitch.
Poem under cut
While teaching in Boulder, Colorado, Cunningham was inspired by children running and skipping on the street below his window. As he watched their playful games, Cunningham remembered, “They were having such a beautiful time. Field Dances came from that because I could see that they were running and skipping and to me it was dancing; but for them it wasn’t different.” Similar to the unstructured, carefree way the children played outside of Cunningham’s window, the dancers in Field Dances made their own choice of movements, leaving each performance different from the next. Each dancer was given a number of small events they could do together, and a few short dances to be done on their own. Robert Rauschenberg designed the colorful costumes, which were leotards with chiffon panels attached to the back for the women, and a sweatshirt for the men, over tights. Field Dances first premiered in 1963, with music by John Cage.
PREMIERE DATE - July 17, 1963 PREMIERE VENUE - University of California LOCATION - Los Angeles, CA MUSIC - John Cage Variations IV COSTUMES - Robert Rauschenberg DURATION - 12 minutes ORGINAL CAST - Shareen Blair, Carolyn Brown, Merce Cunningham, Viola Farber
Jess, “Emblems for Robert Duncan II, 4 (the ayre of the music carries)” (1989), collage, 4 ¼ x 5 5/8 in (image courtesy Tibor de Nagy Gallery, New York)
...for Robert Duncan, “the cadence of the verse, and, in turn, the interpenetration of cadences in sequence is, for me, related to the dance of my physical body... Stress patterns are dancing feet; my ear and voice follow a deeper rhythm, the coming and going of a life/death tide back of the beat of the heart and the breath” (1984, ix). // Ground Work: Before the War