Charles henri ford biography of albert

Charles henri ford biography of albert: Charles Henri Ford (February 10, –

Date Of Death August 17, A Cubist painter, Read More. Date Of Death December 2, Date Of Death July 18, In her early 20s, Frances Simpson Stevens was the lone American at the center of the Futurist movement. With regards to Dada in Read More. Gabrielle Buffet-Picabia might be the most quoted witness of the Dada movement, yet she is one of the least studied.

Date Of Death July 27, Born in Allegheny, Pennsylvania, Gertrude Stein is one of the most prominent figures in American literature. She developed a taste Read More. Date Of Death July 8, Giovanni Papini was born in in Florence. From an early age he was a voracious reader of the classics, Read More. Date Of Death February 22, Born in in Kewaskum Wisconsin, Glenway Wescott was the eldest of six children.

Wescott left home in and Read More. Date Of Death December 1, Often diminished to a footnote in the life of her husband, the painter Jules Pascin, Hermine David was an artist Read More. Date Of Death September 14, Date Of Death January 13, Date Of Death June 18, Date Of Death November 7, Date Of Death October 11, Date Of Death December 29, Joseph Cornell was born in in Nyack, NY, the oldest of four siblings.

After his father died of leukemia in Read More. Date Of Death November 5, Date Of Death June 1, He had an affair with Djuna Barnes and they visited Tangiers together. He went to Morocco in at the suggestion of Paul Bowlesand there he typed Barnes's just-completed novel, ''Nightwood''for her. With Parker Tylerwho later became a highly respected film critic, he co-authored ''The Young and Evil''an experimental novel with debts to the prose of Djuna Barnes and Gertrude Stein.

Stein wrote a blurb for the novel that said "''The Young and Evil'' creates this generation as ''This Side of Paradise'' by Fitzgerald created his generation. The novel portrays a collection of young genderqueer artists as they write poems, have sex, move in and out of cheap rented rooms, and explore the many speakeasies in their Greenwich Village neighborhood.

The characters' gender and sexual identities are presented candidly. It was rejected by several American and British publishers before Obelisk Press in Paris agreed to publish it. Officials in the U. Silin jsilin optonline. Charles Henri Ford emerges, satisfied, from one of the vespasiennes of Paris: a mischievous portrait by Henri Cartier-Bresson, Beaton's photographs of Ford represented a departure from his fine art portraits of royalty and celebrities.

In one Ford posed "on a bed of tabloid newspapers", symbols of the violence and excess of American culture, in an exploration of low culture with homoerotic undertones that drew on Ford's "sexually transgressive image". When Gerald Heard published two books in to propose that evolution demanded an evolved human consciousness, Brian Howard called them "the most important that have ever been written since the Ice Age.

In he subsized the publication of a first book of poems by Charles Henri Fordthe young poet who was painter Pavel Tchelitchew 's lover, and who, charles henri ford biography of albert in New York bywould found a counterpart to Horizon, the trendier but likewise influential magazine View. It was View that brought John Bernard Myers from Buffalo to be its managing editor, and Myers who, as director of the Tibor de Nagy Gallery that Dwight himself sponsored, acted as impresario for a cast of painters and poets that seems now, to typify the postwar New York scene.

Ford published his first full-length book of poems, ''The Garden of Disorder'' in William Carlos Williams wrote the introduction. Ford said, "Everything is related to the concept of poetry. Ford is regarded as a catalyst--that of a magician who needs no wand. With an amazing prodigious output in poetry, photography, film and the art of collage, it is ironic, then, that he has never sought out publicity.

Let the work speak for itself has been his unspoken credo from the start. And yet his personality continually shines through, shedding light on all aspects of his work, then and now. All the more reason that the impression is one of a virtual recluse, when, in reality, he remains remarkable accessible and active. He's out there, but he also knows when to escape.

In this respect, he can be considered an unselfconscious romantic. It was felicitous, then, to have Gerard Malanga along for guidance and support.

Charles henri ford biography of albert: Born in Brookhaven, Mississippi,

In bouncing off Gerard, Mr. Ford's candidness made for easy and immediate rapport. A light drizzle filled the air as we approached the Dakota on Central Park West. Gerard led the way, quickly turning into the arch-enclosed driveway and up a few steps to the reception desk. Once we were buzzed into a long hallway, the world just a moment ago slipped away.

Time receded with the elevator's ascent. Charles Henri Ford and Indra Tamang, his friend of many years, reside in a top-floor aerie with a view--a high-ceilinged studio of approximately square feet, with a small nook-and-cranny bedroom off to one side. The space is sparsely but comfortable furnished, labeled boxes and files are neatly arranged in piles on the floor, as if waiting to be shipped to some far-off archive.

When asked about the conspicuous lack of bookcases, Mr. Ford replies, "Books should be read but not seen," followed by a smile, as if to underscore his sense of humor about those things we take seriously, or take for granted. He is reserved and casual and full of life. His blue blue eyes sparkle. The studio is decorated with a couple of portraits of Charles--the "young poet"--by Pavel Tchelitchew along with a scattering of his own artwork, black and white vintage prints of magic milieus in Italy in the 40s.

And by its isolation Charles's precision silkscreen op art portrait of Andy Warhol is the focal point in the room. By now the rain has let up, but the spell continues. Sound engulfed by the silence. A mist fills the air outside. The window facing west is covered with sunlight which projects onto the opposite wall a rectangle of washed light.

Indra offers us tea and pastries. Gerard opens up the box containing the fresh apple pie. I can see that Mr. Ford is aglow. It's high tea at the Dakota again. That's when you kick your mother. My curiosity was greater than my dreams. IN other worlds, the curiosity led to discovery and dreams are more revelation that discovery. CHF: When you're curious you discover.

When you dream you're a spectator. Like a movie, it doesn't mean that it's that personal. It's something that is not you but you as an audience. With curiosity you become involved, and when you wake up from a dream you're no longer involved. AK: And do you think in hindsight the way you're interpreting this, are these the seeds that were planted that caused you to become a poet later on?

CHF: What sparks poetry, I think, is poetry, just as a musician is inspired by the sound of music, he wants to do the same thing. It's difficult to be a poet without having read poetry. It's a double entendre.

Charles henri ford biography of albert: Charles Henri Ford, a

AK: So why did you pick up poetry rather than music? CHF: I wasn't exposed to classical music, and that's what composers are noted for, their receptiveness. I was exposed to blues and jazz, that's why I named my magazine Blues. Now, in the haiku that I'm writing, sometimes the words from the old blues songs come back and get put in.

AK: Does it all fit together? CHF: Yes. I can pick one out later and show you what I mean. AK: You have remarked that when you were a teenager you had a vision to become "famous. CHF: She was a Russian writer who said that she was going to become famous in one year, and she did. AK: How old were you at the time when you read her work? That's where the title is derived.

AK: That was the name of her book in Russian? CHF: No. That's the name of my manuscript. CHF: It's the same idea. The potential is in you. You already are and you will be what you are, is another way of saying it. AK: But "famous" is quite an ambiguous idea, so when you say "I will be famous," what was your goal? CHF: Famous for what? Well, it was poetry.

At that time, I had been reading Yeats. My shoulders white and lips as white. I went on to other magazines. Finally, I broke Poetry Chicago --very difficult. The editor at the time was Harriet Monroe. She was hard to bust. AK: Growing up in Mississippi in the s, so far removed from the art centers of the world, how did you become aware of French Surrealism for it to become a major factor in your writing, or did that come later?

CHF: Somehow I got hold of the Paris magazine, transitionwhich was publishing the Surrealist, it was transition 's editor Eugene Jolas, who was writing his form of Surrealist poetry. I can't remember being turned on by any Surrealist in transition --it was Jolas who gave me the guideline, I suppose. And I sent him poems and they were accepted.

AK: I discovered in my research your first letter Gertrude Stein, dated March 27,inviting her to contribute to the "Expatriate Number" of your magazine, Blues. What did you feel when you first wrote to her and did she send you something? CHF: I wondered if she would send me something--she did. It was a very short poem dedicated to Georges Hugnet.

I don't know whether I meant what I said, but I was so happy to get something from Gertrude Stein, I wrote her saying "Thank you for your manuscript--it's one of the best things you've ever written. AK: What was your feeling when you got that letter from her with the manuscript? CHF: Once you're in orbit you feel you're the magnet and if you don't attract something there's no thrill to acknowledge.

When it works, it works. That's the way View was too, because I go all these famous artists to do covers, created expressly for View. View couldn't exist like that today, except maybe it can. Somebody wants to revive View. I plan to invite collaborations as I did for the early View. I'm going to ask Red Grooms and Larry Rivers to do special covers--maybe they will--who knows?

AK: How did your friendship with Gertrude Stein develop in the ensuing years? CHF: Well, if you want to hear about Gertrude, she was famous for taking up and accepting people under her wing, so to speak, and then dropping them because she was made of jealousy. She dropped Tchelitchew when became friends with Edith Sitwell. She dropped me when I became friends with Tchelitchew.

I'll tell you how that happened. My first visit to her in the country was when I came back from Morocco on my way to Paris. Then she invited me back again. That's the reason why I was returning to Paris. Later I returned to Bilignin for a second visit--that's what she called her house--and Alice [Alice B. Toklas] said to me, "You're looking so healthy, because you were thin when you came from Morocco.

CHF: Yeah. But one night during that last stay, she was picking out notes on the piano, like words--they didn't mean anything, but she was sitting there in the candlelight. I said, "Oh, Miss Stein, you look so handsome in that light," and she turned to me and said, "Yes, we're both very handsome. AK: Weren't you in awe of Gertrude Stein? They're so big that charles henri ford biography of albert she bends over you think they're going to pull her down.

GM: She became incensed by the fact that you sparked a friendship with Tchelitchew. GM: Tchelitchew was already dropped by her at the time. Edith met Pavlik at Gertrude's salon and just flipped for him and she arranged his London show. GM: So there was a real competitive nature about Gertrude Stein. CHF: Everybody seemed always jealous. Gertrude was jealous of Edith and Edith was jealous of me.

But later on we became reconciled and she wrote an introduction to my book of poems, Sleep In A Nest of Flames. I took Cocteau to meet her. They both happened to be in New York at the same time and had never met. Osbert, her brother, was present and they served us whiskey. That kept up through her last days. She always had a whiskey.

He was a firework of speech. Do you know what Diaghilev said to him when they met? AK: What effect, if any did Gertrude Stein have on your writing? All these influences--if they don't merge and make a different reality which is you they're hard to trace. The giants in literature, like James Joyce, Gertrude Stein--they all have to have some influence.

In her autobiography, she mentions that I'm one of the two younger writers with an "individual sense of words"--what she meant I don't know. GM: Obviously, the work made an impression on her for her to have said that. Retrieved October 4, Bloomsbury Publishing. ISBN Retrieved October 7, University of California Press. Retrieved 4 October Other Press.

A Companion to the Modern American Novel - Cambridge University Press. BOMB Magazine. Retrieved July 24, University of Wisconsin Press. The Collected Poems of Philip Lamantia. Historical Dictionary of Surrealism. The Scarecrow Press. Retrieved October 6, August 2, State University of New York Press. Pleasure Dome. Retrieved October 9, NBC New York.

Associated Press. June 2, Art Journal. JSTOR December 6, Breton, Duchamp, Stevens, Camus, Magritte, O'Keeffe and a host of other woozy and astute writers and artists appear in this vivid anthology of the short-lived magazine that celebrated New York's international status. Publishers Weekly. May 28,