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“The demands of poetry and painting, of expressivity and formalism, collided in his work and would come to no easy resolution,” wrote Barrett Watten of Frank O’Hara in Artforum’s March 2008 issue. O’Hara’s legacy is defined by dichotomies—of “high” and “low,” privacy and disclosure, contrivance and sincerity, celebration and elegy. Watten finds cause to let these contradictions lie in Lytle Shaw’s 2006 book, Frank O’Hara: The Poetics of the Coterie. “The disparity of intention and scale between O’Hara’s intimate poetry and his inescapable public presence . . . h...

A node your homework release:The following Précis, which I wrote for a Philosophy class at The University of Maryland, College Park, discusses the very...

Reconnecting to the Goodness of the Universe: ‘Pythagoreans Celebrate Sunrise’ Reaching Within: What traditional art offers the heart When I lived in New York, there were nights when I would go to my building’s roof to look out into the heavens. In the city, the tall buildings and their lights would obscure the night sky and dim the brilliance of its stars. Amid the city’s hustle and bustle, it often felt like we were missing a connection to what was more profound and more essential. It was like we had explained away the universe’s vastness and mysteriousness.