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A conversation with Alissa Quart about her new book Bootstrapped, an examination of how the ideology of individualism helped create the conditions for inequality.
“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 . . . had the effect of positing the