Relevant bibliographies by topics / Clement greenberg

Academic literature on the topic 'Clement greenberg'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Clement greenberg.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Clement greenberg"

1

Butkus, Vitor. "Clement Greenberg pelo avesso." Revista Digital do LAV 4, no. 4 (October 25, 2010): 084. http://dx.doi.org/10.5902/198373482203.

Full text
Abstract:
Este artigo é o resultado de um esforço reflexivo tendo como tema o crítico de arte norte-americano Clement Greenberg, sua obra e sua atuação no campo das artes. Esse autor de posições teóricas polêmicas é, aqui, analisado pelo seu antes e pelo seu depois. O contexto cultural em que se produziu a sua escrita é visado, não como causa, mas como fornecedor de problemas teóricos aos quais a crítica greenberguiana responderá. Apontando esse rumor teórico, contemporâneo à atividade do autor, e atravessado por questões extra-artísticas, propomos um distanciamento crítico através do qual se busca a compreensão dos principais textos de Greenberg. A plataforma analítica estabelecida pela contextualização histórica também é experimentada em um breve levantamento do legado desses textos, observando-se como as reações ao formalismo ainda reverberam na contemporaneidade.Palavras-chave : teoria da arte, crítica de arte, integração teórico-prática, Clement Greenberg
APA, Harvard, Vancouver, ISO, and other styles
2

Weaver, Mike. "Clement Greenberg and Walker Evans." History of Photography 15, no. 2 (June 1991): 128–30. http://dx.doi.org/10.1080/03087298.1991.10443146.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Olitski, Jules. "Clement Greenberg in My Studio." American Art 8, no. 3/4 (July 1994): 125–29. http://dx.doi.org/10.1086/424227.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Baigell, Matthew. "Clement Greenberg, Harold Rosenberg, and Their Jewish Issues." Prospects 30 (October 2005): 651–64. http://dx.doi.org/10.1017/s0361233300002210.

Full text
Abstract:
Clement Greenberg (1909–94) and Harold Rosenberg (1906–78) were the two art critics most closely associated with abstract expressionism in the 1940s and 1950s. Neither began their careers as art critics, however. By the mid-1980s, Rosenberg had published literary essays and poems in left-wing magazines, and Greenberg's articles and reviews first appeared at the end of that decade. During the 1940s, Greenberg began to write art criticism, and Rosenberg's essays began to appear frequently in the 1950s. By that time, both had become part of the group known informally as the New York Intellectuals, many of whom were Jewish and children of immigrant parents.Highly verbal, vocal, argumentative, and politically left of center, they often published in magazines such as Partisan Review, Commentary, and Dissent. Although both Greenberg and Rosenberg ultimately rejected the more dogmatic and authoritarian aspects of leftist politics, they nevertheless supported the idea that society must move forward, but not necessarily by political means. Greenberg thought that such momentum could be maintained by the cultural elite, and Rosenberg, influenced by surrealism's concerns for the creative process, believed that individuals who were independent minded and creative could do the same. Both encouraged artists to turn from the social concerns that engaged many during the 1930s to apolitical, self-searching themes that came to characterize the art of the 1940s. In effect, they, especially Rosenberg, lionized the artist as an heroic individual. In the words of one historian, both “worked to find a safe haven for radical progress within the realm of individualistic culture.” And both, among the most perspicacious critics of their time, discovered, encouraged, and/or supported artists who ultimately became major figures, such as Jackson Pollock and Willem de Kooning.
APA, Harvard, Vancouver, ISO, and other styles
5

Jachec, N. "Modernism, Enlightenment Values, and Clement Greenberg." Oxford Art Journal 21, no. 2 (January 1, 1998): 121–32. http://dx.doi.org/10.1093/oxartj/21.2.121.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Clarke, David. "The All-Over Image: Meaning in Abstract Art." Journal of American Studies 27, no. 3 (December 1993): 355–75. http://dx.doi.org/10.1017/s0021875800032072.

Full text
Abstract:
It is the contention of Clement Greenberg that the development of modern painting can be seen as a self-critical process whereby this art entrenches itself more firmly in its area of competence. The area of competence of each art, according to Greenberg, coincides with all that is unique to the nature of its medium. Each art form, then, has an essence (albeit one which is only revealed over time) and the constitutive limitations peculiar to painting are considered by Greenberg to be “the shape of the support, the properties of pigment” and above all “the flat surface.” At first sight such a formalist perspective appears to have the advantage of being able to offer an overall picture of the development of modern painting, a unified narrative leading from Manet to American abstract artists of Greenberg's own time, such as Jules Olitski. I shall be arguing here, however, that a clear gestalt is provided by Greenberg's theory only at the cost of eliminating consideration of meaning in art. My point is not that Greenberg gives too much attention to form and not enough to content, and that therefore we merely need to balance the scales. Simply to supplement Greenberg's discussion of the formal aspects of artworks with a consideration of their content would be to accept implicitly the strong division between these two aspects which he makes. It is that very separation which I am contesting: I do not believe that it is possible to make worthwhile statements about form whilst considering it, as Greenberg does, in a vacuum.
APA, Harvard, Vancouver, ISO, and other styles
7

Rauschenberg, Nicholas. "Variaciones Greenberg: apogeo y debacle de un crítico de arte." Trans/Form/Ação 42, no. 3 (September 2019): 119–42. http://dx.doi.org/10.1590/0101-3173.2019.v42n3.07.p119.

Full text
Abstract:
Resumen: Partiendo del texto clásico Vanguardia y kitsch, nos proponemos analizar la obra del crítico norteamericano Clement Greenberg. Después de la intervención del Estado norteamericano en el arte entre 1935 y 1943 (los WTA), Clement Greenberg surge como uno de los principales críticos que buscaron unificar el “arte elevado” de ese país. Para tanto, el crítico norteamericano busca justificar el nivel artístico de esa vanguardia acercando esa producción a las vanguardias europeas, especialmente el cubismo. Veremos los problemas de Greenberg al forjar una “historicidad inmanente” a las obras de arte para justificar una posible convergencia de las vanguardias europeas en el nuevo contexto de la vanguardia norteamericana: el “expresionismo abstracto”. Greenberg, con ayuda del MoMA y del Estado norteamericano buscó fomentar una “pintura a la americana”, una vanguardia conocida como escuela de Nueva York. Buscamos analizar el contexto en que se forjó esa tendencia artificiosamente unificada y cómo el pop art emerge como una crítica performática de ese contexto. Más que vanagloriarse de sus métodos técnicos, el pop art busca subvertir el contexto de recepción del arte que hasta entonces era expectante del “arte serio y elevado” defendido por Greenberg.
APA, Harvard, Vancouver, ISO, and other styles
8

Süssekind, Pedro. "Greenberg, Danto e O Fim da Arte." Kriterion: Revista de Filosofia 55, no. 129 (June 2014): 349–62. http://dx.doi.org/10.1590/s0100-512x2014000100019.

Full text
Abstract:
Este estudo discute a questão do fim da arte com base nas reflexões críticas de Clement Greenberg e na posterior apropriação dessas reflexões por Arthur Danto. Em primeiro lugar, pretendo mostrar como a visão negativa de Greenberg acerca da arte produzida a partir dos anos 1960 implica o tema do fim da arte. Em segundo, pretendo expor a tarefa assumida por Danto a partir de sua avaliação dos diagnósticos e da teoria de Greenberg.
APA, Harvard, Vancouver, ISO, and other styles
9

Hall, James. "Clement Greenberg on English Sculpture and Englishness." Sculpture Journal 4, no. 1 (January 1, 2000): 172–77. http://dx.doi.org/10.3828/sj.2000.4.1.16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Hill, Michael. "Leo Steinberg vs Clement Greenberg, 1952–72." Australian and New Zealand Journal of Art 14, no. 1 (January 2, 2014): 21–29. http://dx.doi.org/10.1080/14434318.2014.930373.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Clement greenberg"

1

Passos, Úrsula. "A possibilidade de aprimoramento do gosto em Clement Greenberg." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-17042015-171258/.

Full text
Abstract:
O crítico de arte americano Clement Greenberg dedica especial atençãoà teoria estética em seus textos dos anos 1970, sobretudo ao juízo de gosto. Esta pesquisa busca evidenciar um aspecto importante na discussão estética em Greenberg, qual seja, a possibilidade de aprimoramento do gosto. Para tal, também se faz necessária uma compreensão de seu sistema crítico, articulando os Seminários por ele ministrados nos anos 70 e seus textos críticos desde os anos 30. Dentro da teoria estética moderna formulada por Greenberg, os textos reunidos em Estética Domésticaservem de base para a investigação do ponto central da pesquisa. Apesar disso, não se pode perder de vista o grande espectro coberto pela obra do crítico, uma vez que seus textos dialogam entre si, retomando e alinhavando os diversos temas abordados.
The american art critic Clement Greenberg pays special attention to the aesthetics in his texts of the 1970s, and to the taste judgement most of all. This study try to put light over an important aspect of Greenberg theory: the taste improvement possibility. To do so, it\'s imperative to comprehend Greenberg\'s critical system, considering his Seminars and also his critics since the 30s. The essays presented on Homemade Estheticswill base the investigations about the central point of interest in this study, having in mind the modern theory formulated by Greenberg. But it\'s necessary, beside this, to consider the great diversity of his work, once his texts can have a dialogue.
APA, Harvard, Vancouver, ISO, and other styles
2

Allen, Ruth Esther. "Clement Greenberg : pure art in an impure world." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433966.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Allen, Ruth Esther. "Clement Greenberg : pure art in an impure world /." Connect to resource, 1995. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1144433966.

Full text
Abstract:
Thesis (M.A.)--Ohio State University, 1994.
Advisors: Mathew Herban and Stephan Melville, Dept. of Art History. Includes bibliographical references (leaves 79-84). Available online via OhioLINK's ETD Center
APA, Harvard, Vancouver, ISO, and other styles
4

Moreno, del Valle Santiago Andrés. "Fronteras modernas de la historia del arte : sobre vanguardia y kitsch de Clement Greenberg." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/116870.

Full text
Abstract:
Licenciado en artes con mención en historia y teoría del arte
El presente texto tiene por finalidad poner en contexto un episodio en la relación entre arte y cultura popular, específicamente, entre arte de vanguardia y cultura popular industrial en el escenario estadounidense. El título de éste hace relación directa a ésta problemática convivencia, y propone que la diferenciación entre ambas tiene su fuente directa en la historia y la teoría del arte.
APA, Harvard, Vancouver, ISO, and other styles
5

Zanella, Tullia <1990&gt. "Clement Greenberg attore e interprete del Modernismo: formulazione e affermazione di una visione della Modernità." Master's Degree Thesis, Università Ca' Foscari Venezia, 2014. http://hdl.handle.net/10579/5133.

Full text
Abstract:
L'elaborato prevede l'analisi della produzione critica di Clement Greenberg,il cui ruolo di precursore dell'Espressionismo Astratto americano è ormai diffusamente accettato. Trattandosi, tuttavia, di un critico dalle posizioni piuttosto radicali, la risposta alla sua considerevole influenza suscita reazioni contrastanti, dal riconoscimento, quasi ammirato, alla confutazione o addirittura all'aperta opposizione. L'elaborato intende illustrare e ordinare le posizioni teoriche greenberghiane, in modo da evidenziarne l'efficacia, ma anche, a volte, le contraddizioni. In particolare si studia il caso di Jackson Pollock e del suo successo, nel tentativo di stabilire il peso di Greenberg nel suo percorso artistico. Si propongono infine delle considerazioni sulle conseguenze che le teorie del critico hanno determinato a livello estetico-formale, ma anche nel sistema dell'arte contemporanea internazionale. Il presupposto è la considerazione della figura di Greenberg in relazione alla complessità dell'età in cui vive e in cui cerca di trovare dei principi di orientamento coerenti nel loro insieme. L'obiettivo non vuole essere quello di esaurire le possibili letture dell'argomento, ma piuttosto di problematizzarlo, tramite la proposta di una serie di spunti da sviluppare in sede di ulteriori confronti.
APA, Harvard, Vancouver, ISO, and other styles
6

Christofides, Sheila School of Art History &amp Theory UNSW. "The intransigent critic: reconsidering the reasons for Clement Greenberg???s formalist stance from the early 1930s to the early 1970s." Awarded by:University of New South Wales. School of Art History and Theory, 2004. http://handle.unsw.edu.au/1959.4/20562.

Full text
Abstract:
This thesis investigates the reasons for Greenberg???s aesthetic intransigence ??? that is, his adherence to a formalist/purist stance, and his refusal to countenance non-purist twentiethcentury avant-garde trends evident in the art he ignored or denigrated, and in the art he promoted. The most substantial body of work challenged is Cold War revisionism (exemplified by the scholarship of Francis Frascina, Serge Guilbaut, and John O???Brian) which casts Greenberg as a politically expedient party to the imperialist agendas of various CIA-funded organisations. The major conclusions reached are that: Greenberg???s aesthetic intransigence was driven by a similarly intransigent ethico-political position, and that his critical method reflected patterns of argumentation set up in ???Avant-Garde and Kitsch??? (1939). This essay, and Greenberg???s ethico-political position, derived, not least, from his direct encounter with American Nazism and anti-Semitism which led him to realise that America (with what he saw as its decadence, cultural apathy, and low-level mass taste) was as vulnerable to the threat of totalitarianism as Europe and Russia. Reflecting this fear, ???Avant-Garde and Kitsch??? had juxtaposed a stagnant, impure culture with a vigorous avantgarde culture of impeccable vintage ??? in the process infusing politics into a formalist, historical conception of modernism Greenberg first devised in the early 1930s and then augmented, during 1938-9, with Hans Hofmann???s theories and others. Thus established, this rudimentary paradigm for Greenberg???s art writing was elaborated upon and made canonical in ???Towards a Newer Laocoon??? (1940), and entrenched after the war concurrent with the entrenchment of his ethico-political position. In the face of a Stalinist/capitalist war of wills, continuing anti-Semitism, and what Greenberg perceived as increasing decadence, he continued to argue for a serious, professionally-skilled (predominantly abstract) art, which would be resistant to the ersatz, yet not dehumanized by excluding the natural. By promoting this as the only genuine avant-garde art (while ignoring or denigrating playful, humorous and anarchic avant-garde tendencies), and by reiterating in the 1950s his pre-war Marxist sympathies, Greenberg was effectively demonstrating his continued hope for a utopian culture (luxuriant, formal, informed and socialist) first visualised in the late 1930s.
APA, Harvard, Vancouver, ISO, and other styles
7

McColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)." Thesis, The University of Sydney, 2007. http://hdl.handle.net/2123/2180.

Full text
Abstract:
This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.
APA, Harvard, Vancouver, ISO, and other styles
8

McColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)." University of Sydney, 2007. http://hdl.handle.net/2123/2180.

Full text
Abstract:
Master of Philosophy
This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.
APA, Harvard, Vancouver, ISO, and other styles
9

Trespeuch, Hélène. "Fin de partie, nouvelle donne : l'historiographie de l'art abstrait en France et aux États-Unis, 1977-1990." Paris 1, 2010. http://www.theses.fr/2010PA010669.

Full text
Abstract:
A la fin des années 1970, une profonde mutation historiographique est en jeu dans le monde de l'art occidental. La crise des avant-gardes apparaît comme le symptôme d'une crise idéologique générale. Une nouvelle ère est annoncée: elle serait postmoderne. Dans ce contexte de perte de repères, l'histoire de l'art du XXe siècle devient l'objet de multiples réévaluations. Critiques, historiens, commissaires d'expositions et artistes remettent en cause les récits qui avaient jusqu'alors prévalu. Au modèle linéaire et téléologique imposé par les avant-gardes veut être substitué un discours plus inclusif. Le modernisme de Clément Greenberg, qui voyait dans l' art abstrait la quintessence de la modernité, est pris pour cible. L'histoire de l'art abstrait est alors profondément remaniée, en France et aux Etats-Unis. Toutefois, comme par le passé, les nouvelles pistes esquissées sont conditionnées par les enjeux propres à la décennie - d'ordre théorique, mais également économique et politique
APA, Harvard, Vancouver, ISO, and other styles
10

Weis, Kristin K. "Art as Negation: A Defense of Conceptual Art as Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461602608.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Clement greenberg"

1

Clement Greenberg between the lines: Including a debate with Clement Greenberg. Chicago: The University of Chicago Press, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Rubenfeld, Florence. Clement Greenberg: A life. New York, NY: Scribner, 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Rubenfeld, Florence. Clement Greenberg: A life. Minneapolis, MN: University of Minnesota Press, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Clement Greenberg, late writings. Minneapolis, MN: University of Minnesota Press, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Duve, Thierry de. Clement Greenberg entre les lignes. Paris: Editions Dis voir, 1996.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

1940-, Wilkin Karen, and Guenther Bruce, eds. Clement Greenberg: A critic's collection. Portland, OR: Portland Art Museum, 2001.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Art czar: The rise and fall of Clement Greenberg. Aldershot, UK: Lund Humphries, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Art czar: The rise and fall of Clement Greenberg : a biography. Boston: MFA Publications, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Froio, Camilla. A quality of Jewishness: Ebraismo e modernismo nella critica di Clement Greenberg. Firenze: Angelo Pontecorboli editore, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

1909-, Greenberg Clement, Fried Michael, and Clark T. J, eds. Writing back to modern art: After Greenberg, Fried and Clark. Abingdon, Oxon: Routledge, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Clement greenberg"

1

Kampmann, Elisabeth. "Greenberg, Clement." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1637-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kampmann, Elisabeth. "Greenberg, Clement: Avant-Garde and Kitsch." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_1638-1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Moonie, Stephen. "Clement Greenberg: ‘A Critic on the Side of History’." In Art Criticism and Modernism in the United States, 9–34. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003098270-2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Rohn, Matthew. "Clement Greenberg and the Postwar Modernist Canon: Minimizing the Role of Germany and Northern Europe." In Legacies of Modernism, 163–73. New York: Palgrave Macmillan US, 2007. http://dx.doi.org/10.1057/9780230603189_13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Hamilton, James W. "Clement Greenberg." In A Psychoanalytic Approach to Visual Artists, 83–104. Routledge, 2018. http://dx.doi.org/10.4324/9780429471452-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

"Clement Greenberg." In A History of the Western Art Market, 327–29. University of California Press, 2017. http://dx.doi.org/10.1525/9780520340770-099.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"Clement Greenberg." In The Hydrogen Jukebox, 65–68. University of California Press, 1991. http://dx.doi.org/10.1525/9780520913844-012.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Talon-Hugon, Carole. "GREENBERG, Clement." In Les théoriciens de l'art, 279–82. Presses Universitaires de France, 2017. http://dx.doi.org/10.3917/puf.talon.2017.03.0279.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

"Letter to Clement Greenberg, 1965." In Always Reaching, 47–62. Yale University Press, 2023. http://dx.doi.org/10.2307/jj.608330.15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Clement Greenberg on narrative in painting." In Time, Narrative & the Fixed Image / Temps, narration & image fixe, 91–104. BRILL, 2001. http://dx.doi.org/10.1163/9789004485686_007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Clement greenberg' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography