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Journal articles on the topic 'Clement greenberg'

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Published: 4 June 2021

Last updated: 10 March 2023

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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.

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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

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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.

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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.

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4

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

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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11

Craven, David. "Clement Greenberg and the ‘triumph’ of Western art." Third Text 7, no. 25 (December 1993): 3–9. http://dx.doi.org/10.1080/09528829308576447.

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12

Powell, Amy Knight. "A Short History of the Picture as Box." Representations 141, no. 1 (2018): 95–130. http://dx.doi.org/10.1525/rep.2018.141.1.95.

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In “The Crisis of the Easel Picture” (1948), Clement Greenberg compares the easel picture, disparagingly, to a box-like cavity cut into the wall. In this essay, I argue that late medieval panel paintings—which indeed often took the form of boxes—show Greenberg to be justified in making this comparison, if not in doing so disparagingly. But what Greenberg failed to fully acknowledge is that the easel picture had already long tried to escape this condition through the opening of the metaphor of the window. Failing to recognize this earlier effort to escape the material conditions of the box, many modernists and postmodernists, like Greenberg, attempting to move beyond the easel picture in the name of an art undivided from life, have unintentionally upheld the easel picture’s own escapist ideology.

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13

Froio, Camilla. "To Brecht and Back. Notes on Clement Greenberg’s Avant-Garde and Kitsch." Aisthesis. Pratiche, linguaggi e saperi dell’estetico 14, no. 1 (July 20, 2021): 153–63. http://dx.doi.org/10.36253/aisthesis-12054.

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Clement Greenberg’s international reputation is partly due to the success of one of his first and most perceptive essays, Avant-Garde and Kitsch, published in the Fall 1939 issue of “Partisan Review”. Despite its unsurpassed importance, the article still requires a broader comprehension of its origins: according to Greenberg’s personal papers, the essay’s main concepts began to take form during the Winter 1939, when the author was involved in the drafting of a new essay on Bertolt Brecht, still unpublished today, at that time submitted to the “Partisan Review”’s editorial board but rejected. A second document enables to trace back Avant-Garde and Kitsch’s roots even further: according to a letter by Greenberg, one of the editors, Dwight Macdonald, plagiarized the rejected script as his last essay, Soviet Society and Its Cinema, clearly seemed to prove. The varied topics articulated in the letter, as well as in the draft on Brecht, would be at the basis of Avant-Garde and Kitsch, becoming crucial and early components of the editorial process of the well-known essay.

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14

Anfam, David. "The Collected Essays and Criticism. Clement Greenberg , John O'Brian." Archives of American Art Journal 36, no. 2 (January 1996): 19–23. http://dx.doi.org/10.1086/aaa.36.2.1557859.

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15

Staten, Henry. "Clement Greenberg, Radical Painting, and the Logic of Modernism." Angelaki 7, no. 1 (April 2002): 73–89. http://dx.doi.org/10.1080/09697250220142065.

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16

Routt, William D. "Making looking public: Clement Greenberg imagines the kitsch public1." Continuum 11, no. 3 (January 1997): 47–58. http://dx.doi.org/10.1080/10304319709359452.

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17

Gontijo, Bruno Henrique Fernandes. "A planaridade na teoria modernista de Greenberg e seu paralelismo com a produção artística de Piet Mondrian e Lygia Clark." Revista Visuais 8, no. 1 (June 17, 2022): 42–57. http://dx.doi.org/10.20396/visuais.v8i1.16157.

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Segundo Clement Greenberg (1960), é inerente à modernidade a realização de uma autocrítica pelo viés do interior, utilizando-se dos próprios meios do que está sendo criticado. O objetivo central do ensaio é correlacionar os conceitos desenvolvidos no artigo “Pintura Modernista”, de Greenberg, com a obra de Piet Mondrian e sua reverberação nos trabalhos da primeira fase de Lygia Clark. Através da ênfase na planaridade, presente tanto nas pinturas e teorias neoplásticas de Mondrian quanto nos quadros concretos de Clark, a arte pictórica utilizou seus próprios mecanismos para se alcançar uma “pureza” universal e refletir sobre a sua razão de existir.

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18

Bueno, Guilherme. "Giulio Carlo Argan, Clement Greenberg: a teoria para a arte moderna como projeto." arte e ensaios 8, no. 8 (September 15, 2022): 16–27. http://dx.doi.org/10.37235/ae.n8.2.

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O trabalho estuda as estruturas dos textos de Giulio Carlo Argan e Clement Greenberg sobre a arte moderna como exemplares de uma estratégia discursiva eminentemente moderna, a de se constituírem como projetos teóricos, isto é, suas teorias se desenvolveram como uma forma de aproximação crítica e histórica interessada em apoiar a realização das transformações socioculturais vislumbradas pela arte moderna e sua utopia.

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19

Foscolo, Guilherme. "Greenberg, Danto e a crítica: problemas de um triângulo." Viso: Cadernos de estética aplicada 2, no. 4 (June 1, 2008): 84–94. http://dx.doi.org/10.22409/1981-4062/v4i/59.

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que é a arte? Se elegemos critérios que nos permitem distinguir obras boas de obras ruins, até que ponto estes critérios são objetivos? Até que ponto é possível, portanto, o exercício objetivo da crítica? O presente artigo pretende ser uma reflexão, mediante a fricção dos pensamentos de Clement Greenberg e Arthur Danto, acerca de dois problemas fundamentais para a filosofia da arte: o problema da definição (o que é arte?) e o problema do julgamento (ou da crítica).

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20

Albera, François. "Clement Greenberg, Écrits choisis des années 1940 – Art et culture." 1895, no. 84 (April 1, 2018): 218–21. http://dx.doi.org/10.4000/1895.6227.

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21

Junqueira, Fátima. "Between Abstraction and Realism: Painting on the edge." ARS (São Paulo) 13, no. 26 (December 22, 2015): 130. http://dx.doi.org/10.11606/issn.2178-0447.ars.2015.106082.

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Este texto pretende fazer uma reflexão sobre a pintura contemporânea, que se destaca por ficar no limite entre dois conceitos clássicos da arte moderna: “figurativo” e “abstrato”. O artigo baseia-se em autores da teoria da arte moderna (como Clement Greenberg e Leo Steinberg) da filosofia (como Jacques Rancière), da teoria da arte contemporânea (como Anne Cauquelin) e nos escritos do pintor alemão Gerhard Richter.

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22

Danto, Arthur C. "Arte sem paradigma." arte e ensaios 7, no. 7 (February 3, 2022): 198–204. http://dx.doi.org/10.37235/ae.n7.18.

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Utilizando o conceito hegeliano de "fim da arte", o autor analisa neste texto a situação da arte contemporânea a partir de seu percurso pessoal - marcado no início, em meados dos anos 60, pelo contato com a exposição das Brillo Box de Andy Warhol - e aponta as características que distinguem fundamentalmente esse período do anterior, dominado pelo paradigma modernista estabelecido pela análise formalista de Clement Greenberg.

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Gonçalves, Rosa Gabriella De Castro. "O cubismo como método." ARS (São Paulo) 15, no. 29 (April 30, 2017): 78. http://dx.doi.org/10.11606/issn.2178-0447.ars.2017.122361.

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Este artigo busca discutir a relevância do Cubismo para a concepção de Modernismo elaborada pelo crítico de arte norte-americano Clement Greenberg a partir da análise de ensaios e textos críticos publicados por ele ao longo de mais de três décadas, nos quais transparece a identificação da unidade do plano pictórico – entendida pelo crítico como uma das características mais essenciais da pintura moderna, ao lado da planaridade – com o pensamento plástico cubista.

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Palin, Tom. "The context of medium specificity: From Riegl to Greenberg." Journal of Contemporary Painting 5, no. 2 (October 1, 2019): 253–72. http://dx.doi.org/10.1386/jcp_00003_1.

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By the mid-1960s the notion of medium specificity had come to define that which was most insular and protectionist about painting, with the idea of medium specificity entirely synonymous with the formalist criticism of Clement Greenberg. As such, the richness of the term, and its historical situatedness, was lost behind a particular defence of the virtues of modernist painting. This article attempts to draw out the history and nuances of medium specificity: to trace its development within an extended body of speculation ‐ commonly termed formalist ‐ in order to re-open a discussion, too often sidestepped within contemporary discourse, as to the relationship that exists between the work of art and that which the work of art can claim to bear witness to.

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25

Gardner, Colin. "Barnett Newman's Zip as Figure." Deleuze Studies 6, no. 1 (February 2012): 42–54. http://dx.doi.org/10.3366/dls.2012.0045.

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Challenging the formalist critical legacy of Clement Greenberg and Michael Fried, this essay advocates an alternative philosophical lineage for Modernist painting through a specific focus on Barnett Newman's vertical stripe or ‘zip’. This genealogy is rooted in Newman's own self-confessed interest in painting as a disclosure of the sensation of time and Deleuze's overt break with Kant. In light of the latter, the zip takes on the function of Deleuze's Figure: the material support that generates, sustains and also disperses a precise sensation.

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26

Greenberg, Clement. "Hacia un nuevo Laocoonte." Co-herencia 17, no. 33 (October 30, 2020): 19–39. http://dx.doi.org/10.17230/co-herencia.17.33.1.

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El modernismo es una teoría de la relación del arte con su medio, y en ningún lugar se ve esto más claro que en el pensamiento de Clement Greenberg (1909-1994). Greenberg fue probablemente el crítico de arte más influyente del siglo xx, uno de los responsables del reconocimiento del impresionismo abstracto y de la pintura de campos de color, así como del desplazamiento del centro del mundo del arte desde París a Nueva York. Su práctica como crítico de arte estaba, además, fundada en una ambiciosa teoría del modernismo artístico y, en particular, pictórico. “Towards a Newer Laocoön”, aparecido originalmente en 1940 y que se publica aquí por primera vez en español, forma parte del puñado de ensayos imprescindibles para comprender su pensamiento estético (la lista incluye “Vanguardia y kitsch” [1939], “Pintura modernista” [1962] y, quizá, el “Seminario 1” [1973] y el “Seminario 6” [1976]).

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27

WALKER, JOHN A. "ART CZAR: THE RISE AND FALL OF CLEMENT GREENBERG BY ALICE GOLDFARB MARQUIS." Art Book 14, no. 2 (May 2007): 50–52. http://dx.doi.org/10.1111/j.1467-8357.2007.00813.x.

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HART, P. "The Essential Legacy of Clement Greenberg from the Era of Stalin and Hitler." Oxford Art Journal 11, no. 1 (January 1, 1988): 76–87. http://dx.doi.org/10.1093/oxartj/11.1.76.

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Sokol, David M. "Art Czar: The Rise and Fall of Clement Greenberg by Alice Goldfarb Marquis." Journal of American Culture 30, no. 1 (February 23, 2007): 115–16. http://dx.doi.org/10.1111/j.1542-734x.2007.00471.x.

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30

Sessa, Marcello. "Nell’arena del quadro. Il performativo come soglia del modernismo secondo Harold Rosenberg e Clement Greenberg, passando per Allan Kaprow." Eikon / Imago 11 (March 1, 2022): 355–66. http://dx.doi.org/10.5209/eiko.76765.

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Il presente contributo intende reinterpretare la nozione di performativo nell’ambito dei tentativi di ontologia dell’arte del modernismo americano di metà Novecento. Vorrebbe anzitutto sottolineare il ruolo anticipatore di certa critica d’arte – si pensa nella fattispecie a Clement Greenberg ma soprattutto a Harold Rosenberg – nel riconoscere il portato teorico del concetto e la sua incidenza nell’evoluzione del fatto artistico contemporaneo.Si analizzeranno nello specifico gli aspetti che coinvolgono il versante della performance nella concezione di opera d’arte modernista, ora secondo Rosenberg (per cui è conseguenza inevitabile della pittura d’azione cristallizzata in un ‘quadro-arena’), ora secondo Greenberg (che lo tratteggia in negativo come svalutazione dell’autodeterminazione del quadro che si fa ‘quadro-medium’).Si proseguirà poi verificando gli effetti del passaggio del performativo dal quadro all’ambiente e all’evento puro, prendendo a esempio la teoria dell’happening e della non-arte di Allan Kaprow, e la si confronterà con le precedenti.I risultati di tale ricognizione condurranno all’ipotesi che il performativo rappresenti, allo stesso tempo, una soglia della teoria dell’immagine modernista e una svolta verso il postmodernismo.

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Díaz Soto, David. "Stanley Cavell y el debate sobre la "nueva música" : razones y sinrazones de un desencuentro." Brocar. Cuadernos de Investigación Histórica, no. 36 (June 21, 2012): 285–311. http://dx.doi.org/10.18172/brocar.1572.

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Examinaremos las críticas dirigidas por el filósofo Stanley Cavell (hoy más conocido como teórico del cine), en algunos de sus textos tempranos, contra ciertas prácticas de la vanguardia musical de los años 60. Situaremos dichas críticas en el contexto de la teoría cavelliana de la modernidad, del acto crea - tivo y de los “medios” artísticos, de la cual se sigue una peculiar concepción “dramática” del medio musical. Cavell dice suscribir una posición “modernista” en relación con el arte reciente, inspirándose en Clement Greenberg, el gran teó - rico del modernismo tardío; no obstante, señalaremos aspectos importantes en los que la posición de Cavell discrepa de la de un formalista como era Greenberg. Pondremos así de relieve el carácter “eticista” de la posición de Cavell en materia de estética y teoría del arte; entendiendo por “eticismo” aquella posición que, sin necesariamente renunciar por ello a la tesis de la autonomía del arte, sostiene la relevancia de consideraciones éticas y morales en el juicio sobre fenómenos y prácticas artísticas. Terminaremos valorando la vigencia actual del discurso de Cavell sobre música.

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Ruiz Moscardó, Javier. "La mayor comprensión para el mayor número: la posición de Noël Carroll acerca del “arte de masas”." Revista Guillermo de Ockham 16, no. 1 (June 13, 2018): 37–44. http://dx.doi.org/10.21500/22563202.3581.

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En el presente trabajo expondremos las líneas maestras de la teoría del arte de masas de Noël Carroll. La novedad de su propuesta radica en que, al contrario de la mayoría de pensadores que han abordado el fenómeno, nuestro filósofo busca una teoría puramente descriptiva que renuncie a la valoración de su objeto de estudio, limitándose a ofrecer un marco conceptual capaz de clasificar las expresiones artísticas de la sociedad de masas. Como complemento, intentaremos contextualizar su propuesta presentando las bases del debate mediante las ideas de Clement Greenberg y Dwight MacDonald, principales fundadores del tópico. Por último, concluiremos con algunos materiales para la crítica de la posición de Carroll.

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33

GÜNGEN, Zafer. "CLEMENT GREENBERG BİÇİMCİLİĞİ BAĞLAMINDA AMERİKAN SOYUT SANAT HAREKETİNİN SOĞUK SAVAŞ DÖNEMİ POLİTİKALARI İLE İLİŞKİSİ." Journal of Academic Social Sciences 92, no. 92 (January 1, 2019): 84–97. http://dx.doi.org/10.16992/asos.14958.

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34

Santos, Antonio Carlos. "Paris, mito e declínio / Nova York, o século XIX do futuro." Revista Crítica Cultural 1, no. 1 (June 1, 2006): 14. http://dx.doi.org/10.19177/rcc.v1e1200614-17.

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O ensaio faz um recorte de dois momentos da arte moderna ocidental: no primeiro, a cidade de Paris aparece como o mito da cultura do século XIX construído pelos livros; a cidade por onde passeiam Walter Benjamin e Nestor Victor, o flaneur e o dandy, personagens que cruzam e se contrapõem à multidão que toma as ruas. No segundo, a Nova York que surge no pós-guerra como uma nova capital do ocidente, uma cidade cujo desenho modernista, linhas retas que se perdem no horizonte, deixam tonto um visitante europeu como Jean-Paul Sartre. É nela que Clement Greenberg teoriza sobre o expressionismo abstrato e que Murilo Mendes vê "o século XIX do futuro".

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35

Kuspit, Donald. "Meyer Schapiro's Jewish Unconscious." Prospects 21 (October 1996): 491–508. http://dx.doi.org/10.1017/s0361233300006645.

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In 1994, Margaret Olin, reviewing the fourth volume of Meyer Schapiro's Selected Papers, observed that Schapiro “only seldom addressed [his] Jewish heritage”. Surely, she suggests, it must have influenced his practice of art history and criticism. But she is at a loss to say how. Olin notes that Schapiro's neglect of the issue is all the more conspicuous in view of the fact that his contemporaries, the Jewish-American art critics Clement Greenberg and Harold Rosenberg, openly viewed modern art from a Jewish perspective. While it was one among several heuristic gambits, they often privileged it as the most revelatory: the perspective that could disclose what is most at stake or immanent in modern art.

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36

Eyck, Toby A. Ten, and Lawrence Busch. "Justifying the Art Critique: Clement Greenberg, Michael Kimmelman, and Orders of Worth in Art Criticism." Cultural Sociology 6, no. 2 (May 9, 2012): 217–31. http://dx.doi.org/10.1177/1749975512440228.

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Siedell, Daniel A. "Contemporary Art Criticism and the Legacy of Clement Greenberg: Or, How Artwriting Earned Its Good Name." Journal of Aesthetic Education 36, no. 4 (2002): 15. http://dx.doi.org/10.2307/3301564.

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Chen, Mei-Hsin. "El ojo del espectador." Calle 14 revista de investigación en el campo del arte 17, no. 32 (July 22, 2022): 320–32. http://dx.doi.org/10.14483/21450706.19625.

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El inicio de la era de la imagen a mediados de la década de 1950 hizo que se reconsiderara la metodología de la historia del arte. Desde entonces, los críticos y estudiosos del arte han prestado cada vez más atención al papel del espectador en el arte y, por tanto, han desarrollado teorías del arte centradas en el espectador. Estos cambios, que tuvieron un impacto considerable en la estética visual de la década de 1960, se trasladaron al campo de la historia del arte en la década de 1970. Este artículo trata de autores como Clement Greenberg, Michael Baxandall y Svetlana Alpers, quienes sitúan la experiencia del ojo del espectador y la cultura visual en el centro de sus estudios, con el fin de examinar el empleo de estos componentes en las metodologías propuestas por la nueva historia del arte.

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Auther, E. "The Decorative, Abstraction, and the Hierarchy of Art and Craft in the Art Criticism of Clement Greenberg." Oxford Art Journal 27, no. 3 (March 1, 2004): 339–64. http://dx.doi.org/10.1093/oaj/27.3.339.

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Waki, Fábio. "Ontology for New Media Hybridity." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, no. 1 (December 27, 2017): 97–101. http://dx.doi.org/10.14195/2182-8830_5-1_21.

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Review of Jihoon Kim, Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, New York: Bloomsbury, 2016, 404 pp., ISBN 978-1-6289-2293-6. In Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age, Jihoon Kim tries to describe the ontology of contemporary artworks produced within the universe of New Media Art, particularly the ontology of those works he understands as hybrid moving images, images whose typical materialities are denatured, deconstructed, and resignified when remediated through digital platforms, technical supports or artistic practices initially strange to them. Revising theories by important art critics of the last decades, such as Clement Greenberg and Rosalind Krauss, and combining them with theories by contemporary art critics, such as Lev Manovich and Peter Weibel, Kim provides us new tools for understanding why this New Media hybridity is feasible as visual fruition, as well as why it is progressively capable of grasping new, historically-oriented, image possibilities.

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Guyer, Paul. "Kant’s Theory of Modern Art?" Kantian Review 26, no. 4 (December 2021): 619–34. http://dx.doi.org/10.1017/s1369415421000492.

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Abstract Can Kant’s theory of fine art serve as a theory of modern art? It all depends on what ‘modern’ means. The word can mean current or contemporary, indexed to the time of use, and in that sense the answer is yes: Kant’s theory of genius implies that successful art is always to some extent novel, so there should always be something that counts as contemporary art on his theory. But ‘modern’ can also be used adjectively, perhaps more properly as ‘modernist’, to refer to art of a particular moment, in some cases superseded by postmodern art. Kant’s theory is not a theory of modernist art in at least one prominent form, the formalism of Clement Greenberg. But other theories, such as those of George Dickie and Arthur Danto, although triggered by particular works of modernist art and meant to accommodate them, were meant to be theories of what art was always doing, and Kant’s is too. In that sense it can be considered a modern theory of art but not a theory of modern art.

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Martins, Luiz Renato. "Arte Negativa e Sequestros Dialéticos na Obra de Antonio Dias." Aurora. Revista de Arte, Mídia e Política 13, no. 38 (November 25, 2020): 50–69. http://dx.doi.org/10.23925/1982-6672.2020v13i38p50-69.

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Desde os trabalhos de Winckelmann (1717-1768) e Herder (1744-1803) em meados do século 18, o universalismo, por um lado, e o nacionalismo, por outro, reivindicam a superioridade dos seus valores artísticos ante os do oponente. Embora remonte à era do Esclarecimento, a querelase desdobra ainda hoje pois em parte – de modo insciente e a despeito de seus próprios termos – reflete os ritmos e as consequências desiguais do processo de desenvolvimento sistêmico e globalmente combinado da modernização capitalista, em curso desde o mercantilismo. Assim, para aferir a persistência da querela, basta recordar da polêmica do pós-modernismo e do multiculturalismo contra a concepção do crítico de arte formalista norte-americano Clement Greenberg (1909-94) acerca do modernismo.Apesar do caráter acre e acirrado do confronto entre "universalistas" e "localistas," ambos os lados têm muito em comum e compartem por exemplo a noção de autonomia estética, fundada na crença da imunidade da forma estética ante a materialidade do processo histórico geral. Este trabalho não entrará nessa disputa, cujos argumentos são marcadamente anti-dialéticos de ambos os lados.

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Kedl, Justin. "Cowboys: Abstract Expressionism, Hollywood Westerns, and American Progress." Arts 12, no. 1 (February 14, 2023): 33. http://dx.doi.org/10.3390/arts12010033.

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Abstract Expressionism has been influenced heavily by the popular theory of America’s undying, progressive spirit, originally conceived by Frederick Jackson Turner and given its most potent form in Western films. Turner’s “Frontier Thesis” was embodied in stories of John Wayne and other cowboy heroes taming the supposed edges of civilization. The mythic West as constructed by Turner and these films cemented American identity as one of exploration and innovation, with the notable condition of Indigenous Americans ceding their sovereignty. While Abstract Expressionism was commonly connected to the mythic West through the origin stories of Jackson Pollock and Clyfford Still, the critical understanding of this movement as the height of painterly achievement built on Native American precedents evinces a deeper connection to Turner’s popular Frontier theory. As critics like Clement Greenberg cast flatness as the last frontier of painting, and as artists like Pollock and Barnett Newman claimed Native American ritual practices as a part of their aesthetic lineage, Abstract Expressionism proved as effective as Hollywood Westerns in corroborating and perpetuating the idea of America’s frontier spirit.

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Getsy, David. "Tactility or opticality, Henry Moore or David Smith: Herbert Read and Clement Greenberg on The Art of Sculpture, 1956." Sculpture Journal 17, no. 2 (December 2008): 75–88. http://dx.doi.org/10.3828/sj.17.2.7.

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Mougin, Pascal. "Beckett et l’art minimal américain." Samuel Beckett Today / Aujourd’hui 34, no. 2 (August 24, 2022): 307–18. http://dx.doi.org/10.1163/18757405-03402009.

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Résumé On ne peut comprendre l’importance majeure de l’œuvre de Beckett dans l’art contemporain sans revenir sur la réception de l’écrivain par les « néo-avant-gardes » américaines des années 1960 – l’art minimal en particulier –, qui marquent le moment inaugural, précisément, de l’art contemporain. Beckett fournit alors aux artistes ainsi qu’aux critiques qui les défendent une référence essentielle dans leur tentative de repenser la notion d’œuvre d’art et l’expérience esthétique contre les fondamentaux du modernisme tel que les conçoit Clement Greenberg. Pourtant, Beckett lui-même n’a semble-t-il jamais participé aux débats sur le minimalisme américain ni seulement évoqué les artistes new-yorkais. Et pour cause : les artistes de son temps qui l’intéressent sont tous des peintres de l’expressionnisme abstrait, autrement dit le courant moderniste contre lequel se positionne la nouvelle avant-garde new-yorkaise. Le hiatus est donc profond entre les références artistiques de l’écrivain et les artistes qu’il a lui-même inspirés. On s’intéressera ici à ce moment originel, qui reste largement ignoré par la critique française, ainsi qu’aux différentes lectures qui, rétrospectivement, en ont été proposées par la critique anglo-américaine des vingt dernières années.

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Hrycyk, Paula. "CRÍTICA DE ARTE E INTERVENCIÓN POLÍTICA EN ARGENTINA Y NORTEAMÉRICA (1930-1950) Aportes simbólicos a la reconfiguración de las identidades nacionales." Historia y Espacio 9, no. 40 (August 15, 2013): 111–30. http://dx.doi.org/10.25100/hye.v9i40.1711.

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Este artículo tiene el propósito de analizar la dimensión política de la crítica de arte en la Argentina y los Estados Unidos de las décadas del 1930 a 1950 desde la perspectiva de la historia intelectual. Los modos de intervención de dos críticos, como Jorge Romero Brest y Clement Greenberg, contribuyen a la consolidación no solo del campo artístico de sus respectivos países, sino también a la construcción de una identidad nacional que estaba siendo bosquejada. Encontramos que dichas prácticas han tenido una singular impronta en la manera en que estos países se figuran a sí mismos y proyectan al mundo. Organizaremos nuestro trabajo a partir de dos ejes problemáticos. Por un lado, estudiaremos la manera en la que las contribuciones de los críticos al debate sobre el arte puro o el arte comprometido impactan en la definición de lo que se entiende por arte nacional en el periodo señalado. Bajo qué condiciones publican, cómo ejercitan su capacidad de convocatoria, convicción y dirección. Por el otro, intentaremos rastrear los alcances de la consolidación de la idea de Nueva York comoepicentro del mundo del arte.

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Lang, Colin. "A Well-Tempered Modernist." New German Critique 49, no. 1 (February 1, 2022): 41–66. http://dx.doi.org/10.1215/0094033x-9439615.

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In the vast archive of literature from, and on, Hans Blumenberg, there are few mentions of theories of modern or contemporary art. Two exceptions exist, which both took place in 1966. One deals with the topic more obliquely: a lecture on Paul Valéry given at the Akademie der Künste in West Berlin. The second takes the topic of pop and op art head-on in a discussion led by Blumenberg for the research group Poetik und Hermeneutik. In neither does Blumenberg offer anything like a working theory of contemporary art, but his lecture enacts a performative contemporary reading of Valéry’s attempt to make Leonardo da Vinci relevant for the French poet’s age. Comparing Blumenberg’s comments on contemporary art with those in US formalist art criticism (Clement Greenberg, Michael Fried) provides a unique constellation of later modernist thinking on the plastic arts (painting and sculpture, chiefly). This article attempts to read Blumenberg as a contemporary thinker for art, an attempt that revisits the provocation that Blumenberg set for himself in 1966 when considering the stakes for contemporary art forms. Can one say that Blumenberg was himself a modernist?

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Christofides, Sheila. "A Tribute to Janice Van Horne's Legacy: Including a review of her memoir,A Complicated Marriage: My Life with Clement Greenberg." Australian and New Zealand Journal of Art 16, no. 1 (January 2, 2016): 109–13. http://dx.doi.org/10.1080/14434318.2016.1173619.

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Roberts, John. "After Adorno: Art, Autonomy, and Critique." Historical Materialism 7, no. 1 (2000): 221–39. http://dx.doi.org/10.1163/156920600794750829.

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AbstractIn conversation with two artist friends recently, both declared that Adorno was a far more serious and productive guide to their practices than any other philosopher or aesthetician. Given their work and histories as artists – one had lived through the period of conceptual art and had been won over briefly to its arguments, the other had emerged out of its ruins — this was a surprise. Like many artists in the late 1970s and early 1980s, both had fallen under the sway of Walter Benjamin, and were convinced, in their respective ways, that the dissolution of the category of Art into the forms of modern technology and everyday life was a good thing. Indeed, both artists were proselytisers for photography and its powers of social reference and communality. Discussions of art's autonomy were not on their checklist of priorities. In fact, if autonomy was discussed or thought of at all, it was denounced as a bourgeois category. Autonomy was what Clement Greenberg and modernist painters believed in, and the bane of all materialist art criticism. It was not what serious post-conceptualist artists, armed with the ‘critique of representation’ and theories of the social production of art, should be worrying about.

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Mikołajewska, Marta. "Życie jako kicz. Uwagi o sztuce biologicznej." Załącznik Kulturoznawczy, no. 3 (2016): 206–24. http://dx.doi.org/10.21697/zk.2016.3.12.

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Bio art is a specific trend of contemporary art practice, where artists adapt solutions offered by biosciences in order to create living works of art. Their actions are a subject to a discussion with dominant voices concerning the significance of such experiments for the fundamental ascertainments concerning what life is, but also for understanding the status of these constructed entities, which thus fur have not existed in nature. Posthumanist discourses such as aesthetics of care, non-anthropocentric aesthetics and zoe-aesthetics are a few examples of this type of reflection. However, is it possible that works, which could be described in terms of kitsch, constitute a solid ground for discussion of this kind? Clement Greenberg has written of kitsch that it is ʻmechanical and operates by formulas. Kitsch is vicarious experience and faked sensations. Kitsch changes according to style, but remains always the same. Kitsch is the epitome of all that is spurious in the life of our times . If kitsch represents everything that is spurious and non-authentic in our life, can we use it in order to make general statements concerning the basis of life? Can we make statements concerning the fundamental problem of life on the basis of projects, which confront us with glow-in-the-dark rabbits or paintings created with genetically modified colorful bacteria? In my paper I would like to refer to these questions on the basis of an artwork that can be classified in terms of kitsch.

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