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Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. This volume, a lively reassessment of Greenberg’s writings, features three approaches to the man and his work: Greenberg as critic, doctrinaire, and theorist. The book also features a transcription of a public debate with Greenberg that de Duve organized at the University of Ottawa in 1988. Clement Greenberg Between the Lines will be an indispensable resource for students, scholars, and enthusiasts of modern art. “In this compelling study, Thierry de Duve reads Greenberg against the grain of the famous critic’s critics—and sometimes against the grain of the critic himself. By reinterpreting Greenberg’s interpretations of Pollock, Duchamp, and other canonical figures, de Duve establishes new theoretical coordinates by which to understand the uneasy complexities and importance of Greenberg’s practice.” John O’Brian, editor of Clement Greenberg: The Collected Essays and Criticisms “De Duve is an expert on theoretical aesthetics and thus well suited to reassess the formalist tenets of the late American art critic's theory on art and culture. . . . De Duve's close readings of Greenberg . . . contain much of interest, and the author clearly enjoys matching wits with ‘the world's best known art critic.’” Library Journal
Since the 1970s, it has been argued that Abstract Expressionism was exhibited abroad by the post-war US establishment in an attempt to culturally match and reinforce its newfound economic and military dominance. The account of Abstract Expressionism developed by the American critic Clement Greenberg is often identified as central to these efforts. However, this book rereads Greenberg's account through Theodor Adorno and Maurice Merleau-Ponty in order to contend that Greenberg's criticism in fact testifies to how Abstract Expressionism opposes the ends to which it was deployed. With reference not only to the most famous artists of the movement, but also female artists and artists of colour whom Greenberg himself neglected, such as Joan Mitchell and Norman Lewis, it is argued that, far from reinforcing the capitalist status quo, Abstract Expressionism engages corporeal and affective elements of experience dismissed or delegitimated by capitalism, and promises a world that would do justice to them.
"Clement Greenberg is, internationally, the best-known American art critic popularly considered to be the man who put American vanguard painting and sculpture on the world map. . . . An important book for everyone interested in modern painting and sculpture."—The New York Times
Even a decade after his death, Clement Greenberg remains controversial. One of the most influential art writers of the twentieth century, Greenberg propelled Abstract Expressionist painting-in particular the monumental work of Jackson Pollock-to a leading position in an international postwar art world. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States. Caroline Jones's magisterial study widens Greenberg's fundamental tenet of "opticality"-the idea that modernist art is apprehended through "eyesight alone"-to a broader arena, examining how the critic's emphasis on the specular resonated with a society increasingly invested in positivist approaches to the world. Greenberg's modernist discourse, Jones argues, developed in relation to the rationalized procedures that gained wide currency in the United States at midcentury, in fields ranging from the sense-data protocols theorized by scientific philosophy to the development of cultural forms, such as hi-fi, that targeted specific senses, one by one. Greenberg's attempt to isolate and celebrate the visual was one manifestation of a large-scale segmentation-or bureaucratization-of the body's senses. Working through these historical developments, Jones brings Greenberg's theories into contemporary philosophical debates about agency and subjectivity. Eyesight Alone offers artists, art historians, philosophers, and all those interested in the arts a critical history of this generative figure, bringing his work fully into dialogue with the ideas that shape contemporary critical discourse and shedding light not only on Clement Greenberg but also on the contested history of modernism itself.
The aim of this book is to provide an account of modernist painting that follows on from the aesthetic theory of Theodor W. Adorno. It offers a materialist account of modernism with detailed discussions of modern aesthetics from Kant to Arthur Danto, Stanley Cavell, and Adorno. It discusses in detail competing accounts of modernism: Clement Greenberg, Michael Fried, Yve-Alain Bois, and Thierry de Duve; and it discusses several painters and artists in detail: Pieter de Hooch, Jackson Pollock, Robert Ryman, Cindy Sherman, and Chaim Soutine. Its central thesis is that modernist painting exemplifies a form of rationality that is an alternative to the instrumental rationality of enlightened modernity. Modernist paintings exemplify how nature and the sociality of meaning can be reconciled.
Gaps and the Creation of Ideas: An Artist’s Book is a portrait of the space between things, whether they be neurons, quotations, comic-book frames, or fragments in a collage. This twenty-year project is an artist’s book that juxtaposes quotations and images from hundreds of artists and writers with the author’s own thoughts. Using Adobe InDesign® for composition and layout, the author has structured the book to show analogies among disparate texts and images. There have always been gaps, but a focus on the space between things is virtually synonymous with modernity. Often characterized as a break, modernity is a story of gaps. Around 1900, many independent strands of gap thought and experience interacted and interwove more intricately. Atoms, textiles, theories, women, Jews, collage, poetry, patchwork, and music figure prominently in these strands. The gap is a ubiquitous phenomenon that crosses the boundaries of neuroscience, rabbinic thinking, modern literary criticism, art, popular culture, and the structure of matter. This book explores many subjects, but it is ultimately a work of art.
Considering texts by Henry James, Gertrude Stein, James Weldon Johnson, F. Scott Fitzgerald, Ralph Ellison, Richard Wright, James Agee, and William Carlos Williams, alongside film, painting, music, and popular culture, Mark Goble explores the development of American modernism as it was shaped by its response to technology and an attempt to change how literature itself could communicate. Goble's original readings reinterpret the aesthetics of modernism in the early twentieth century, when new modes of communication made the experience of technology an occasion for profound experimentation and reflection. He follows the assimilation of such "old" media technologies as the telegraph, telephone, and phonograph and their role in inspiring fantasies of connection, which informed a commitment to the materiality of artistic mediums. Describing how relationships made possible by technology became more powerfully experienced with technology, Goble explores a modernist fetish for media that shows no signs of abating. The "mediated life" puts technology into communication with a series of shifts in how Americans conceive the mechanics and meanings of their connections to one another, and therefore to the world and to their own modernity.
"Aesthetics after Modernism argues for the ongoing relevance of aesthetics to art after modernism. In it, I show that even what are typically taken to be the hardest of hard cases engage us in recognisably aesthetic ways and, as such, remain amenable to aesthetic analysis. Why, if that is true, do so many art theorists, critics and sometimes even artists appear to think otherwise? I trace the artworld's rejection of aesthetic theory to Clement Greenberg's success in co-opting the discourse of aesthetics, notably Kant's aesthetics, to underwrite his own formalism about modernist art. Not only has this led to Kant being tarred with the brush of Greenbergian formalism; it has also led critics and theorists of later art to miss the resources of the aesthetic tradition, perhaps especially Kant, for capturing what is distinctive about our cognitive relation to the kinds of art that interest them. There is a tendency simply to assume that Kant's aesthetics cannot speak to the more conceptual aspects of our interactions with art. I trace the legacy of Greenberg's modernism and formalism for later art criticism and theory, before offering an interpretation of Kant's theory of art that seeks to show otherwise. I take Conceptual Art as my test case: here is a form of art that often claims to forgo sensible properties altogether. But if Kant's aesthetics can accommodate to our cognitive relation to art with no sensible features relevant to its appreciation as art then it should in principle withstand the challenge of any form of art"--
The last few decades have witnessed an explosion in ideas and theories on art. Art itself has never been so topical, but much recent thinking remains inaccessible and difficult to use. This book assesses the work of those thinkers (including artists) who have had a major impact on making, criticizing and interpreting art since the 1960s. With entries by leading international experts, this book presents a concise, critical appraisal of thinkers and their ideas about art and its place in the wider cultural context. A guide to the key thinkers who shape today's world of art, this book is a vital reference for anyone interested in modern and contemporary art, its history, philosophy and practice.Theodor ADORNO * Roland BARTHES * Georges BATAILLE * Jean BAUDRILLARD * Walter BENJAMIN * JM BERNSTEIN * Pierre BOURDIEU * Nicolas BOURRIAUD * Benjamin BUCHLOH * Daniel BUREN * Judith BUTLER * Noël CARROLL * Stanley CAVELL * TJ CLARK * Arthur C. DANTO * Gilles DELEUZE * Jacques DERRIDA * George DICKIE * Thierry DE DUVE * James ELKINS * Hal FOSTER * Michel FOUCAULT * Michael FRIED * Dan GRAHAM * Clement GREENBERG * Fredric JAMESON * Mike KELLEY * Mary KELLY * Melanie KLEIN * Joseph KOSUTH * Rosalind KRAUSS * Julia KRISTEVA * Barbara KRUGER * Niklas LUHMANN * Jean-François LYOTARD * Maurice MERLEAU-PONTY * WJT MITCHELL * Robert MORRIS * Linda NOCHLIN * Adrian PIPER * Griselda POLLOCK * Robert SMITHSON * Jeff WALL * Albrecht WELLMER * Richard WOLLHEIM
A new critical companion to the Gothic traditions of American CultureThis new Companion surveys the traditions and conventions of the dark side of American culture its repressed memories, its anxieties and panics, its fears and horrors, its obsessions and paranoias. Featuring new critical essays by established and emerging academics from a range of national backgrounds, this collection offers new discussions and analyses of canonical and lesser-known texts in literature and film, television, photography, and video games. Its scope ranges from the earliest manifestations of American Gothic traditions in frontier narratives and colonial myths, to its recent responses to contemporary global events. Key Features Features original critical writing by established and emerging scholarsSurveys the full range of American Gothic, from its earliest texts to 21st Century worksIncludes critical analyses of American Gothic in new media and technologiesWill establish new benchmarks for the critical understanding of American Gothic traditions