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| | Printable Version on Encyclopedia.com |
 | | Greenberg's criticism was primarily concerned with art produced after abstract expressionism. | | | Greenberg's philosophy of art was outlined in a series of lectures posthumously published as Homemade Esthetics (1999). | | | In his essay collection Art and Culture (1961), Greenberg argued that the essence of modern art, especially painting, lies in its purely visual content. |
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http://www.encyclopedia.com/printable.aspx?id=1E1:greenberc
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| | Greenberg, Clement |
| | Greenberg became an extraordinarily controversial figure, widely reviled as authoritarian, élitist, and exclusionary by such artists as Ronald Bloore, and praised by many others as a great eye, a defender of high artistic standards, a stimulus to creativity and a generous entrée to art abroad. | | | In the first phase of his career (1939-1948), Greenberg was a Trotskyite socialist with an interest in the social and psychological background of the artist and in theories of the medium, especially Hans Hofmann's. | | | In 1962 Greenberg was guest critic at the EMMA LAKE ARTISTS' WORKSHOPS, where he introduced the work of Morris Louis, Jules Olitski and Kenneth Noland to a Canadian audience, stimulated Andrew Hudson as a critic, and had a significant impact on painters Kenneth LOCHHEAD, Dorothy KNOWLES and Ernest LINDNER. |
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http://www.thecanadianencyclopedia.com/index.cfm?PgNm=TCE&TCE_Version=A&ArticleId=A0010025&mState=1
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| | CLEMENT GREENBERG PAPERS, 1928-1995 |
| | Greenberg's reputation began to decline in the late 1970s after it was discovered that, while serving as the executor of David Smith's estate, he had had the paint stripped from six Smith sculptures. | | | Greenberg's ties to artists, critics, dealers and curators gave him unequalled influence in a booming American art market, influence that endured through the 1960s and 1970s, even though others did not always endorse the artists he championed, such as Ken Noland and Jules Olitski. | | | From 1950-1955, Greenberg was romantically involved with the much younger Helen Frankenthaler, with whom he remained friends for the rest of his life. |
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http://www.getty.edu/research/conducting_research/finding_aids/greenbrg_m4.html
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| | Columbia Museum of Art: General Info (2003 News Releases) |
| | Greenberg is widely celebrated as this country's greatest art critic, his direct prose and fierce conviction advocated a new style of American art, one based on abstraction and a dedication to the formal properties of art: line, gesture, and color. | | | Clement Greenberg: A Critic's Collection will be on exhibition in the Lipscomb Family Galleries and the Dawn Helfont Christopher Galleries at the Columbia Museum of Art from March 15 to June 15, 2003 with a members opening reception Friday, March 14th from 6:00 to 9:00pm. | | | The collection of paintings, prints, drawings and sculpture was shaped by the friendships and passions of Greenberg, one of the most important art critics of the twentieth century, and acquired in 2000 by the Portland Art Museum. |
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http://www.colmusart.org/html/news2003/0202.shtml
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| | abstraction |
| | Clement Greenberg, art critic and champion of abstract painting, saw art's natural course to be a purification of medium and the elimination of the influence of other media. | | | Greenberg's "Laocoon" essay narrates several centuries of the history of art and ultimately argues for the dominance of abstract art not because of any conscious decision but because of "the imperative [of] history" (37). | | | The art that Greenberg prized was the Abstract Expressionist work being done in New York, especially that of Jackson Pollock. |
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http://humanities.uchicago.edu/faculty/mitchell/glossary2004/abstraction.htm
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| | Amazon.com: Clement Greenberg Late Writings: Books: Clement Greenberg,Robert C. Morgan |
| | Clement Greenberg was the most influential art critic of the postwar period. | | | Greenberg's writing became a little thicker as he aged, but he is about as down-to-earth as a critic of his type can be. | | | Clement Greenberg (1909-1994) was a colossus of twentieth-century American art, achieving a degree of authority almost unimaginable for a critic today. |
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http://www.amazon.com/exec/obidos/tg/detail/-/0816639388?v=glance
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| | artnet.com Magazine Reviews - A Critic's Collection |
| | Greenberg was the connoisseur of a particular kind of art, and his collection is designed to show that it is the only kind of art that matters -- the grand American climax of 20th-century abstraction. | | | Greenberg bashing seems to have become an industry in itself, but his collection makes clear that in attacking his formalist esthetics -- backed up by a brilliant historical and philosophical argument, summarized in Karen Wilkin's essay in the handsome, comprehensive catalogue -- one is attacking the very idea of fine art. | | | "Clement Greenberg: A Critic's Collection," July 14-Sept. 16, 2001, at the Portland Art Museum, 1219 SW Park Avenue, Portland, Ore. 97205. |
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http://www.artnet.com/Magazine/REVIEWS/kuspit/kuspit8-2-01.asp
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| | Clem Speaks |
| | Greenberg replies that he was a great painter until 1926 and was good at drawing throughout his life. | | | Greenberg responds that information itself is neutral, but has played a role in the crisis in art education, noting that trendiness has penetrated all the way to Western. | | | The questioner asks what is Greenberg's relationship to formalism and "the tyranny of taste?" Greenberg replies that it is a mistake to associate formalism with himself and that power and art writing don't mix. |
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http://newcrit.art.wmich.edu/cg/ClemSpeaks.html
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| | rothman |
| | Clement Greenberg, renowned as the most significant mid-century American art critic and arguably the most articulate champion of modernist abstraction, might well have been expected to embrace the paintings of Wassily Kandinsky as, at the very least, precursors and models to the paintings of the New York artists that he most admired. | | | Greenberg's criticism of Kandinsky in particular was also Hofmann's.[6] And during the 1940s and 1950s, this particular criticism was so pervasive that even figurative painters agreed with the critic. | | | As a result, claimed Greenberg, Kandinsky's paintings appeared to him to be "pocked with 'holes.'"[4] As he scanned the painting's surface, the supporting field sometimes seemed to drop out, as if there were no ground upon which to support the figural motifs. |
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http://www.eiu.edu/~modernity/rothman.html
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| | barnett newman zips |
| | Greenberg establishes a clear opposition here between draftsmanship, compactness and rectilinearity in cubism or painterliness and tactility in abstract expressionism and the color, openness and thin applications of paint (the dyed effects) that characterize the work of Newman and his bedfellows. | | | In a particularly revealing passage, Greenberg writes "the question now asked through their art is no longer what constitutes art, or the art of painting, as such, but what irreducibly constitutes good art as such. | | | When Greenberg presents and describes the series of concerns that preoccupy these three painters, he addresses the ways in which they do paint as much as the ways in which they do not. |
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http://www.cm.aces.utexas.edu/faculty/skrukowski/writings/zips.html
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| | Commentary Magazine - Art, Politics & Clement Greenberg |
| | ...Greenberg was writing during a period of considerable artistic confusion in America, with four major movements contending in a stylistic free-for-all: the "Americanscene" painters, from Thomas Hart Benton to Grant Wood... | | | ...This formalist program Greenberg would follow without detour for the remainder of his career.* In themselves, his ideas were derived from European modernism, and in particular from the Bauhaus painter Hans Hofmann, whose lectures Greenberg had been attending... | | | ...Greenberg, in Guilbaut's influential reading, was to be understood as an aesthetic cold warrior, one who promoted American art as a vehicle of American hegemony... |
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http://www.commentarymagazine.com/Summaries/V105I6P59-1.htm
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| | Gadfly Online. |
| | Shedding light on Greenberg’s significance to criticism, the text of this important book discusses his famous studio visits, his role as a friend to particular artists and the controversy surrounding his commentary. | | | Clement Greenberg (1909-1994) was the most renowned and controversial American art critic of the 20 | | | In 1941 Greenberg began to review art exhibitions, producing, over the next three decades, a body of perceptive, forthright essays that established him as quite possibly the most significant art critic of the twentieth century, certainly its most celebrated and disputed. |
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http://www.gadflyonline.com/9-2-01/art-greenberg.HTML
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| | ArtandCulture Artist: Clement Greenberg |
| | Central to Greenberg’s aesthetic theory is a notion of self-reference: each painting that enters the continuum of art history is a critique of painting. | | | Greenberg continued to write about art well into the 1990s; three years before his death he penned “The Notion of Post-Modern.” While much of post-Greenberg art criticism is dedicated to dismantling his ideas, the contemporary critic Matthew Collings insists, “He should be anybody’s favorite American art critic.” | | | Greenberg’s influential Formalism attracted a coterie of artists to Bennington College, known popularly as Greenbergian Formalists. |
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http://www.artandculture.com/cgi-bin/WebObjects/ACLive.woa/wa/artist?id=583
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| | Clement Greenberg |
| | Clement Greenberg began his career in the 1930s by contributing essays on politics and art to Partisan Review and art criticism to The Nation. | | | Greenberg was a regular presence in the studios of artists such as David Smith, Jackson Pollock, and Helen Frankenthaler, and his advice had a direct influence on the work of the artists he advocated. | | | Although he became less active in the 1960s, his role in drawing international attention to American art and shaping the character of contemporary art theory ensured him a lasting place in the art world. |
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http://www.npg.si.edu/cexh/artnews/greenberg2.htm
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| | Commentary Magazine - Clement Greenberg: An Appreciation |
| | ...But-and this is the crucial point-whatever his indulgence in socialist rhetoric, Greenberg always insisted on the relative autonomy of art... | | | ...Greenberg, by contrast, instantly discerned that something important was going on in Abstract Expressionism (as it would come to be called), and his criticism sounded a new and vigorous note... | | | ...but he also produced a grotesque caricature of Greenberg's ideas, according to which Greenberg was supposed to have thought that art criticism should equal art as a creative endeavor... |
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http://www.commentarymagazine.com/Summaries/V98I3P52-1.htm
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| | Sunday Morning - Exhibit A: Clement Greenberg - Changing the Way We See - part 5 -10/04/2005 |
| | And we're focusing particularly on Greenberg's essays, 'Avant Garde and the Kitsch' and from 1953, 'The Plight of Culture', both republished in the 1961 Art and Culture: Critical Essays. | | | And in this week's Exhibit A we were reviewing Clement Greenberg's Art and Culture: Critical Essays, and particularly his 1939 essay, 'The Avant Garde and the Kitsch', with the prolific New York art critic, Donald Kuspit, author of the End of Art and one of Clement Greenberg's first biographers. | | | The fifth in our series on art books and essays which have changed the way we see and understand the visual arts, today focusing particularly on Clement Greenberg's influential essays 'Avant-Garde and the Kitsch' (1939) and 'The Plight of Culture' (1953), both of which were republished in the 1961 Art and Culture: Critical Essays. |
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http://www.abc.net.au/rn/arts/sunmorn/stories/s1338911.htm
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| | Clement Greenberg as the American art world remembers him |
| | They all said one of the most important ways that modern art differs from older art is that it is not in the service of the government, history, or mythology -- all the large collective institutional structures of the society -- but, that modern art arises, to some extent, as a critique of these institutions. | | | Clement Greenberg as the American art world remembers him | | | "Clement Greenberg: As the art world remembers him" (Interviews with John Russell, Hilton Kramer, William Rubin, Robert Rosenblum, and Linda Nochlin), The Art Newspaper, June 1994, p. |
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http://www.jasonkaufman.com/articles/clement_greenberg_as_the_america.htm
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| | Oxford University Press: Homemade Esthetics: Clement Greenberg |
| | Greenberg's 'Seminars,'collected here for the first time, are the summation of his remarkable career as a critic and theorist.... | | | Clement Greenberg's books include Art and Culture and four volumes of collected essays and criticism. | | | In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most expansive statement of his views on taste and quality in art, arguing for an esthetic that flies in the face of current art world fashions. |
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http://www.us.oup.com/us/catalog/general/subject/Philosophy/~~/c2Y9YWxsJnNzPWF1dGhvciZzZD1hc2MmcGY9NDAmdmlldz11c2EmcHI9MTAmYm9va0NvdmVycz1udWxsJmNpPTAxOTUxMzkyMzI=
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| | ARMAVIRUMQUE: THE NEW CRITERION'S WEBLOG |
| | Clement Greenberg wrote for an educated audience outside of the universities. | | | But if there was a time when the name of Clement Greenberg meant something to more than art critics, artists, and academics, that time is no more. | | | In an age when much art criticism is "conducted in a self-referential mumble," she says, "his rhetoric remains a benchmark for persuasive prose in the field of aesthetics." Her biography is a benchmark as well, for discussions of the life and legacy of Clement Greenberg. |
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http://www.newcriterion.com/weblog/armavirumque.html
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| | Art Czar, The Rise and Fall of Clement Greenberg |
| | Clement Greenberg (1909-94) dominated the American art scene, and is still considered the most influential American art critic of the twentieth century. | | | Greenberg continues to be relevant in the world of art because he offers a thoughtful alternative to the ironic culture of Postmodernism. | | | He was a major champion of Abstract Expressionism, discovering and promoting Jackson Pollock, was central to the establishment of New York as the hub of the western art world in the post-war period, and set the tone for art criticism for half a century to come. |
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http://www.lundhumphries.com/pages/single/13467.html
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| | Salon Books: Clement Greenberg: A Life |
| | While "Clement Greenberg: A Life" ends with several renowned critics and scholars acknowledging Greenberg's exile from visual art's ivory tower as symbolic patricide, only the passage of time will reveal whether the brokers of the current dialogue are ready for the return of their prodigal father. | | | Make no mistake, bashing Clement Greenberg, the mid-century macho art critic credited for single-handedly making the careers of such modern art luminaries as Jackson Pollock, is a practice still alive and well among those who traffic within the ethereal territory of visual art theory. | | | By presenting Greenberg's theories about art as the purely self-taught ideas of a product of postwar influences, Rosenfeld deconstructs the institutional and authoritative nature of his writing, arguing that his ideology stemmed from personal passion. |
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http://www.salon.com/books/sneaks/1998/03/26review.html
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| | Publisher description for Library of Congress control number 2001032093 |
| | Clement Greenberg (1909-1994) is the most renowned American art critic of the twentieth century and the first to treat New York modern artists as an independent school. | | | Far less known is the fact that Greenberg was also a major collector because of his insistence on anonymity when loaning pieces to museums, the scope of his private collection surprises many. | | | Many of the more than two hundred color plates are accompanied by Greenberg's comments about the artists--painters and sculptors now being rediscovered by young contemporary artists exploring formalism, the nature of paint, and the evolution of modern art. |
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http://www.loc.gov/catdir/description/prin022/2001032093.html
(399 words)
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| | 1989. "Avant-Garde and Kitsch, Fifty Years Later: a conversation with Clement Greenberg." |
| | Greenberg begins his essay by comparing T.S. Eliot’s poems to that of Eddie Guest and also notes that the same culture that produces a painting by Braque also produces Saturday Evening Post covers. | | | Greenberg is surprised his essay is still regarded as relevant today. | | | I am choosing to write about this interview with Clement Greenberg because I recently read his essay "Avant-Garde and Kitsch." First of all, I will describe the essay then I will discuss the interview which took place fifty years after Greenberg wrote the essay. |
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http://home.flash.net/~rwsart/writing/1989.html
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| | CLEMENT GREENBERG PAPERS, 1928-1995 |
| | Includes Greenberg's transcript from Syracuse; a letter from Greenberg to his first wife (Toady); a letter from Cyril Connolly regarding his wife Jeanie, with whom Greenberg had affair; letter from Greenberg to Clyfford Still, several letters from Frank Hamilton; letter from William Phillips and response; correspondence with Eugene Victor Thaw. | | | Greenberg's correspondence files (1984-1994), consisting of letters from artists, colleagues and friends, give a sense of the critic's last decade (ca. | | | Marty Greenberg, regarding publication of his Kleist translations; Piri Halasz, scholar; Inge Hoesterey, regarding art criticism; Jay Hutchinson, artist, thanking Greenberg for criticism. |
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http://www.getty.edu/research/conducting_research/finding_aids/greenbrg_m7.html
(2318 words)
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| | 'Critic's Collection' needs weeding / Portland shows Greenberg's favorites |
| | Doubts boiled over in print when it was revealed that Greenberg, as executor of the David Smith estate, had apparently had some of the artist's work painted or repainted posthumously. | | | Almost single-handedly among critics, Greenberg cured the identity crisis of modern American art, offering the public and artists alike terms to understand the postwar cultural power shift from Paris to New York that had long seemed inconceivable. | | | Almost all of the objects on view came to Greenberg as gifts, tokens of the artists' thanks for the illuminating attention he paid them and their work, especially in studio visits. |
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http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2001/07/31/DD217470.DTL&type=printable
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| | MIT Architecture: Subject Description - 4.652 /3, Fall 03 |
| | Primary source materials will be the critical texts of Greenberg, but we will be also looking at his sources (avowed and unacknowledged), as well as artworks, artists, curators, and art historians affected by his work. | | | This subject focuses on the theory and criticism of 20th-century Western art, through a close analysis of the American art critic Clement Greenberg. | | | His career thus spanned most of the 20th century, claiming dominance for abstraction, and achieving the global success of American abstract painting (in part due to his own proselytizing efforts) for much of that time. |
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http://architecture.mit.edu/subjects/fa03/4652_3.html
(155 words)
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| | Concordia University Art History Theses Abstracts On-line |
| | In this thesis, Greenberg's concepts of modernism are examined, followed by an analysis of his approach to the American art and artists upon whom he had an impact. | | | Greenberg's fervent involvement in the Canadian art scene resulted in controversy that split the artistic community into pro and anti-Greenberg factions. | | | The similarity of this approach in the Canadian context is shown through a study of his association with Painters Eleven in Toronto, with particular emphasis on his relationship with Jack Bush, as well as an analysis of his all-encompassing involvement in the art of Western Canada. |
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http://art-history.concordia.ca/rvacanada/abstracts/currell.html
(189 words)
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| | Aesthetics - Clement Greenberg |
| | Greenberg explained its appeal by the ease with which it carries values extrinsic to art, as opposed to those of art for art's sake. | | | A number of writings by and about Greenberg, and assesment of his significance as a critic, may be found at http://www.sharecom.ca/greenberg/default.html | | | 6, in Greenberg, Art and Culture, Boston: Beacon Press, 1961). |
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http://www.rowan.edu/philosop/clowney/Aesthetics/philos_artists_onart/greenberg.htm
(349 words)
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| | CNNfyi.com - New York art critic's collection comes together in Oregon - October 30, 2000 |
| | In 1965, Greenberg wrote "Art and Culture: Critical Essays," followed by "Clement Greenberg: The Collected Essays and Criticism" in 1986 and other publications. | | | Van Horne also is donating her husband's annotated library of exhibition catalogues and publications on artists in his collection. | | | The Greenberg collection begins with a work on paper by Pollock and continues through the movement Greenberg titled "Post-Painterly Abstraction," represented by such artists as Walter Darby Bannard, Darryl Hughto and Larry Poons. |
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http://edition.cnn.com/2000/fyi/teachers.offcampus/10/30/clement.greenberg
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| | DAI exhibitions |
| | Recently acquired by the Portland Art Museum and debuting at The Dayton Art Institute, CLEMENT GREENBERG: A Critic's Collection is a survey of 20th century American art. | | | A fully illustrated catalog accompanies the exhibition and discusses Greenberg's ideas and influences in relation to the artwork, as well as his special friendships with artists. | | | The exhibition on view at The Dayton Art Institute is only a portion of the entire Clement Greenberg Collection, which features 155 works. |
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http://www.daytonartinstitute.org/exhibits/past_greenberg.html
(336 words)
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| | imperial clem: the scapegoat of the contemporary art world >> by max podstolski >> *spark-online.com >> version ... |
| | The last artist Greenberg was to exalt so highly was Jules Olitski, "the world's best living painter", a slightly less grandiose claim than for "best living artist". | | | Florence Rubenfeld's Clement Greenberg: a Life (Scribner, New York, 1997) is a fascinating glimpse into the behind-the-scenes machinations that serve to establish and perpetuate artistic reputations. | | | I am well aware that 'amateurism' tends to be looked down on with contempt and derision, compared with the lofty heights reached, or at least aspired to, by the 'true' artist, the professional, the talented art star or even genius who toughs it out in the competitive and fickle art world. |
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http://www.spark-online.com/march00/miscing/podstolski.html
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| | Homemade Esthetics: Observations on Art and Taste specs at MSN Shopping |
| | A giant of 20th century art criticism, Clement Greenberg (1909-1994) set the terms of critical discourse from the moment he burst onto the scene with his seminal essays "Avant-Garde and Kitsch" (1939) and "Towards a Newer Laocoon" (1940). | | | More Greenberg provides his most expansive statement of his views on taste and quality in art. | | | He insists that despite the attempts of modern artists to escape the jurisdiction of taste by producing an art so disjunctive that it cannot be judged, taste is inexorable. |
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http://shopping.msn.com/specs/shp?itemId=2872638
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| | Clement Greenberg: HOMEMADE ESTHETICS |
| | With more grace than sarcasm Greenberg acknowledges how the “far out” art of the last ten years (ie the 1960s) had clarified issues that esthetics of the last 150 years had ignored. | | | But for esthetic (as opposed to strategy-oriented) artists and for retinal-pleasure seeking art lovers Greenberg’s seminars may prove empowering in ways that the theory-for-theory’s sake brigade will come to rue. | | | Barnett Newman famously quipped that esthetics were of as much interest to artists as ornithology to birds. |
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http://www.artcritical.com/dc'sdozen/greenberg.htm
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| | Results in |
| | The new owner of 159 paintings, drawings, prints and sculptures amassed by Greenberg is Oregon's Portland Art Museum. | | | In 1956, his influence as an art critic still on the rise, Clement Greenberg married writer Janice Van Horne. | | | Closing a significant gap in the museum's holdings, the works on display also illuminated a historical moment, when Greenberg's observations about the formal trajectory of painting seemed affirmed in the practice of a number of American artists he admired. |
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http://www.findarticles.com/p/articles/mi_m1248/is_11_89/ai_80497058
(506 words)
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| | Amazon.ca: The Collected Essays and Criticism, Volume 3: Affirmations and Refusals, 1950-1956: Books |
| | Greenberg is the first American art critic whose work can be put on the shelf next to Roger Fry, Charles Baudelaire and other great European critics."--Deborah Soloman, New York Times | | | These final two volumes of the writings of the esteemed art critic include major and lesser known pieces as well as exchanges with F.R. Leavis, Fairfield Porter and others, as well as biographical summary, selected bibliography and introduction by O'Brian. | | | "No American art critic has been more influential than Clement Greenberg. |
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http://www.amazon.ca/exec/obidos/ASIN/0226306232
(304 words)
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| | Clement Greenberg |
| | Greenberg in the 40s; his Critics in the 80s | | | The Portland Art Museum has acquired Greenberg's art collection, which consists primarily of gifts from artists, and has organized a travelling exhibition drawn from it. | | | A Critic and His Critics: the Reception of Clement Greenberg: A Life |
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http://www.sharecom.ca/greenberg
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| | Schedule |
| | T. Clark, "Clement Greenberg's Theory of Art" [PA] |
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http://cepa.newschool.edu/~quigleyt/ea/spring05/schedule.html
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| | Leon Golub : Interview : Hans-Ulrich Obrist, On The Day Clement Greenberg Died: |
| | Clement Greenberg insisted on a world of values like saying, "What you see are real values," painting values, a totally coherent visual world. | | | Most of the jurors came from New York, Ad Reinhardt Clement Greenberg, Jackson Pol lock, Philip Guston, etc., even if most of the Art Institute students were ideologi-8 cally opposed to them! | | | Three jurors, each voting separately, and the catalogue and exhibition specifically identified who voted for whom or what. |
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http://www.procuniarworkshop.com/home/index/article/33.html
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| | Results in |
| | We know that the author of "Avant-Garde and Kitsch" was no fan of mass culture, nor of the "middlebrow" poetry and fiction published in journals like the New Yorker and the Saturday Evening Post. | | | One of these talks, "After Pop Art," was delivered at the Guggenheim Museum during the fall of 1963. | | | And so it came as a welcome surprise to me when examining Greenberg's papers at the Getty Research Institute to discover that the critic did address the tendency directly, in two unpublished lectures. |
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http://www.findarticles.com/p/articles/mi_m0268/is_2_43/ai_n6258557
(315 words)
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| | Powell's Books - The Collected Essays and Criticism, Volume 2: Arrogant Purpose, 1945-1949 by Clement Greenberg |
| | "With the publication of the first two volumes of Clement Greenberg's Collected Essays and Criticism, we are at last on our way to having a comprehensive edition of the most important body of art criticism produced by an American writer in this century. | | | Powell's Books - The Collected Essays and Criticism, Volume 2: Arrogant Purpose, 1945-1949 by Clement Greenberg | | | Greenberg's critical writings from the decade in which he emerged as the most informed and articulate champion of the New York School as well as one of our most trenchant analysts of the modern cultural scene."--Hilton Kramer, The New Criterion |
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http://www.powells.com/biblio/61-0226306224-2
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| | Clement Greenberg - A Smear |
| | Is it a paradox for a critic to love art and hate artists, or is it merely a commentary on modern esthetics? | | | This portrait of Clement Greenberg is from "Jackson Pollock: An American Saga" by Steven Naifeh and Gregory White Smith (Clarkson N. Potter). |
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http://www.abstract-art.com/abstraction/l5_wordings_fldr/g2_Greenberg-Smear.html
(65 words)
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| | JOOPY.NU >> links |
| | Clement Greenberg: writing by/about Greenberg (and his critics) | | | Art:21: a PBS series about art in the 21st century |
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http://www.joopy.nu/links.html
(450 words)
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| | Clement - Hal Clement |
| | Clement Greenberg (January 16, 1909 - May 7, 1994) was an influential American art critic who was closely associated with the institutionalization of | | | An illustrated biography of Joseph Clement Coll - a master of pen and ink. | | | The story is set in the future where the population of the Science Fiction Writers Name Hal Clement a "Grand Master" |
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http://fita.yournetpath.com/?q=fita-clement
(141 words)
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| | Clement Greenberg |
| | His championing of abstract expressionist painters such as Jackson Pollock, Barnett Newman, and David Smith put the United States on the international art map. | | | Love him or hate him, admire him or revile him, there is no doubt that Clement Greenberg was the most influential critic of modern art in the second half of the twentieth century. | | | At once sympathetic and shrewdly insightful about his polarizing character, she has given us a man whose fabled orneriness and power hunger was redeemed by his love of art.”—James Atlas |
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http://www.upress.umn.edu/Books/R/rubenfeld_clement.html
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| | clark |
| | They are, I think, extremely well written: it was not for nothing the Partisan Review described Clement Greenberg, when he first contributed to the journal early in 1939, as "a young writer who works in the New York customs house"—fine, redolent avant-garde pedigree, that! | | | Greenberg would not now disagree with them.) But I am nonetheless interested in the challenge offered to most Marxist, and non-Marxist, accounts of modern history by what I take to be a justified though extreme, pessimism as t the nature of established culture since 1870. | | | It is not intended as some sort of revelation on my part that Greenberg's cultural theory was originally Marxist in its stresses and, indeed in its attitude to what constituted explanation in such matters. |
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http://www.uchicago.edu/research/jnl-crit-inq/issues/v9/v9n1.clark.html
(503 words)
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Topic: Clement Greenberg