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Clement Greenberg Between the Lines: Including a Debate with by Thierry de Duve

Posted On March 23, 2017 at 11:03 am by / Comments Off on Clement Greenberg Between the Lines: Including a Debate with by Thierry de Duve

By Thierry de Duve

Clement Greenberg (1909–1994), champion of summary expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by means of many because the maximum artwork critic of the second one half the 20th century, and doubtless the best paintings critic of all time. This quantity, a full of life reassessment of Greenberg’s writings, positive factors 3 ways to the fellow and his paintings: Greenberg as critic, doctrinaire, and theorist. The publication additionally incorporates a transcription of a public debate with Greenberg that de Duve equipped on the college of Ottawa in 1988. Clement Greenberg among the Lines might be an critical source for college students, students, and fans of contemporary art.

“In this compelling examine, Thierry de Duve reads Greenberg opposed to the grain of the well-known critic’s critics—and occasionally opposed to the grain of the critic himself. by means of reinterpreting Greenberg’s interpretations of Pollock, Duchamp, and different canonical figures, de Duve establishes new theoretical coordinates through which to appreciate the uneasy complexities and significance of Greenberg’s practice.”  John O’Brian, editor of Clement Greenberg: The gathered Essays and Criticisms

“De Duve is knowledgeable on theoretical aesthetics and therefore well matched to reconsider the formalist tenets of the past due American artwork critic's thought on paintings and tradition. . . . De Duve's shut readings of Greenberg . . . comprise a lot of curiosity, and the writer truly enjoys matching wits with ‘the world's most sensible identified paintings critic.’”   Library Journal

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Additional info for Clement Greenberg Between the Lines: Including a Debate with Clement Greenberg

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In any case, I believe this silence concerning the relation to the other is what makes people wrongly think that the search for the identity of the medium cleanses it of any alterity. I stated my thesis above: that quite the contrary takes place in modernist art; the other is the medium, or the medium is the other. Or again: the identity of the medium (liable to technical-aesthetic definitions) is the site of otherness as such (liable to psycho-social definitions). Now I must show how and why—and also that this thesis can be found between the lines of Greenberg’s writing.

2 “Avant-Garde and Kitsch,” in Partisan Review, Fall 1939; Greenberg I, pp. 5-6; Art and Culture, p. 3 (henceforth AGK). ” Love of kitsch and self-hatred are certainly linked, in general; but we must believe Greenberg when he says he does not project. ”4 For my part, it is in relation to introspection that I would like to ask whether kitsch, for him, was not similar to his Jewishness, for what he says about introspection indicates a form of generalization from the individual to the social group which I do not find entirely foreign to the way he looks at art, and concludes in favor of the avant-garde over kitsch.

21 18 al r e of n, e of g, al t, e n y r The history of avant-garde painting is that of a progressive surrender to the resistance of its medium; which resistance consists chiefly in the flat picture plane’s denial of efforts to “hole through” it for realistic perspectival space. 22 Thus as early as 1940 the simplified argument that explains the superiority of the avant-garde or of modernism has been established, as though this superiority could be reduced to a single, essential phenomenon. … Each art, it turned out, had to perform this demonstration on its own account.

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