Relevant bibliographies by topics / Clement Greenberg in Canada

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Academic literature on the topic 'Clement Greenberg in Canada'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 February 2022

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Journal articles on the topic "Clement Greenberg in Canada"

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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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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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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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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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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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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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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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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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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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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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Dissertations / Theses on the topic "Clement Greenberg in Canada"

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

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Thesis (M.A.)--Ohio State University, 1994.
Advisors: Mathew Herban and Stephan Melville, Dept. of Art History. Includes bibliographical references (leaves 79-84). Available online via OhioLINK's ETD Center
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Allen, Ruth Esther. "Clement Greenberg : pure art in an impure world." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1144433966.

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

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O crítico de arte americano Clement Greenberg dedica especial atençãoà teoria estética em seus textos dos anos 1970, sobretudo ao juízo de gosto. Esta pesquisa busca evidenciar um aspecto importante na discussão estética em Greenberg, qual seja, a possibilidade de aprimoramento do gosto. Para tal, também se faz necessária uma compreensão de seu sistema crítico, articulando os Seminários por ele ministrados nos anos 70 e seus textos críticos desde os anos 30. Dentro da teoria estética moderna formulada por Greenberg, os textos reunidos em Estética Domésticaservem de base para a investigação do ponto central da pesquisa. Apesar disso, não se pode perder de vista o grande espectro coberto pela obra do crítico, uma vez que seus textos dialogam entre si, retomando e alinhavando os diversos temas abordados.
The american art critic Clement Greenberg pays special attention to the aesthetics in his texts of the 1970s, and to the taste judgement most of all. This study try to put light over an important aspect of Greenberg theory: the taste improvement possibility. To do so, it\'s imperative to comprehend Greenberg\'s critical system, considering his Seminars and also his critics since the 30s. The essays presented on Homemade Estheticswill base the investigations about the central point of interest in this study, having in mind the modern theory formulated by Greenberg. But it\'s necessary, beside this, to consider the great diversity of his work, once his texts can have a dialogue.
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Moreno, del Valle Santiago Andrés. "Fronteras modernas de la historia del arte : sobre vanguardia y kitsch de Clement Greenberg." Tesis, Universidad de Chile, 2012. http://www.repositorio.uchile.cl/handle/2250/116870.

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Licenciado en artes con mención en historia y teoría del arte
El presente texto tiene por finalidad poner en contexto un episodio en la relación entre arte y cultura popular, específicamente, entre arte de vanguardia y cultura popular industrial en el escenario estadounidense. El título de éste hace relación directa a ésta problemática convivencia, y propone que la diferenciación entre ambas tiene su fuente directa en la historia y la teoría del arte.
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Christofides, Sheila School of Art History &amp Theory UNSW. "The intransigent critic: reconsidering the reasons for Clement Greenberg???s formalist stance from the early 1930s to the early 1970s." Awarded by:University of New South Wales. School of Art History and Theory, 2004. http://handle.unsw.edu.au/1959.4/20562.

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This thesis investigates the reasons for Greenberg???s aesthetic intransigence ??? that is, his adherence to a formalist/purist stance, and his refusal to countenance non-purist twentiethcentury avant-garde trends evident in the art he ignored or denigrated, and in the art he promoted. The most substantial body of work challenged is Cold War revisionism (exemplified by the scholarship of Francis Frascina, Serge Guilbaut, and John O???Brian) which casts Greenberg as a politically expedient party to the imperialist agendas of various CIA-funded organisations. The major conclusions reached are that: Greenberg???s aesthetic intransigence was driven by a similarly intransigent ethico-political position, and that his critical method reflected patterns of argumentation set up in ???Avant-Garde and Kitsch??? (1939). This essay, and Greenberg???s ethico-political position, derived, not least, from his direct encounter with American Nazism and anti-Semitism which led him to realise that America (with what he saw as its decadence, cultural apathy, and low-level mass taste) was as vulnerable to the threat of totalitarianism as Europe and Russia. Reflecting this fear, ???Avant-Garde and Kitsch??? had juxtaposed a stagnant, impure culture with a vigorous avantgarde culture of impeccable vintage ??? in the process infusing politics into a formalist, historical conception of modernism Greenberg first devised in the early 1930s and then augmented, during 1938-9, with Hans Hofmann???s theories and others. Thus established, this rudimentary paradigm for Greenberg???s art writing was elaborated upon and made canonical in ???Towards a Newer Laocoon??? (1940), and entrenched after the war concurrent with the entrenchment of his ethico-political position. In the face of a Stalinist/capitalist war of wills, continuing anti-Semitism, and what Greenberg perceived as increasing decadence, he continued to argue for a serious, professionally-skilled (predominantly abstract) art, which would be resistant to the ersatz, yet not dehumanized by excluding the natural. By promoting this as the only genuine avant-garde art (while ignoring or denigrating playful, humorous and anarchic avant-garde tendencies), and by reiterating in the 1950s his pre-war Marxist sympathies, Greenberg was effectively demonstrating his continued hope for a utopian culture (luxuriant, formal, informed and socialist) first visualised in the late 1930s.
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McColm, Donna. "Opticality and the Work of Morris Louis (1912-1962)." University of Sydney, 2007. http://hdl.handle.net/2123/2180.

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Master of Philosophy
This thesis investigates the work of Morris Louis (1912-1962) in relation to ‘opticality’, a theory developed by the prominent American art critic Clement Greenberg. Between the late 1930s and 1950s, Greenberg developed a comprehensive argument concerning the opticality, or the optical illusion, of abstract painting. This theory influenced common approaches towards Abstract Expressionist painting during the 1940s and 1950s, culminating in Greenberg’s writing on ‘Colourfield’ painting in major texts of the 1960s such as ‘Louis and Noland’ (1960). Through research into the development of Morris Louis’ technique, including several of his major series as well as lesser known works, this thesis argues that our understanding of Louis’ work has been constricted by a narrow perception of the opticality of his 'stain' paintings, and explores Louis' technique in light of alternative interpretations of his work.
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Trespeuch, Hélène. "Fin de partie, nouvelle donne : l'historiographie de l'art abstrait en France et aux États-Unis, 1977-1990." Paris 1, 2010. http://www.theses.fr/2010PA010669.

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A la fin des années 1970, une profonde mutation historiographique est en jeu dans le monde de l'art occidental. La crise des avant-gardes apparaît comme le symptôme d'une crise idéologique générale. Une nouvelle ère est annoncée: elle serait postmoderne. Dans ce contexte de perte de repères, l'histoire de l'art du XXe siècle devient l'objet de multiples réévaluations. Critiques, historiens, commissaires d'expositions et artistes remettent en cause les récits qui avaient jusqu'alors prévalu. Au modèle linéaire et téléologique imposé par les avant-gardes veut être substitué un discours plus inclusif. Le modernisme de Clément Greenberg, qui voyait dans l' art abstrait la quintessence de la modernité, est pris pour cible. L'histoire de l'art abstrait est alors profondément remaniée, en France et aux Etats-Unis. Toutefois, comme par le passé, les nouvelles pistes esquissées sont conditionnées par les enjeux propres à la décennie - d'ordre théorique, mais également économique et politique
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Weis, Kristin K. "Art as Negation: A Defense of Conceptual Art as Art." Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461602608.

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Speight, Amanda Gaye. "Op writing : text ornamenting vision." Queensland University of Technology, 2008. http://eprints.qut.edu.au/16611/.

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The decorative and the textual have a complex and uneasy entanglement within the history and practice of modernist art. Sometimes celebrated as critical modernist strategies, sometimes denigrated or repressed as the opposite of Art, the decorative and the textual were understood as "foreign" forms that variously endangered, or, in turn, invigorated the power of art. My creative practice, which includes installation, painting, photography, text and an exhibition catalogue, exploits and explores this decorative and textual instability within modernist art practice. In my work, (visual) codes conventionally associated with the fields of writing and pattern, are re-examined and problematised by placing them within the context of visual art. When writing and pattern become the subject of painting there is an intriguing oscillation, complication and dialogue between the spaces and codes of reading and seeing, writing and pattern, the decorative and the abstract. The thesis also explores the decorative and textual instability within modernism by analysing some key contradictory moments in aesthetic thought and arts practice. In the writings of Clement Greenberg, a "decorative" painting is deemed the highest achievement of modernist abstract painting but to arrive at this goal, the decorative must be used against itself. In Frank Stella's early abstract paintings, decorative patterns structure the work, and yet the artist and his commentators only see the work as a kind of pure, abstract painting. In Lawrence Weiner's statement-sculptures, the terse, laconic text, that nominates materials and processes, is thought to be a "direct" form of art information that would remain unchanged even in reproduction. But as Weiner's work is reproduced in journals and magazines, this "direct" form of art is complicated through a variety of reproductive forms - documentary photographs, transcription errors and differences in the visual format and typography of the text. In these key moments of contradiction, concepts such as the decorative and the textual, that have often been regarded as peripheral to visual art, will be shown to have central significance in analysing its specific qualities.
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Willis, Gary C. "Contemporary art: the key issues: art, philosophy and politics in the context of contemporary cultural production." Connect to thesis, 2007. http://repository.unimelb.edu.au/10187/2245.

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This submission comes in two parts; the written dissertation, Contemporary art: the key issues, and the exhibition Melbourne - Moderne. When taken together they present a discourse on the conditions facing contemporary art practice and one artist’s response to these conditions in the context of Melbourne 2003-2007. (For complete abstract open document)
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Books on the topic "Clement Greenberg in Canada"

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

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

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

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

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

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

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

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

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

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The political origins of abstract-expressionist art criticism: The early theoretical and critical writings of Clement Greenberg and Harold Rosenberg. Stanford, Calif: Humanities Honors Program, Stanford University, 1985.

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Book chapters on the topic "Clement Greenberg in Canada"

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

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

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

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

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

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

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

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"Clement Greenberg and the ‘Triumph’ of Western Art." In Art History as Social Praxis, 217–27. BRILL, 2017. http://dx.doi.org/10.1163/9789004235861_015.

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Garreta, Virginia. "Clement Greenberg, Michael Fried : une histoire de l’art pour la forme ?" In Ce que modernité veut dire (II), 187–227. Presses Universitaires de Bordeaux, 1994. http://dx.doi.org/10.4000/books.pub.22358.

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"3. José Ortega y Gasset und Clement Greenberg: Massenmensch und moderne Kunst." In Theorien der Populärkultur, 27–34. Bielefeld: transcript Verlag, 2007. http://dx.doi.org/10.14361/9783839405444-003.

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