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Books on the topic 'Clement Greenberg in Canada'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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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10

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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11

Greenberg, Clement. The Harold letters, 1928-1943: The story of a young intellectual. Washington, DC: Counterpoint, 2000.

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12

Greenberg, Clement. Clement Greenberg Late Writings. University of Minnesota Press, 2003.

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13

Clement, Greenberg. Clement Greenberg, Late Writings. Univ Of Minnesota Press, 2007.

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14

Rubenfeld, Florence. Clement Greenberg: A Life. Scribner, 1998.

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15

Guenther, Bruce. Clement Greenberg: A Critic's Collection. Princeton University Press, 2001.

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16

Clement Greenberg: Between The Lines. Dis Voir, 1996.

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17

Horne, Janice Van. Complicated Marriage: My Life with Clement Greenberg. Counterpoint Press, 2013.

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18

Clement Greenberg in Syracuse: The Mirror Eye. Thinc the Institution of a Now Culture Inc., 2006.

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19

A Complicated Marriage My Life With Clement Greenberg. Counterpoint LLC, 2012.

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20

Neofetou, Daniel. Rereading Abstract Expressionism, Clement Greenberg and the Cold War. Bloomsbury Academic & Professional, 2021.

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21

Marquis, Alice Goldfarb. Art Czar: The Rise and Fall of Clement Greenberg. MFA Publications, 2006.

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22

Francesco Matarrese: Greenberg and Tronti, Being Really Outside? Hatje Cantz Verlag GmbH & Co KG, 2012.

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23

Jonathan, Harris. Writing Back to Modern Art: After Greenberg, Fried and Clark. Taylor & Francis Group, 2005.

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24

Jonathan, Harris. Writing Back to Modern Art: After Greenberg, Fried and Clark. Taylor & Francis Group, 2005.

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25

Jonathan, Harris. Writing Back to Modern Art: After Greenberg, Fried and Clark. Taylor & Francis Group, 2005.

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26

Jonathan, Harris. Writing Back to Modern Art: After Greenberg, Fried and Clark. Taylor & Francis Group, 2005.

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27

Jones, Janet. Clement Greenberg: His critical and personal relationships with Jackson Pollock and selected post-painterly abstractionists. 1991.

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28

Herbert, James D. Political Origins of Abstract-Expressionist Art Criticism: The Early Theoretical and Critical Writings of Clement Greenberg and Harold Rosenberg (St). Stanford Univ Humanities Honor, 1986.

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29

Wallace, Clement, and Williams Glen 1947-, eds. The New Canadian political economy: Edited by Wallace Clement and Glen Williams. Kingston: McGill-Queen's University Press, 1989.

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30

(Editor), Wallace Clement, and Glen Williams (Editor), eds. The New Canadian Political Economy: Edited by Wallace Clement and Glen Williams. McGill-Queen's University Press, 1989.

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31

Doubt (Lectures in the Theory of Modernism and Postmodernism in the Visual Arts). Routledge, 2007.

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32

Shiff, Richard. Doubt (Lectures in the Theory of Modernism and Postmodernism in the Visual Arts). Routledge, 2007.

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33

Greenberg, Clement. The Harold Letters, 1928-1943: The Making of an American Intellectual. Counterpoint, 2003.

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34

Horne, Janice Van, and Clement Greenberg. The Harold Letters 1928-1943: The Making of an American Intellectual. Counterpoint Press, 2000.

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35

L, Kleeblatt Norman, Berger Maurice 1956-, Balken Debra Bricker, Jewish Museum (New York, N.Y.), St Louis Art Museum, and Albright-Knox Art Gallery, eds. Action/abstraction: Pollock, de Kooning, and American art, 1940-1976. New York: Jewish Museum under the auspices of The Jewish Theological Seminary of America, 2008.

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36

L, Kleeblatt Norman, Berger Maurice 1956-, Balken Debra Bricker, and Jewish Museum (New York, N.Y.), eds. Action/abstraction: Pollock, de Kooning, and American art, 1940-1976. New York: Jewish Museum under the auspices of The Jewish Theological Seminary of America, 2008.

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37

Shaw-Miller, Simon. Object and Idea. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.45.

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This chapter concentrates on the strain of modernism that flows from the work of French artist Marcel Duchamp and its relationship to ideas of music. While the significance of music as a paradigm for the development of “purist” modernism is well known—it is an ideology best encapsulated in the writing of Clement Greenberg, the development of abstraction in art, and is based on the model of musical meaning that was consequent on the concept of “absolute music”—what is less well known is the significance of music for the strain of modernism that came through Duchamp, forming a hybrid conceptual alternative to purism. It is argued that the idea of the readymade is consistent with idea of music as more than just sound, as a discursive practice, and that this “extra-musical” conception of music (as counterpoise to absolute music) provides a lineage linking Duchamp to Paik to Marclay.

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38

Curtis, Cathy. Illuminating Art. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190498474.003.0004.

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Elaine began reviewing exhibitions for ARTnews in April 1948, working under Thomas B. Hess, with whom she had a romantic relationship. (She was also briefly involved with critic Harold Rosenberg.) Tutelage with critic Edwin Denby helped hone her craft. Her reviews ranged widely, deftly encapsulating an artist’s style and approach within the 200-word limit. In 1949, she switched to the magazine’s “X Paints a Picture” features, a detailed treatment of the featured artist’s process. The function of criticism is to “cast some light on” the work, she said, rather than to sit in judgment. But she maintained the critic’s right of interpretation, regardless of the artist’s intentions. Among the artists and writers she befriended during this period were Larry Rivers, Fairfield Porter, and Frank O’Hara. In 1955, she began writing about larger themes, beginning with “Subject: What, How or Who?” which bravely countered ideas promulgated by critic Clement Greenberg.

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39

Novitz, David. Aesthetics of Popular Art. Edited by Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0044.

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Questions about the aesthetic value and appreciation of popular art have only recently become an area of interest to Anglo-American aesthetics. This is curious, for the distinction between high and popular art — like that between high and popular culture, and between avant-garde art and mass art — is a familiar and longstanding one frequently drawn by critics, philosophers, and cultural theorists throughout the course of the twentieth century. It was extensively discussed by Marxist thinkers like Walter Benjamin, and was the stock-in-trade of the Critical Theorists Theodor Adorno and Max Horkheimer. Not just those two, but high-modernist philosophers and critics like R. G. Collingwood, Clement Greenberg, and Dwight MacDonald also made much of the distinction between ‘high’ and ‘low’ (or popular) art. Even so, it was a distinction that did not earn the serious attention of philosophical aesthetics until the penultimate decade of the twentieth century.

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