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Relevant bibliographies by topics / Greenberg, Clement / Dissertations / Theses

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Dissertations / Theses on the topic 'Greenberg, Clement'

Author: Grafiati

Published: 4 June 2021

Last updated: 8 February 2022

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1

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

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2

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.<br>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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4

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<br>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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5

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 th

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6

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<br>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 t

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7

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 incl

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8

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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9

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 c

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10

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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11

Currell, Daniel J. "Modernism in Canada : Clement Greenberg and Canadian art." Thesis, 1995. http://spectrum.library.concordia.ca/3700/1/MM05145.pdf.

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Traces the impact of Greenberg's promotion of "modernism" (i.e. post-painterly abstraction) on American, and especially Canadian art. Explores his relations with the Painters Eleven in Toronto, and with the art of Western Canada.

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12

Silva, Ana Cristina Henriques Mendes da. "O modernismo de Clement Greenberg : forma e conteúdo." Master's thesis, 2017. http://hdl.handle.net/10451/33424.

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Passados vinte e três anos da sua morte, Clement Greenberg continua a ser um nome a ter em conta na crítica de arte contemporânea, nomeadamente quando falamos de Modernismo. Não se pode escamotear a importância da sua teoria, geralmente apelidada de formalista, nem a influência que a mesma teve em gerações de artistas, desde os anos 30 do século XX até aos nossos dias. Também é um facto que, se por um lado, encontramos múltiplos defensores e até discípulos, por outro gerou fortes críticas e tentativas várias de desconstrução dos seus princípios artísticos. Partindo da leitura de um corpus de t

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13

Christofides, Sheila. "The intransigent critic : reconsidering the reasons for Clement Greenberg's formalist stance from the early 1930s to the early 1970s /." 2004. http://www.library.unsw.edu.au/~thesis/adt-NUN/public/adt-NUN20050503.092711/index.html.

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14

Webster, Jessica. "Approaching trauma: South African painting through Kant, Greenberg and Lacan." Thesis, 2017. https://hdl.handle.net/10539/24548.

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A thesis submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of the degree of Doctor of Philosophy<br>The aim of this thesis is to consider a concept of trauma which may offer support for the contemporary interest in and practice of painting. Jacques Lacan’s (1959-1960) structural and abstract articulations of trauma as das Ding is the central framework for the trajectory and form of the research and writing in this thesis. Lacan’s seminar on das Ding develops the notion that philosophical and social functions of art are aime

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15

BYLSMA, MEGAN. ""Betting on Saskatchewan" : Nationalism, Cultural Imperialism and the Emma Lake Artists’ Workshops." Thesis, 2011. http://hdl.handle.net/1974/6916.

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The Emma Lake Artists’ Workshops from the 1950s to the 1970s were a series of professional workshops held in northern Saskatchewan, under the auspices of the University of Saskatchewan and Regina College, for the creation and advancement of a dynamic arts culture in the province and as a way for the individual artists there to overcome feelings of isolation from the Canadian cultural hubs. Throughout the course of the Workshops provincial and federal attitudes, and cultural policies and perspectives on cultural nation building exerted an overarching influence in the shaping of the Workshops.

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