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

April 5, 2017 | Individual Artists | By admin | 0 Comments

By Thierry de Duve

Clement Greenberg (1909–1994), champion of summary expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by way of many because the maximum paintings critic of the second one 1/2 the 20 th century, and doubtless the best paintings critic of all time. This quantity, a full of life reassessment of Greenberg’s writings, good points 3 ways to the guy and his paintings: Greenberg as critic, doctrinaire, and theorist. The publication additionally encompasses a transcription of a public debate with Greenberg that de Duve prepared on the collage of Ottawa in 1988. Clement Greenberg among the Lines may be an critical source for college students, students, and lovers of contemporary art.

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

“De Duve is knowledgeable on theoretical aesthetics and hence like minded to re-examine the formalist tenets of the past due American artwork critic's idea 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 artwork critic.’”   Library Journal

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E s g e m. 29 It has to be quoted in full: Jackson Pollock’s show this year at Betty Parsons’s continued his astounding progress. His confidence in his gift appears to be almost enough of itself to cancel out or suppress his limitations—which, especially in regard to color, are certainly there. One large picture, Number One, which carries the idea of last year’s brilliant Cathedral more than a few steps farther, quieted any doubt this reviewer may have felt—and he does not in all honesty remember having felt many—as to the justness of the superlatives with which he has praised Pollock’s art in the past.

104-105. p w w ju a P M o b d 29 N 30 y. e t f t e. e s g e m. 29 It has to be quoted in full: Jackson Pollock’s show this year at Betty Parsons’s continued his astounding progress. His confidence in his gift appears to be almost enough of itself to cancel out or suppress his limitations—which, especially in regard to color, are certainly there. One large picture, Number One, which carries the idea of last year’s brilliant Cathedral more than a few steps farther, quieted any doubt this reviewer may have felt—and he does not in all honesty remember having felt many—as to the justness of the superlatives with which he has praised Pollock’s art in the past.

I have nothing more to add about Jewishness (that of Greenberg, or in general) except that I accept what he says about it for his own account, and I declare—with, I hope, the same introspective honesty as he—that I experience its meaning within myself. The meaning it has, of course, for a Gentile: not being Jewish and having been raised as a Christian, it is inevitable, for me, that “Jewishness” should be one of the cultural names (not the only one) of otherness as such. I trust nobody will accuse me of projection if I generalize.

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