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Clement Greenberg

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Journal Article
New German Critique (2022) 49 (1 (145)): 41–66.
Published: 01 February 2022
... attempt to make Leonardo da Vinci relevant for the French poet’s age. Comparing Blumenberg’s comments on contemporary art with those in US formalist art criticism (Clement Greenberg, Michael Fried) provides a unique constellation of later modernist thinking on the plastic arts (painting and sculpture...
Journal Article
New German Critique (2021) 48 (1 (142)): 41–70.
Published: 01 February 2021
... by Christian humanists like W. K. Wimsatt and Irving Babbitt on the one hand, and by Trotskyites like Clement Greenberg on the other, it seems worth reopening the question of just what the text says—and said—about the basic issues it is supposed to have defined.” 4 Always ready to find him an unmoving...
Journal Article
New German Critique (2024) 51 (1 (151)): 33–76.
Published: 01 February 2024
... “or”: Fläche , Leinwand , and Schirm are all variously constituted as material objects and symbolic things, orders that forever constitute one another. 9 The significance of the flat surface ( plane Fläche ) in modernism nearly goes without saying. From Denis and Malevich to Clement Greenberg and T. J...
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Journal Article
New German Critique (2022) 49 (1 (145)): 1–9.
Published: 01 February 2022
... into the formation of epochs also includes a connection between his immanent theory of modernity and a philosophy of art that reveals him to be a theoretician of aesthetic modernism parallel to contemporaneous US formalist art critics like Clement Greenberg and Michael Fried. Reading, among other things...
Journal Article
New German Critique (2021) 48 (2 (143)): 107–123.
Published: 01 August 2021
... the lead of Clement Greenberg and Michael Fried (while departing wildly from their reading), he offers Morris Louis’s late Unfurleds (1960–61) for consideration, since they seem to represent the last gasp of (American) high modernism, modernist painting at its limit. Cavell’s intention is to place Louis...
Journal Article
New German Critique (2015) 42 (1 (124)): 223–237.
Published: 01 February 2015
... Clement Greenberg, for example, modernity sometimes seems as if it had only one temporal direction—namely, forward. Modernity is, as Jacques Rancière points out, still factually marked by groundbreaking reappropria- tions of tradition. Any understanding of the modern “tradition of the new...
Journal Article
New German Critique (2014) 41 (2 (122)): 67–82.
Published: 01 August 2014
... essay, “The Mass Production of the Senses,” she had two main polemical targets. The first was a tradition of high modernism, exemplified by the later writings of Clement Greenberg, in which modernist art was explicitly separated from mass culture on grounds of artistic autonomy, reflexive...
Journal Article
New German Critique (2007) 34 (1 (100)): 189–207.
Published: 01 February 2007
... ernism the boundaries were always more fl uid than post–World War II codi- fi cations have led us to believe. Certainly today, we do not face a totalitarian culture industry and its autonomous high other, as suggested in the writings of Adorno or Clement Greenberg in the age of national...
Journal Article
New German Critique (2016) 43 (3 (129)): 5–26.
Published: 01 November 2016
... championed by Clement Greenberg and other defenders of a high mod- ernism narrated as a quest to purify painting’s essence. Instead, Duchamp, as de Duve described him, polluted the visual with the linguistic, redescribed the artist’s role as one of enunciation and judgment rather than creative fabrica...
Journal Article
New German Critique (2020) 47 (2 (140)): 217–246.
Published: 01 August 2020
... of history, art’s autonomy from empirical reality is not a matter of choice but of unhappy survival. Unlike other accounts (such as that of Clement Greenberg), Adorno understands autonomy not as an escape from social relations but as the specific manner of art’s engagment with the social under the historical...