By Thierry de Duve
Clement Greenberg (1909–1994), champion of summary expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed via many because the maximum paintings critic of the second one half the 20th century, and probably the best paintings critic of all time. This quantity, a full of life reassessment of Greenberg’s writings, good points 3 methods to the guy and his paintings: Greenberg as critic, doctrinaire, and theorist. The publication additionally incorporates a transcription of a public debate with Greenberg that de Duve equipped on the college of Ottawa in 1988. Clement Greenberg among the Lines should be an crucial source for college students, students, and fanatics of recent art.
“In this compelling research, 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. by means of 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 accrued Essays and Criticisms
“De Duve is knowledgeable on theoretical aesthetics and hence well matched to think again the formalist tenets of the overdue American artwork critic's concept on artwork and tradition. . . . De Duve's shut readings of Greenberg . . . include a lot of curiosity, and the writer essentially enjoys matching wits with ‘the world's top identified artwork critic.’” Library Journal
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Extra info for Clement Greenberg between the lines : including a debate with Clement Greenberg
At ﬁrst sight, art’s salvation seems to depend on its capacity to preserve itself, to stay the same; its ruin lies in corruption by the other. If things are more complex on second sight, it is not for lack of historical simpliﬁcations,20 nor of peremptory conclusions, irrefutable in their generality. Here they are, in two excerpts, for the arts in general and for painting in particular: o su la fa The arts lie safe now, each within its “legitimate” boundaries, and free trade has Hence his concern to set himself apart from the “metaphysical pretensions” on which certain purists based themselves; one thinks of theosophy’s role for Mondrian.
At stake is the possibility of going beyond Adorno’s incapacity to renounce a messianic conception of art, without falling into the positivism of the medium with which all of Greenberg’s critical reception so obstinately saddles him, as though it were the last word of his thinking. 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.
Whom must one read, Marx, Adorno, Benjamin, Hermann Broch, or Hannah Arendt—all Jews, Adorno by his father—to be convinced that the love of kitsch is a hateful relation toward the other turned around on oneself and made guiltless, a hate of the other that ﬁnds an aesthetic outlet by eroticizing the commodity? The word “kitsch” was not yet in use when Marx made his famous remarks about commodity fetichism in Book I of Capital, but the theory whereby commodities are reiﬁed relations of production, that is to say, social relations among things, is the basis for understanding what kitsch adds to the commodity: essentially, a narcissistic round-trip that conﬁrms the other’s suppression in the object, and revels in it.