By Thierry de Duve
Clement Greenberg (1909–1994), champion of summary expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by means of many because the maximum artwork critic of the second one half the 20th century, and probably the best artwork critic of all time. This quantity, a full of life reassessment of Greenberg’s writings, positive factors 3 ways to the guy and his paintings: Greenberg as critic, doctrinaire, and theorist. The booklet additionally includes 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 kids, students, and lovers of contemporary art.
“In this compelling examine, Thierry de Duve reads Greenberg opposed to the grain of the well-known 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 in which to appreciate the uneasy complexities and value of Greenberg’s practice.” John O’Brian, editor of Clement Greenberg: The accumulated Essays and Criticisms
“De Duve is knowledgeable on theoretical aesthetics and therefore compatible to think again the formalist tenets of the past due American paintings critic's thought on paintings and tradition. . . . De Duve's shut readings of Greenberg . . . comprise a lot of curiosity, and the writer sincerely enjoys matching wits with ‘the world's top recognized artwork critic.’” Library Journal
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Extra resources for Clement Greenberg between the lines : including a debate with Clement Greenberg
34. ” In “Modernist Painting” that remains between the lines. But here it is, in a later article: Modernism deﬁnes itself in the long run not as a “movement,” much less a program, but rather as a kind of bias or tropism: towards esthetic value, esthetic value as such and as an ultimate. 24 re th co th In e q ﬂ S e m a id a m c ta o d d b Anyone who has delved into Greenberg’s day-to-day art criticism and not remained content with his “dogmatic” essays is likely to agree that with the latter, he hands out the switches for his own thrashing.
Thus I must recall the end of “Avant-Garde and Kitsch,” written in 1939: Today we no longer look toward socialism for a new culture—as inevitably as one will appear, once we do have socialism. 10 Here is a sentence which is quite difﬁcult to read as “the investigation of what is literally happening to oneself,” a sentence whose measure of hope— albeit disabused and far from utopian—must today be added to the long and atrocious list of Jewish jokes become reality. , p. 273. Greenberg’s writings are studded with reﬂections on Jewishness.
It signiﬁes “uniform,” it designates variety. Thus there is a differend within the word, and that’s why it is the appropriate word. I recoil today from making “all-over” into a noun, unless as a proper name, remaining faithful in that to Greenberg, for whom, as we’ve seen in the texts, the qualiﬁer never solidiﬁed into a concept. I was not at that point in 1977. What struck me then was to see the critic giving himself a conceptual framework (the dilemma of easel painting/mural painting) in which all-overness (which I also took for a “concept”) acquired its meaning and resonance.