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 paintings critic of the second one half the 20 th 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 e-book additionally contains a transcription of a public debate with Greenberg that de Duve geared up on the college of Ottawa in 1988. Clement Greenberg among the Lines should be an necessary source for college students, students, and fanatics 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. 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 a professional on theoretical aesthetics and hence like minded to think again the formalist tenets of the overdue American paintings critic's conception 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 paintings critic.’” Library Journal
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Additional info for Clement Greenberg Between the Lines: Including a Debate with Clement Greenberg
135-144. 23 G w se se to o o to P E d M p A h w w h lo ﬁ th 25 s s t e ” g a y: e f l : e n ” d w s n o d s h . o e e e ut ’t s es n s THE PATHS OF CRITICISM 31 Jackson Pollock’s most recent show, at Betty Parsons’s (till January 24), signals another step forward on his part. As before, his new work offers a puzzle to all those not sincerely in touch with contemporary painting. I already hear: “wallpaper patterns,” “the picture does not ﬁnish inside the canvas,” “raw, uncultivated emotion,” and so on, and so on.
S. Eliot poem and a Tin Pan Alley song, or a Braque painting and a Rockwell image, is part of the natural order of things or instead is something entirely new. And yet: The answer involves more than an investigation in aesthetics. 7 The love of kitsch is nothing other than the pleasure taken in the corruption of one’s own taste, and therefore, indeed, the aesthetic expression of self-hatred. Jewish self-hatred? Not necessarily, even if Rockwell’s art is not exempt from anti-semitism, and if the old man’s admission is somewhat troubling.
I do not know of any other painting by an American that I could safely put next to this huge baroque scrawl in aluminum, black, white, madder, and blue. Beneath the apparent monotony of its surface composition it reveals a sumptuous variety of design and incident, and as a whole it is as well contained in its canvas as anything by a Quattrocento master. Pollock has had the tendency lately to exaggerate the verticality or horizontality, as the case might be, of his pictures, but this one avoids any connotation of a frieze or hanging scroll and presents an almost square surface that belongs very much to easel painting.
Clement Greenberg Between the Lines: Including a Debate with Clement Greenberg by Thierry de Duve