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Clement Greenberg (/ ˈ ɡ r iː n b ɜːr ɡ /) (January 16, 1909 – May 7, 1994), [1] occasionally writing under the pseudonym K. Hardesh, was an American essayist known mainly as an art critic closely associated with American modern art of the mid-20th century and a formalist aesthetician.
"Avant-Garde and Kitsch" is the title of a 1939 essay by Clement Greenberg, first published in the Partisan Review, in which he claimed that avant-garde and modernist art was a means to resist the "dumbing down" of culture caused by consumerism.
Critic Clement Greenberg believed that flatness, or two-dimensional, was an essential and desirable quality in painting, a criterion which implies rejection of painterliness and impasto. The valorization of flatness led to a number of art movements, including minimalism and post-painterly abstractionism. [1] [2]
John O'Brian FRSC is an art historian, writer, and curator.He is best known for his books on modern art, including Clement Greenberg: The Collected Essays and Criticism, one of The New York Times "Notable Books of the Year" in 1986, and for his exhibitions on nuclear photography such as Camera Atomica, organized for the Art Gallery of Ontario in 2015.
According to Clement Greenberg, who helped popularize the term, medium specificity holds that "the unique and proper area of competence" for a form of art corresponds with the ability of an artist to manipulate those features that are "unique to the nature" of a particular medium. [2]
Along with Fried, this debate's interlocutors include other theorists and critics such as Clement Greenberg, T. J. Clark, and Rosalind Krauss. From the early 1960s, he was also close to philosopher Stanley Cavell. [3] Fried was elected to the American Academy of Arts and Sciences in 1985 [4] and the American Philosophical Society in 2003. [5]
No wonder creative types, including Clement Greenberg, Jackson Pollock, and Judy Collins, flocked to the movement. In an era of experimentation, Newton provided the ultimate permission slip. Go ...
The person thought to have had most to do with the promotion of this style was a New York Trotskyist, Clement Greenberg. [5] [57] As long time art critic for the Partisan Review and The Nation, he became an early and literate proponent of Abstract Expressionism. [5]