The Collected Essays And Criticism Volume 3

Clement Greenberg is widely recognized as the most influential and articulate champion of modernism during its American ascendency after World War II, the period largely covered by these highly acclaimed volumes of The Collected Essays and Criticism. Volume 3: Affirmations and Refusals presents Greenberg's writings from the period between 1950 and 1956, while Volume 4: Modernism with a Vengeance gathers essays and criticism of the years 1957 to 1969. The 120 works range from little-known pieces originally appearing Vogue and Harper's Bazaar to such celebrated essays as "The Plight of Our Culture" (1953), "Modernist Painting" (1960), and "Post Painterly Abstraction" (1964). Preserved in their original form, these writings allow readers to witness the development and direction of Greenberg's criticism, from his advocacy of abstract expressionism to his enthusiasm for color-field painting. With the inclusion of critical exchanges between Greenberg and F. R. Leavis, Fairfield Porter, Thomas B. Hess, Herbert Read, Max Kozloff, and Robert Goldwater, these volumes are essential sources in the ongoing debate over modern art. For each volume, John O'Brian has furnished an introduction, a selected bibliography, and a brief summary of events that places the criticism in its artistic and historical context.

Clement Greenberg is widely recognized as the most influential and articulate champion of modernism during its American ascendency after World War II, the period largely covered by these highly acclaimed volumes of The Collected Essays and Criticism. Volume 3: Affirmations and Refusals presents Greenberg's writings from the period between 1950 and 1956, while Volume 4: Modernism with a Vengeance gathers essays and criticism of the years 1957 to 1969. The 120 works range from little-known pieces originally appearing Vogue and Harper's Bazaar to such celebrated essays as "The Plight of Our Culture" (1953), "Modernist Painting" (1960), and "Post Painterly Abstraction" (1964). Preserved in their original form, these writings allow readers to witness the development and direction of Greenberg's criticism, from his advocacy of abstract expressionism to his enthusiasm for color-field painting. With the inclusion of critical exchanges between Greenberg and F. R. Leavis, Fairfield Porter, Thomas B. Hess, Herbert Read, Max Kozloff, and Robert Goldwater, these volumes are essential sources in the ongoing debate over modern art. For each volume, John O'Brian has furnished an introduction, a selected bibliography, and a brief summary of events that places the criticism in its artistic and historical context.

Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States. Greenberg first established his reputation writing for the Partisan Review, which he joined as an editor in 1940. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. His seminal essay, "Avant-Garde and Kitsch" set the terms for the ongoing debate about the relationship of modern high art to popular culture. Though many of his ideas have been challenged, Greenberg has influenced generations of critics, historians, and artists, and he remains influential to this day.

Clement Greenberg (1909–1994), champion of abstract expressionism and modernism—of Pollock, Miró, and Matisse—has been esteemed by many as the greatest art critic of the second half of the twentieth century, and possibly the greatest art critic of all time. On radio and in print, Greenberg was the voice of "the new American painting," and a central figure in the postwar cultural history of the United States. Greenberg first established his reputation writing for the Partisan Review, which he joined as an editor in 1940. He became art critic for the Nation in 1942, and was associate editor of Commentary from 1945 until 1957. His seminal essay, "Avant-Garde and Kitsch" set the terms for the ongoing debate about the relationship of modern high art to popular culture. Though many of his ideas have been challenged, Greenberg has influenced generations of critics, historians, and artists, and he remains influential to this day.

This volume contains a collection of Julio Trebolle’s papers on textual and compositional history of 1-2 Kings, via Septuagint, Old Latin. His research is a key contribution to the landscape of textual plurality in the history of the Bible.

Here for the first time is a full-length study of the 'critical modernisms' of the three leading art writers of the second half of the twentieth century, which helps us build a better understanding of the development of modern art writing and its relation to the 'post-modern' in art and society since the 1970s. Focusing on canonical modern artists such as Manet, Cezanne, Picasso and Pollock, this book provides an important understanding of writing and criticism in modern art for all students and scholars of art theory and art history. Mainstay issues discussed include aesthetic evaluation, subjectivity and meaning in art and art writing. Jonathan Harris examines key discourses and identifies points of significant overlap as well as sharp disjunction between the critics. Developing the notions of 'good' and 'bad' complexity in modernist criticism, Writing Back to Modern Art creates ways for us to think outside of these discourses of value and meaning and helps us to look at the place that art writing holds in the latter twentieth century and beyond.

This book examines the terms upon which painting in the United States sought to negotiate with the legacy of American formalist aesthetics and by extension, the understanding of modernist painting it had become most readily associated with. In so doing, a separate set of possibilities for painting gradually began to emerge. The salient debates and practices that collectively worked to establish such a response are approached through the philosopher Gianni Vattimo’s idea of pensiero debole or so-called weak thought. To this end, the proposed study both identifies and seeks to examine a type of "weak" painting which, like Vattimo’s idea, took as its critical point of departure “the exhaustion – but not the vanishing – of the project of modernism (the belief in reason, progress, history, the nation-state, etc.).” Craig Staff explores particular instances wherein artists sought to extend the parameters of the object beyond what had been called into question, namely the proclivity for modernist painting’s "strength" to be understood as denoting, amongst other things, a perceived set of universal essences. This book will be of interest to scholars working in art history, fine art, cultural studies, critical theory, curatorial studies and philosophy.

An important new look at Cold War art on both sides of the Atlantic