Variaciones Greenberg: apogeo y debacle de un crítico de arte

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Trans/Form/Ação

DATA DE PUBLICAÇÃO

07/10/2019

RESUMO

Abstract: Starting from the classic text Avant-garde and kitsch, we propose to analyze the work of the North American critic Clement Greenberg. After the US state intervention in the arts between 1935 and 1943 (the WTA), Clement Greenberg emerged as one of the main critics who sought to unify the “high art” of that country. The critic attempted to justify the artistic level of the American avant-garde by bringing it closer to the European avant-gardes, especially Cubism. We will see Greenberg’s problems in forging an “immanent historicity” of works of art in order to justify a possible convergence of the European avant-garde in the new context of an American avant-garde of “abstract expressionism”. Greenberg, with the help of the MoMA and the American government, sought to promote an “American painting”, a vanguard known as the New York school. We seek to analyze the context in which this artificially unified tendency was forged, and to analyze how pop art emerged as a performance critique of that context. More than boasting of its technical methods, pop art sought to subvert the context of the reception of art that until then expected the “serious and high art” defended by Greenberg.

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