Homemade Esthetics: Observations on Art and TasteOxford University Press, 19.10.2000 - 256 Seiten Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most expansive statement of his views on taste and quality in art, arguing for an esthetic that flies in the face of current art world fashions. Greenberg insists despite the attempts from Marcel Duchamp onwards to escape the jurisdiction of taste by producing an art so disjunctive that it cannot be judged that taste is inexorable. He argues that standards of quality in art, the artist's responsibility to seek out the hardest demands of a medium, and the critic's responsibility to discriminate, are essential conditions for great art. The obsession with innovation the epidemic of newness leads, in Greenbergs view, to the boringness of so much avant garde art. He discusses the interplay of expectation and surprise in aesthetic experience, and the exalted consciousness produced by great art. Homemade Esthetics allows us particularly in the transcribed seminar sessions, never before published to watch the critics mind at work, defending (and at times reconsidering) his theories. His views, often controversial, are the record of a lifetime of looking at and thinking about art as intensely as anyone ever has. |
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Seite vii
... art magazines eight essays that explored his deliberations on esthet- ics , using the titles , " Seminar One , " " Seminar Two , " and so on ( except for the third piece which was published as " Can Taste Be Objective ? " ) . These ...
... art magazines eight essays that explored his deliberations on esthet- ics , using the titles , " Seminar One , " " Seminar Two , " and so on ( except for the third piece which was published as " Can Taste Be Objective ? " ) . These ...
Seite xi
Observations on Art and Taste Clement Greenberg. ACKNOWLEDGMENTS Eight of the nine essays in Part I of this volume were published individually in magazines as follows : " Intuition and the Esthetic Experience " as " Seminar One . " Arts ...
Observations on Art and Taste Clement Greenberg. ACKNOWLEDGMENTS Eight of the nine essays in Part I of this volume were published individually in magazines as follows : " Intuition and the Esthetic Experience " as " Seminar One . " Arts ...
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Häufige Begriffe und Wortgruppen
abstract art Abstract Expressionism academic art art as art art critic art lover art magazines artists avant-garde art aware bad art become Bennington best art best new art best taste better century Cézanne Clement Greenberg cognitiveness color Conceptual Art consciousness consensus of taste context conventions Cubism culture decisions difference Duchamp effect esthetic distance esthetic experience esthetic intuition esthetic judgment esthetic value everything expectations experienced esthetically fact far-out art feel formalized art Gerhard Marcks happens high art human Impressionists innovation judgment-decisions judgments of taste Kant kind less logic look major art mean modernist night Norman Rockwell painter painting past perience Picasso pictorial picture pleasure Pollock Pop Art prove QUESTION reason Rembrandt satisfaction seems seminars sense shaped canvas somehow Susanne Langer talking about art tell there's thetic things Titian tradition unformalized value judgment verdict of taste words Yves Klein
Beliebte Passagen
Seite 93 - APRIL is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, stirring Dull roots with spring rain.
Seite 20 - Why have my sisters husbands, if they say They love you all? Happily, when I shall wed, That Lord whose hand must take my plight shall carry Half my love with him, half my care and duty: Sure I shall never marry like my sisters, To love my father all.
Seite xvi - The essence of Modernism lies, as I see it, in the use of the characteristic methods of a discipline to criticize the discipline itself— not in order to subvert it, but to entrench it more firmly in its area of competence.
Seite xvi - It quickly emerged that the unique and proper area of competence of each art coincided with all that was unique to the nature of its medium.
Seite 74 - Taste is the faculty of judging of an object or a method of representing it by an entirely disinterested satisfaction or dissatisfaction. The object of such satisfaction is called beautiful.
Seite 93 - APRIL, April, Laugh thy girlish laughter; Then, the moment after, Weep thy girlish tears! April, that mine ears Like a lover greetest, If I tell thee, sweetest, All my hopes and fears, April, April, Laugh thy golden laughter, But, the moment after, Weep thy golden tears!
Seite 56 - You could create, act, move, gesticulate, talk in a kind of vacuum — the vacuum itself being more 'interesting,' or at least counting for more, than anything that happened inside it. The gist of consorting with art was to be intrigued, taken aback, given something to talk about, and so forth. Yet Duchamp and his sub-tradition have demonstrated, as nothing did before, how omnipresent art can be, all the things it can be without ceasing to be art. And what an unexceptional, unhonorific status art...
Seite 63 - Esthetics is the science of ideals, or of that which is objectively admirable without any ulterior reason. I am not well acquainted with this science ; but it ought to repose on phenomenology. Ethics, or the science of right and wrong, must appeal to Esthetics for aid in determining the summum bonum.
Seite xvi - Purity" meant self-definition, and the enterprise of self-criticism in the arts became one of self-definition with a vengeance.
Seite 3 - the immediate apprehension of an object by the mind without the intervention of any reasoning process'.
Verweise auf dieses Buch
Moderne begreifen: Zur Paradoxie eines sozio-ästhetischen Deutungsmusters Christine Magerski,Robert Savage,Christiane Weller Eingeschränkte Leseprobe - 2007 |
Defining Art, Creating the Canon:Artistic Value in an Era of Doubt: Artistic ... Paul Crowther Keine Leseprobe verfügbar - 2007 |