The Modernist Sensorium - a critical history of Clement Greenberg

Kurzbeschreibung

Objects of visual art are peculiar kinds of inanimate things that need other, more animate things to function. Together the artwork and its interpreter form one talking thing - in my study, this conjoint thing is American art critic Clement Greenberg with (ad seriatum) various objects of modern art.
What structured Greenberg's visibility, and what gave him the systematic tools to produce his extraordinarily modernist regime, were patterns and flows established at both larger and more microscopic scales than the pictures he wrote about. At the periphery of his vision were paintings seen but not written down, political practices engaged in and abandoned, economic relations that shifted over time, national cultures in ascendance, previous compositions and various colors (occasionally creatively misperceived), industrial traditions of segmented human movement, and even the experiential specificity of Manhattan's urban grid.
Greenberg is viewed as a subject in two frames: the one theoretical (using the Deleuzean concept of the subject as a fold in a dominant visibility), the other historical (examining Greenberg's formalism as an aspect of what I call a mid-century bureaucratization of the senses). This paper will emphasize the latter frame, producing a broad description of the modernist sensorium in which the subject Greenberg played his part.

KünstlerInnen / AutorInnen

• Caroline A. Jones, Professorin für Kunstgeschichte, Boston University › Biografie [link 02]

Termin

• 18. Mai 2003

Veranstalter

Getty Research Institute, Los Angeles und Haus der Kulturen der Welt, Berlin.

Veranstaltungsort

Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin, Deutschland

Eingabe des Beitrags

, 02.07.2003

Kategorie

• Vortrag

Schlagworte

Ergänzungen zur Schlagwortliste

• Clement Greenberg |
• Bildwissenschaft |
• Kunstkritik