- › Videodokumentation des Vortrags (dt. Übers.) mit Einleitung von M. Diers [RealMedia]
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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.
Artists / Authors
- Caroline A. Jones, Professorin für Kunstgeschichte, Boston University › Biography
- May 18, 2003
Getty Research Institute, Los Angeles und Haus der Kulturen der Welt, Berlin.
Haus der Kulturen der Welt, John-Foster-Dulles-Allee 10, 10557 Berlin, Germany
Redaktion netzspannung.org, Jul 2, 2003
Additions to Keyword List
- Clement Greenberg |
- Bildwissenschaft |