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PHILOSOPHICAL
LITERARY
JOURNAL
ISSN 0869-5377
Author: Greenber Clement

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality

Greenber Clement

Clement Greenberg (1909–1994). American art critic, theorist of abstract expressionism, publisher of the Partisan Revue and Commentary magazines.

Publications

Towards a Newer Laocoon / Logos. 2015. № 4 (106). P. 75-92
annotation:  Greenberg, the apologist of abstract expressionism, had dominated the art discourse of the 1950s and 1960s in the USA with his exceedingly influential concept of the avant-garde. The development towards abstraction has, to him, constituted a historical necessity: since the cultural transformation of the French Revolution, artists are dismissed from the tested symbiosis between the church and the state, where a binding art language had guaranteed the agreement between producer and recipient. The artists are now confronted with diffuse expectations of an anonymous and an aesthetically clueless openness. Significant works, as per Greenberg, can only emerge today if all but artistic requirements and expectations are rejected, so that the art concentrates fully on its own autonomous potencies. Drawing an analogy with Kant’s critical philosophy, Greenberg understands modernity as an attempt to drive the “conditions of possibility” of one’s own profession before one’s eyes, i. e. to work towards one’s own medial self-knowledge. In his 1940 essay Towards a Newer Laocoon, Greenberg accordingly illustrates, like Lessing did with regard to poetry, that every kind of art gradually reflects on its genuine competencies, insofar as it tests which of its traditional qualities are dispensable. Perfect art therefore exhibits nothing but its own form and medium.
Keywords:  abstract expressionism; avant-garde; modernism; formalism; mediality
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