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The American formalist art critic Clement Greenberg has been the most influential figure in art criticism in the twentieth century. The art criticism of Greenberg was directly founded on a particular understanding of art history that it could be labeled as a separate reading of modernism in modem art. Premised on his art historical and aesthetical perspective, he would theoretically advocate, critique, and give directions to, where appropriate, an artistic mode or an artist, and thereby excersized substantial influence on artists' work from the 1940 throughout the 60s.
The essence of Greenberg's formalist art theory was already established by 1939 and 1940 in his two essays, “Avant-garde and Kitsch,” and “Toward a Newer Laokoon.” During the 1930s, the then Marxist Greenberg was witness to the impact of Nazi Fascism and Stalin's Communism upon the arts in Europe, and was to thereupon assimilate the writings of Eliot, Trotsky and Kant, reaching the conclusion that it is only the purely aesthetic quality in the visual arts that sustains its value through time. He believed that the value in art lay in art works untained by politics, ideology or literalism, which was determined by the distinctive ways in which the artist each dealt with the inherent properties of a medium. And in this art, the quality of the work and its artistic value exist beyond temporal history and can be judged objectively. By such claims, he propelled European modernism into a new phase, that is, into a Greenbergian modernism.
His art theory, albeit the radical changes in the political and economical contexts that were to follow, remained constant throughout his life. Such narrow notion of art theory and history, especially his notion of the objective judgement of art, was to be the target of opposition in the early 1960s from various artists that he did not support, followed by art historians and critics of the next generation. And particularly during the last twenty five years, a postmodem critique has focused on Greenberg's theory that high art and everyday life must be segregated as the target for debate.
This paper first of all studies the art and polities and the ideological discourse during the 1930s which was the time-frame that shaped Greenberg's perspective on art, and it will examine the process through which the Marxist Greenberg transgressed into formalist. Although this problem is crucial to the understanding of his later critical writings it is an area that has been little discussed in Korea. Furthermore, this paper will review the major issues in his art theory, his achievement and limits as an art critic and assess the historical place of Greenberg in the twentieth century art criticism.
The essence of Greenberg's formalist art theory was already established by 1939 and 1940 in his two essays, “Avant-garde and Kitsch,” and “Toward a Newer Laokoon.” During the 1930s, the then Marxist Greenberg was witness to the impact of Nazi Fascism and Stalin's Communism upon the arts in Europe, and was to thereupon assimilate the writings of Eliot, Trotsky and Kant, reaching the conclusion that it is only the purely aesthetic quality in the visual arts that sustains its value through time. He believed that the value in art lay in art works untained by politics, ideology or literalism, which was determined by the distinctive ways in which the artist each dealt with the inherent properties of a medium. And in this art, the quality of the work and its artistic value exist beyond temporal history and can be judged objectively. By such claims, he propelled European modernism into a new phase, that is, into a Greenbergian modernism.
His art theory, albeit the radical changes in the political and economical contexts that were to follow, remained constant throughout his life. Such narrow notion of art theory and history, especially his notion of the objective judgement of art, was to be the target of opposition in the early 1960s from various artists that he did not support, followed by art historians and critics of the next generation. And particularly during the last twenty five years, a postmodem critique has focused on Greenberg's theory that high art and everyday life must be segregated as the target for debate.
This paper first of all studies the art and polities and the ideological discourse during the 1930s which was the time-frame that shaped Greenberg's perspective on art, and it will examine the process through which the Marxist Greenberg transgressed into formalist. Although this problem is crucial to the understanding of his later critical writings it is an area that has been little discussed in Korea. Furthermore, this paper will review the major issues in his art theory, his achievement and limits as an art critic and assess the historical place of Greenberg in the twentieth century art criticism.
목차
Ⅰ. 서론
Ⅱ. 그린버그 미술이론의 형성
Ⅲ. 그린버그의 평론가로서의 활동과 그에 대한 비판
Ⅳ. 결론
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