Clement Greenberg's Theory of Art
1982; University of Chicago Press; Volume: 9; Issue: 1 Linguagem: Inglês
10.1086/448192
ISSN1539-7858
Autores Tópico(s)Art, Technology, and Culture
ResumoPrevious articleNext article No AccessClement Greenberg's Theory of ArtT. J. ClarkT. J. Clark Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmailPrint SectionsMoreDetailsFiguresReferencesCited by Critical Inquiry Volume 9, Number 1Sep., 1982The Politics of Interpretation Article DOIhttps://doi.org/10.1086/448192 Views: 146Total views on this site Citations: 37Citations are reported from Crossref Copyright 1982 The University of ChicagoPDF download Crossref reports the following articles citing this article:Bence Nanay Looking for Profundity (in All the Wrong Places), The Journal of Aesthetics and Art Criticism 79, no.33 (Jun 2021): 344–353.https://doi.org/10.1093/jaac/kpab024Daniel Neofetou Greenberg’s Marxism: Clement Greenberg’s Unfinished Essay Draft on André Breton’s “Political Position of Surrealism” (1935), Getty Research Journal 14 (Aug 2021): 205–219.https://doi.org/10.1086/716587G. DOUGLAS BARRETT Contemporary Art and the Problem of Music: Towards a Musical Contemporary Art, Twentieth-Century Music 18, no.22 (Feb 2021): 223–248.https://doi.org/10.1017/S1478572220000626Andrea Pinotti Formalism and Kunstwissenschaft: The “How” of the Image, (Oct 2021): 109–129.https://doi.org/10.1007/978-3-030-71830-5_7Qiong Bai, Benjamin H. Nam Capitalism and Reproduction in the New Museology: The Power Discourses about Chinese Cultural Heritage at the Metropolitan Museum of Art, The Journal of Arts Management, Law, and Society 50, no.4-54-5 (Sep 2020): 267–282.https://doi.org/10.1080/10632921.2020.1815613Adela Kim Review: Joan Kee, Models of Integrity: Art and Law in Post-Sixties America, Journal of Visual Culture 19, no.22 (Aug 2020): 308–311.https://doi.org/10.1177/1470412920936572Nathaniel B. Jones Painting, Ethics, and Aesthetics in Rome, 94 (Jan 2019).https://doi.org/10.1017/9781108329514Wiebke Leister Photographic Installation Strategies En-bloc and In-the-round, (Nov 2017): 187–207.https://doi.org/10.1002/9781118639948.ch10Charles Eppley Beyond Cage: On Sonic Art History & Historiography, Parallax 23, no.33 (Jul 2017): 342–360.https://doi.org/10.1080/13534645.2017.1339972Riikka Stewen “Abstract, Directly Experienced, Highly Simplified, and Self-Contained”: Discourses of Simplification, Disorientation, and Process in the Arts, (Jun 2017): 127–141.https://doi.org/10.1007/978-3-319-53385-8_11Eugenie A. Samier Pursuing the administrative avant-garde: an aesthetic critique of change in educational systems, Critical Studies in Education 53, no.11 (Feb 2012): 47–58.https://doi.org/10.1080/17508487.2012.635668Sheila Christofides Beyond Revisionism: Reconsidering Clement Greenberg's Cold War Politics, Australian and New Zealand Journal of Art 12, no.11 (May 2015): 42–57.https://doi.org/10.1080/14434318.2012.11432627Martin Donougho Must it Be Abstract? Hegel, Pippin, and Clark, Hegel Bulletin 28, no.1-21-2 (Jun 2015): 87–106.https://doi.org/10.1017/S0263523200000653 Introduction, (Jan 2007): 1–24.https://doi.org/10.1215/9780822389699-002 Modern Art On The Margins Of Peronism, (Jan 2007): 25–54.https://doi.org/10.1215/9780822389699-003 Proclamations and Programs During the Revolución Libertadora, (Jan 2007): 55–90.https://doi.org/10.1215/9780822389699-004 The “New” Art Scene, (Jan 2007): 91–118.https://doi.org/10.1215/9780822389699-005 The Avant-Garde As Problem, (Jan 2007): 119–162.https://doi.org/10.1215/9780822389699-006 The Decentering Of The Modernist Paradigm, (Jan 2007): 163–188.https://doi.org/10.1215/9780822389699-007 Strategies Of Internationalization, (Jan 2007): 189–242.https://doi.org/10.1215/9780822389699-008 The Avant-Garde Between Art And Politics, (Jan 2007): 243–280.https://doi.org/10.1215/9780822389699-009 Conclusions, (Jan 2007): 281–290.https://doi.org/10.1215/9780822389699-010 Notes, (Jan 2007): 291–372.https://doi.org/10.1215/9780822389699-011 Bibliography, (Jan 2007): 373–396.https://doi.org/10.1215/9780822389699-012 Art and Modern Indian Policy, (Jan 2006): 1–29.https://doi.org/10.1215/9780822388104-001 The Culture Brokers, (Jan 2006): 30–58.https://doi.org/10.1215/9780822388104-002 “Our Inter-American Consciousness”, (Jan 2006): 59–88.https://doi.org/10.1215/9780822388104-003 The Importance of Place, (Jan 2006): 89–116.https://doi.org/10.1215/9780822388104-004 Becoming Indian, (Jan 2006): 117–141.https://doi.org/10.1215/9780822388104-005 “A fine painting . . . but not Indian”, (Jan 2006): 142–170.https://doi.org/10.1215/9780822388104-006 Notes, (Jan 2006): 183–216.https://doi.org/10.1215/9780822388104-007 Bibliography, (Jan 2006): 217–225.https://doi.org/10.1215/9780822388104-008Matthew Gandy Landscapes of deliquescence in Michelangelo Antonioni's Red Desert, Transactions of the Institute of British Geographers 28, no.22 (Jun 2003): 218–237.https://doi.org/10.1111/1475-5661.00088Johanna Drucker Simulation/spectacle: Beyond the boundaries of the old avant‐garde and exhausted modernism, Third Text 7, no.2222 (Mar 1993): 3–16.https://doi.org/10.1080/09528829308576394Andrew Lawson Farewell to the avant‐gardes: Some notes towards the definition of a counterculture, Textual Practice 4, no.33 (Dec 1990): 442–449.https://doi.org/10.1080/09502369008582096MARJORIE PERLOFF The demise of 'and': Reflections on Robert Smithson's mirrors, Critical Quarterly 32, no.33 (Sep 1990): 81–101.https://doi.org/10.1111/j.1467-8705.1990.tb00612.xAndreas Huyssen Mapping the Postmodern, (Jan 1986): 178–221.https://doi.org/10.1007/978-1-349-18995-3_10
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