ePub Art Czar: The Rise and Fall of Clement Greenberg download

by Alice Goldfarb Marquis

Author:

Alice Goldfarb Marquis

ISBN13:

978-0878467013

ISBN:

0878467017

Language:

English

Publisher:

MFA Publications; First Edition edition (June 1, 2006)

Category:

Biography

Subcategory:

Arts & Literature

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1419 kb

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4.1

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619

Alice Goldfarb Marquis Arts and Literature English

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Art Czar is about Clement Greenberg's life

Art Czar is about Clement Greenberg's life. Which in sum was a pathetic mess from childhood to death. He is not a noble person to read about and the fact he was a noted art critic fifty years ago does not vault him into the status of being interesting. Ernst before being punched by Nicolas Calas).

Goodreads helps you keep track of books you want to read. Start by marking Art Czar: The Rise and Fall of Clement Greenberg as Want to Read: Want to Read saving. Start by marking Art Czar: The Rise and Fall of Clement Greenberg as Want to Read: Want to Read savin. ant to Read.

Marquis, the author of Art Czar, is a journalist .

ART CZAR: THE RISE AND FALL OF CLEMENT GREENBERG ALICE GOLDFARB MARQUIS Lund Humphries 2006 £25 343 pp. 16 mono illus ISBN- 0-85331-940-5 (H) Since Clement Greenberg (1909-1994) was prematurely bald, he conformed to the cartoonist’s stereotype of an egghead. Marquis, the author of Art Czar, is a journalist, historian and visiting scholar at the University of California. She has previously written books about the art business, Duchamp, and Alfred Barr.

Alice Goldfarb Marquis

Alice Goldfarb Marquis. His work set the tone for art criticism for half a century to come.

This reader was momentarily put off by the title of this fascinating book. Nor did Greenberg have a fall. Clement Greenberg was like no one else, and he held fast to his opinions. He was in no sense a czar. Nor would he have wished to be so described. That was not a fall, but it was a considerable misfortune

Art Czar: The Rise and Fall of Clement Greenberg by Alice Goldfarb Marquis Lund Humphries, 321 pp, £2. 0, April 2006, ISBN 0 85331 940 5. Enrico Donati’s small painting White to White features an aggressively encrusted pale rectangle with a second rectangle – black.

Art Czar: The Rise and Fall of Clement Greenberg by Alice Goldfarb Marquis Lund Humphries, 321 pp, £2. Enrico Donati’s small painting White to White features an aggressively encrusted pale rectangle with a second rectangle – black, white and brown – in its top left corner. Dated 1953, fairly early for such deliberately coarse abstraction, the painting landed in the collection of the famously plain-spoken art critic Clement Greenberg. Greenberg never published on the relatively obscure Donati, so one might wonder if he liked White to White.

Author: Marquis, Alice Goldfarb. Shelf: 701/18092/MAR/2006. Greenberg, Clement, - 1909 - 1994. Notes: Published in association with the Museum of Fine Arts, Boston.

Art czar : the rise and fall of Clement Greenberg, a biography by Alice Goldfarb Marquis. Title: Art czar : the rise and fall of Clement Greenberg, a biography by Alice Goldfarb Marquis. Author: Marquis, Alice Goldfarb. Includes bibliographical references (p. 272-309) and index.

Her previous books include "Art Czar: The Rise and Fall of Clement Greenberg, Marcel Duchamp: The Bachelor . Alice Goldfarb Marquis, an award-winning journalist and historian, was born in Munich, Germany, and is now a visiting scholar at the University of California at San Diego.

Her previous books include "Art Czar: The Rise and Fall of Clement Greenberg, Marcel Duchamp: The Bachelor Stripped Bare, Alfred H. Barr, Jr: Missionary f. Her published works Include Art Lessons: Learning from the Rise and Fall of Public Arts Funding, The Art Biz: The Covert World of Collectors, Dealers, Auction Houses, Museums, and Critics, and Alfred H. Barr, J. Missionary for the Modern.

With clarity and insight, Alice Goldfarb Marquis, author of the widely acclaimed Marcel Duchamp: The .

With clarity and insight, Alice Goldfarb Marquis, author of the widely acclaimed Marcel Duchamp: The Bachelor Stripped Bare (which the Washington Times called "the one indispensable Duchamp companion") and Art Lessons (named best nonfiction book of the year by the San Diego Book Awards), explores Greenberg's complex relations with numerous friends and lovers, including Pollock, Lee Krasner, Helen. Frankenthaler and Harold Rosenberg. Greenberg remains an indispensable reference in any discussion of art criticism, and Art Czar is the first biography to provide a complete, evenhanded portrait of the man, his work and his times.

In his book "The Painted Word", Tom Wolfe criticized Greenberg along with Harold Rosenberg and .

In his book "The Painted Word", Tom Wolfe criticized Greenberg along with Harold Rosenberg and Leo Steinberg, whom he dubbed the kings of "Cultureburg" . Alice Goldfarb Marquis, "Art Czar: The Rise and Fall of Clement Greenberg", MFA Publications, Boston, 2006, pp. 7–9, 12–13.

In the years of his greatest dominance, Clement Greenberg almost single-handedly established Jackson Pollock and the New York School at the center of the American art world. His work set the tone for art criticism for half a century to come. This biography, based on unpublished and previously unavailable documents, interviews and archives, presents a riveting story of imagination and grandiosity, of vision and tragic excess. With clarity and insight, Alice Goldfarb Marquis, author of the widely acclaimed Marcel Duchamp: The Bachelor Stripped Bare (which the Washington Times called "the one indispensable Duchamp companion") and Art Lessons (named best nonfiction book of the year by the San Diego Book Awards), explores Greenberg's complex relations with numerous friends and lovers, including Pollock, Lee Krasner, Helen Frankenthaler and Harold Rosenberg. It also recreates the heady art scene in America from the 1940s through the 1980s, detailing the ways in which a generation of critics, with Greenberg at the helm, used personal conviction and innate notions of taste to set the course of modern art. Greenberg remains an indispensable reference in any discussion of art criticism, and Art Czar is the first biography to provide a complete, evenhanded portrait of the man, his work and his times.

Kriau

Why would an author write a book on a subject she has no interest in? It is not as though there is nothing interesting in the book; there is much that is quite riveting but not for the author. I do not know if Marquis brushes Greenberg aside intellectually, morally, and culturally because the book is merely an assignment (like a report for school) or because she detests the man but wants to appear objective. In any case she most certainly seems intelligent enough to write a much better book if she wanted to, and this is the disappointment I have with it. Greenberg is an astonishing figure, we must like him or not, we must do one or the other so the lack of engagement is a mystery to me. If however, Marquis is attempting to marginalize Greenberg, her dismissive approach is insufficient. She would need to demonstrate, for instance, a lack of real influence or originality. Thus even in this case she would need to engage with her subject.

Runehammer

great

Tinavio

This book may be enjoyed by those deeply interested in modern art as practiced in New York in the 1940s through 60s. However, if you have only time to read one recent book on this era, buy Jed Perl's New Art City.

Art Czar is about Clement Greenberg's life. Which in sum was a pathetic mess from childhood to death. He is not a noble person to read about and the fact he was a noted art critic fifty years ago does not vault him into the status of being interesting. At least not for me, and I would wager most people.

The writing style of the author is basic. It certainly does not save the book from its subject.

JOGETIME

This is the second biography of the (in)famous Clement Greenberg, the brilliant art critic who cut his teeth at Partisan Review in the 1930s and 40s, and provided an elegant and convincing (albeit deeply problematic) historical trajectory of modern art.

This biography follows on the heels of Florence Rubenfeld's Clement Greenberg: A Life (1997), which came in for a great deal of criticism, on the one side from Greenbergers who didnt want to be reminded of what an arrogant and deeply unpleasant man Greenberg could be if you didn't suck up to him and take his word as gospel, and on the other hand, by academics who felt that Rubenfeld lacked the academic clout to write a suffiently meaty tome. Both criticisms were wide of the mark; Rubenfeld did an admirable job, bringing to light lots of interesting information about Greenberg's early life, and providing a judicious balance between dealing sensitively with Greenberg's intellectual development while providing plenty of juicy and salacious gossip (let's face it, that's what we read biographies for, right?)

I mention Rubenfeld because her biography poses problems for Marquis. Its clear that Marquis' biography suffers for being released after Rubenfeld. (And interestingly, Marquis never cites Rubenfeld directly- her study is simply referred to as "another biography"). It seems that Marquis did not get access to Greenberg himself, as Rubenfeld did; she offers little in the way of new information, although she does offer a different slant on events here and there (for instance, it turns out that Greenberg did not punch Max Ernst at a party in the late forties, as Rubenfeld recounts; rather, it seems that Greenberg accosted Ernst before being punched by Nicolas Calas). However, such information doesnt really warrant another biography, even though its an enjoyable enough read, especially the account of Greenberg's time at PR in the 30s, (and it could hardly be otherwise, being such a fascinating period of intellectual history). However, without doubt it lacks something of the vividness of Rubenfeld's study, which dealt with Greenberg's Jewishness, the influences on his criticism, and his undergoing quack psychoanalysis in the 50s/60s, an issue which Marquis completely skates over. And further, Marquis is a journalist like Rubenfeld, so she certainly doesnt offer any of the academic punch which was felt to be lacking in the first bio.

Perhaps the biggest weakness of this bio is the lack of respect Marquis demonstrates towards Greenberg's writing. He may well have been an arrogant and deeply unpleasant man, but he was and remains one of the great art critics in English, notwithstanding the drastic drop-off in quality characteristic of his late criticism. But Marquis can't resist making snide comments everywhere. She even insinuates that the essay 'Avant-Garde and Kitsch' (1939) was more or less co-authored with Dwight Macdonald, which struck me as a bit ungenerous.

Overall, this is an interesting read, but we're still waiting for a biography of Greenberg which will offer a satisfactory engagement with his criticism, as well as providing the necessary colour of his mesy private life.

Silver Globol

While Marquis seems to cover all the surface facts, she fails to give us a look into the theories that made Greenberg so important. And her concern with Greenberg's reputation appears slanted; for example, the controversy surrounding Greenberg's stripping the paint off the late David Smith's sculpture is defended and his detractors are summarily dismissed. It made me curious to read Rubenfeld's biography, though better yet would be to get Greenberg's Art and Culture and read what the man himself had to say.

Wal

This is another biography letting us know what a thoroughly bad person Clement Greenberg was with little evaluation of what the man accomplished, how he accomplished it or why he is acknowledged as perhaps the greatest art critic who ever lived. Where Rubenfeld went after him with hammer and tongs, Marquis does it with innuendo, spin and an incessant stream of disparaging adjectival phrases. Every paragraph, every account, every anecdote is worked over to make him look cruel, thoughtless, short-sighted, careless, nasty, pathetic, dogmatic, passive, neurotic and on and on. She gets facts wrong, talks constantly about his "theories" (he was not a theorist), leaps into supposition and speculation at every opportunity, lards the text with quotes from bitter associates, and demonstrates in several places that she does not understand anything about art or the simple esthetic approach he used unwaveringly during his whole career.

How and why Clement Greenberg continuously draws this kind of pathologically virulent hostility is something for a social psychologist to figure out. He himself said "I have an argument with my reputation". I knew the man for 35 years, saw him often, ate with him, drank with him, argued with him, looked at at art with him - the man in this book and the man in the Rubenfeld book is not the man I knew. We need a book that sets the record straight. But then I guess the question would be, who would read it?

If one could rinse out all the arbitrary negativity in this book there would be a residue of simple biographical history. There is certainly some value in that.

Tcaruieb

A amateurish and useless read. Reads like a undergraduate paper and has the tone of a rank outsider peering into the grown up intellectual world. Pass on it.

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