Examples of Clement Greenberg in the following topics:
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- The term was first used by the art critic Clement Greenberg as the title for an exhibit he curated for the Los Angeles County Museum of Art in 1964.
- Greenberg perceived that this new style of painting favored openness and clarity as opposed to the dense, painterly surfaces of Abstract Expressionism.
- While the Abstract Expressionists were characterized by gestural abstraction and were therefore still concerned with some degree of representation, Greenberg suggested that the formal elements of Post-Painterly Abstraction attained a level of "purity" that revealed the truthfulness of the canvas and the reality of the canvas's two-dimensional space, or flatness.
- The 31 artists who participated in Clement Greenberg's LACMA exhibit included Walter Darby Bannard, Jack Bush, Gene Davis, Thomas Downing, Friedel Dzubas, Paul Feeley, Sam Francis, Helen Frankenthaler, Al Held, Ellsworth Kelly, Nicholas Krushenick, Alexander Liberman, Morris Louis, Arthur Fortescue McKay, Howard Mehring, Kenneth Noland, Jules Olitski, Ray Parker, David Simpson, Albert Stadler, Frank Stella, Mason Wells, Emerson Woelffer, and a number of other American and Canadian artists who were becoming well known in the 1960s.
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- For instance, the important modern art critic, Clement Greenberg, called Immanuel Kant "the first real Modernist" but also drew a distinction: "The Enlightenment criticized from the outside ... .
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- Perhaps the most well-known artist who worked in the genre of Land Art was the American artist Robert Smithson, whose 1968 essay "The Sedimentation of the Mind: Earth Projects" provided a critical framework for the movement as a reaction to the disengagement of Modernism from social issues as represented by the critic Clement Greenberg.
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- In part, it was a reaction against formalism as the influential New York art critic Clement Greenberg then articulated it.
- According to Greenberg, modern art followed a process of progressive reduction and refinement toward the goal of defining the essential, formal nature of each medium.
- Some have argued that conceptual art continued this dematerialization of art by removing the need for objects altogether, while others, including many of the artists themselves, saw conceptual art as a radical break from Greenberg's kind of formalist modernism.
- However, by the end of the 1960s, it was certainly clear that Greenberg's stipulations for art no longer held traction.
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- It began to emerge as a movement during the 1960s, in part as a reaction against formalism as then articulated by the influential New York art critic Clement Greenberg.
- According to Greenberg, Modern art followed a process of progressive reduction and refinement toward the goal of defining the essential, formal nature of each medium.
- Some have argued that conceptual art continued this "dematerialization" of art by removing the need for objects altogether, while others, including many of the artists themselves, saw conceptual art as a radical break with Greenberg's kind of formalist Modernism.
- However, by the end of the 1960s it was certainly clear that Greenberg's stipulations for art to continue within the confines of each medium and to exclude external subject matter no longer held traction.
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- During the late 1940s and early 1950s, Clement Greenberg was the first art critic to suggest and identify a dichotomy between differing tendencies within the Abstract Expressionist canon—especially between Action Painting and what Greenberg termed "Post-Painterly Abstraction" (today known as Color Field).
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- Clement Greenberg became the voice of Post-painterly abstraction by curating an influential exhibition of new painting that toured important art museums throughout the United States in 1964.
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- Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, believing that the style of realism at the time "wasn't truthful enough. " They were influenced by the writings of the art critic John Ruskin (1819–1900), who had strong feelings about the role of art in helping to improve the lives of the urban working classes, in the rapidly expanding industrial cities of Britain.
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- Rome reached the highest point of splendor under Pope Julius II (1503–1513) and his successors Leo X and Clement VII, both members of the Medici family.
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- The three most influential muralists from the 20th century are Diego Rivera, José Clemente Orozco, and David Siqueiros, often referred to as “los tres grandes” (the three great ones).
- Mural by José Clemente Orozco painted in Guadalajara, Jalisco, Mexico between 1948 and 1949.
- Compare and contrast the works of Diego Rivera, José Clemente Orozco and David Siqueiros.