著者
加治屋 健司
出版者
東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター
雑誌
アメリカ太平洋研究 (ISSN:13462989)
巻号頁・発行日
vol.5, pp.105-117, 2005-03

This paper investigates the ways in which American art critic Clement Greenberg transformed his art criticism in relation to the revival of figurative paintings among young artists in downtown New York in the 1950s. Greenberg has been considered to be a lifelong advocator of abstract art. In his early stage, Greenberg contended that advanced art should be abstract through emphasis on its own medium rather than on what it represents. The 1950s, however, saw the emergence of figurative painters who were inspired largely by Willem de Kooning's Woman I, the painting that broke away from the burden of abstraction. Their popularity urged Greenberg to reconsider the significance of abstract art, discovering the important role of visuality as a common ground between abstract and representational art. He thus came to recognize the importance of abstract art once again because it tells us more clearly how to apprehend the visual features of works of art than representational art does. Greenberg's propagation of abstract art in the 1960s should be considered not to be the extension of his reductionist position in the 1940s but rather to be the consequence of his attention to the visual function of abstract art which he discovered through his experience of figurative paintings in the 1950s
著者
加治屋 健司
出版者
東京大学大学院総合文化研究科附属アメリカ太平洋地域研究センター
雑誌
アメリカ太平洋研究 (ISSN:13462989)
巻号頁・発行日
vol.5, pp.105-117, 2005-03

This paper investigates the ways in which American art critic Clement Greenberg transformed his art criticism in relation to the revival of figurative paintings among young artists in downtown New York in the 1950s. Greenberg has been considered to be a lifelong advocator of abstract art. In his early stage, Greenberg contended that advanced art should be abstract through emphasis on its own medium rather than on what it represents. The 1950s, however, saw the emergence of figurative painters who were inspired largely by Willem de Kooning's Woman I, the painting that broke away from the burden of abstraction. Their popularity urged Greenberg to reconsider the significance of abstract art, discovering the important role of visuality as a common ground between abstract and representational art. He thus came to recognize the importance of abstract art once again because it tells us more clearly how to apprehend the visual features of works of art than representational art does. Greenberg's propagation of abstract art in the 1960s should be considered not to be the extension of his reductionist position in the 1940s but rather to be the consequence of his attention to the visual function of abstract art which he discovered through his experience of figurative paintings in the 1950s
著者
加治屋 健司 池上 裕子 牧口 千夏 粟田 大輔
出版者
広島市立大学
雑誌
基盤研究(C)
巻号頁・発行日
2010

オーラル・ヒストリーの方法を用いて、1960年代の日本における前衛美術に関する研究を再構築した。地方の美術活動を視野に入れながら、合計47名の美術関係者(美術家、デザイナー、写真家、建築家、音楽家、美術評論家、画廊主、団体職員など)に90回の聞き取り調査を行った。戦後日本の前衛美術運動は、地方の文化や社会、ジェンダーの問題、国内外の他芸術の動向と深く関係しながら、多様な考えと形態を伴って展開したことを明らかにした。