38 0 0 0 シンポジウム「宇佐美圭司《きずな》から出発して」全記録
- 著者
- 三浦篤 加治屋健司 清水修編
- 出版者
- 東京大学
- 巻号頁・発行日
- 2019
5 0 0 0 OA 誤作動する武器 クレメント・グリーンバーグ, 文化冷戦, グローバリゼーション
- 著者
- 加治屋 健司
- 出版者
- アメリカ学会
- 雑誌
- アメリカ研究 (ISSN:03872815)
- 巻号頁・発行日
- vol.2003, no.37, pp.83-105, 2003-03-25 (Released:2010-11-26)
- 参考文献数
- 167
4 0 0 0 IR 大学系アートプロジェクトとしての広島アートプロジェクト
- 著者
- 加治屋 健司
- 出版者
- 広島市立大学芸術学部
- 雑誌
- 広島市立大学芸術学部芸術学研究科紀要
- 巻号頁・発行日
- no.18, pp.34-37, 2013-03
2 個人研究
2 0 0 0 IR 具象への回帰を超えて--クレメント・グリーンバーグと1950年代の具象美術家
- 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
2 0 0 0 OA 具象への回帰を超えて : クレメント・グリーンバーグと1950年代の具象美術家
- 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
1 0 0 0 IR 日本の中世及び近世における夢と幽霊の視覚表象
- 著者
- 加治屋 健司
- 出版者
- 広島市立大学芸術学部
- 雑誌
- 広島市立大学芸術学部芸術学研究科紀要
- 巻号頁・発行日
- no.16, pp.37-44, 2011-03