Formalist Art Criticism and the Politics of Meaning

Formalist Art Criticism and the Politics of Meaning

From the 1940s until the late 1960s, formalist criticism functioned to appropriate modernist art to the market interests and conventional sensibilities of the art world. By its judgments of taste, it certified the worthiness of art objects for markets, facilitating processes of the reception of artw...

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Bibliographic Details
Published in:Social justice (San Francisco, Calif.) Vol. 33; no. 2 (104); pp. 31 - 44
Main Author: Tekiner, Deniz
Format: Journal Article
Language:English
Published: San Francisco Social Justice 01-01-2006
Crime and Social Justice Associates
Subjects:
Abstract art
Abstract expressionism
Aesthetics
Analysis
Art criticism
Art history
Art objects
Art Works
Countermovements
Criticism
Cultural history
Cultural studies
Expressionism
Formalism
Formalist art
Greenberg, Clement
Ideologies
Intellectuals
Literary criticism
Meaning
Modern art
Modernism
Modernist art
Post-war history
Postmodernism
Social change
U.S.A
Visual arts
Western Europe
United States
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Summary:From the 1940s until the late 1960s, formalist criticism functioned to appropriate modernist art to the market interests and conventional sensibilities of the art world. By its judgments of taste, it certified the worthiness of art objects for markets, facilitating processes of the reception of artworks as commodities. Tekiner explains how the formalist art criticism associated with Clement Greenberg function symbiotically with art marketers to uphold conservative agendas and to mask the progressive content intended by many modern artists who construe their transcendental subjects as signifiers of freedom, and their art works as expressions of liberated imagination during the stultifying conformism of postwar North America.
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ISSN:1043-1578
2327-641X