The Revolutionary Art Theory of Clement Greenberg: A Critical Analysis of "Avant-Garde and Kitsch" and "Towards a Newer Laocoon"

Introduction

In the turbulent years leading up to World War II, the American art critic Clement Greenberg published two groundbreaking essays that would shake the art world to its core. Avant-Garde and Kitsch (1939) and Towards a Newer Laocoon (1940) not only laid the foundation for Greenberg’s later theories on abstract art but also left an indelible mark on the development and perception of modern art in the 20th century. This essay examines these two influential works, analyzing their central arguments and exploring the lasting impact they have had on the art world.

Source: The Art Newspaper

The Context of Greenberg’s Essays

To fully grasp Greenberg’s essays, it is crucial to consider the historical and cultural context in which they were written. The late 1930s were a time of significant political and social upheaval. Europe was on the brink of World War II, and the United States was still grappling with the aftermath of the Great Depression. During this turbulent period, artists and intellectuals sought new ways to understand and represent the world around them.

Greenberg, a young and ambitious critic, saw this period of change as an opportunity to formulate a new vision of art. Deeply influenced by Marxism, he viewed art as a reflection of broader social and economic forces. Simultaneously, he was fascinated by the rise of abstract art and the radical possibilities it offered for breaking away from traditional art forms.

"Avant-Garde and Kitsch": A Dichotomy in Art

In Avant-Garde and Kitsch, Greenberg introduces a sharp division within the art world. On one side, he places the avant-garde, which he sees as the vanguard of cultural innovation. On the other side lies kitsch, which he regards as an inferior, commercialized form of culture catering to the masses.

Greenberg defines the avant-garde as a movement that rejects bourgeois society and focuses on the "absolute" values of art. He argues that avant-garde artists engage in exploring the intrinsic properties of their medium rather than focusing on representation or narrative. For Greenberg, this is a necessary step in the evolution of art—a way to preserve the "purity" of the medium in a world increasingly dominated by commercial interests.

This conception of the avant-garde as a cultural elite is not without controversy. Critics have accused Greenberg of promoting an overly elitist view of art, one that widens the gap between "high" and "low" culture. Nevertheless, his theory provided a compelling justification for the abstract art that would rise to prominence in the 1940s and 1950s.

Kitsch as Cultural Simplification

In contrast to the avant-garde, Greenberg places kitsch, a term he uses to describe mass-produced products and popular culture. According to Greenberg, kitsch is a product of industrialization and urbanization—a form of culture that is easy to consume and understand but devoid of genuine artistic value.

Greenberg sees kitsch as a threat to "real" culture. He argues that kitsch replaces authentic folk art and corrupts the taste of the public. This view of popular culture has been strongly criticized in later years, particularly by postmodern thinkers who question the boundaries between high and low culture.

Despite this criticism, Greenberg’s analysis of kitsch remains relevant, especially in an era inundated with commercial imagery and products. His warning about the flattening effects of mass culture continues to resonate in contemporary discussions about the role of art in society.

"Towards a Newer Laocoon": The Purity of the Medium

In Towards a Newer Laocoon, named after Gotthold Ephraim Lessing’s 18th-century essay Laocoon, Greenberg builds upon his ideas about the avant-garde. He advocates for art that focuses on the unique properties of each medium rather than attempting to imitate the effects of other art forms.

The Struggle Against the Literary

Greenberg argues that Western art since the Renaissance has been dominated by what he calls the "literary"—the tendency to tell stories or convey ideas that are separate from the physical properties of the artwork itself. He views this as a form of "pollution" of pure art and calls for a return to what he sees as the essence of each medium.

For painting, this means focusing on the two-dimensional nature of the canvas, the properties of paint, and the ways in which color and form can evoke pure visual sensations. Greenberg sees abstract art as the ultimate expression of this purity, as it completely eschews representation and concentrates on the inherent qualities of the medium.

The Autonomy of Art

A central concept in Towards a Newer Laocoon is the idea of the autonomy of art. Greenberg argues that each art form should delineate its own territory and focus on what makes it unique. For painting, this entails a rejection of illusionism and an embrace of the "flatness" of the canvas.

This theory profoundly influenced the development of abstract expressionist painting in the 1940s and 1950s. Artists such as Jackson Pollock and Mark Rothko were seen as embodying Greenberg’s ideals with their focus on the material properties of paint and canvas.

However, Greenberg’s emphasis on purity and autonomy also raises questions. Is it truly possible or desirable to isolate art completely from other cultural influences? And does this focus on medium-specific properties risk impoverishing artistic expression?

The Impact of Greenberg’s Theories

The influence of Greenberg’s essays on the art world cannot be overstated. His theories not only shaped the critical reception of abstract expressionism but also impacted later movements such as minimal art and conceptual art.

Greenberg’s advocacy for abstraction as the most advanced form of painting coincided with the rise of abstract expressionism in the United States. Artists like Jackson Pollock, Willem de Kooning, and Mark Rothko were hailed as embodiments of Greenberg’s ideals, and their work was celebrated for its "purity" and focus on the material properties of paint and canvas.

Criticism and Counter-Reactions

While Greenberg’s theories were enormously influential, they also sparked significant criticism. Some critics accused him of adopting an overly dogmatic approach to art, leaving little room for alternative forms of expression. Others criticized his elitist view of culture and his dismissal of popular art forms.

In the 1960s and 1970s, a strong counter-reaction emerged against Greenberg’s ideas. Movements such as pop art, conceptual art, and performance art challenged his views on medium specificity and purity. Artists like Andy Warhol and Robert Rauschenberg deliberately incorporated elements of popular culture into their work, while conceptual artists set aside the physical properties of the art object in favor of ideas and concepts.

Conclusion

Clement Greenberg’s essays Avant-Garde and Kitsch and Towards a Newer Laocoon mark a turning point in 20th-century art criticism. They provided a powerful theoretical foundation for abstract art and profoundly influenced the development of modern art.

Greenberg’s emphasis on the purity of the medium and his advocacy for the autonomy of art continue to resonate in contemporary discussions about the nature and function of art. At the same time, his rigid categorizations and rejection of popular culture have rightly been criticized.

Ultimately, the enduring value of Greenberg’s essays lies in their ability to challenge us to think more deeply about what art is and what it can be. They invite us to look beyond superficial aesthetics and reflect on the fundamental properties and possibilities of different art forms.