Towards a Newer Laocoön

Clement Greenberg (b. 1909) ‘Towards a Newer Laocoön’

Op de foto zien we Jackson Pollock, Clement Greenberg, Helen Frankenthaler, Lee Krasner en een onbekend kind. Deze tekst is genomen uit het boek “Theory in Art” . Een aanrader gezien de enorme hoeveelheid artikelen en de kleine prijs die je daarvoor betaald. Over een poosje de Nederlandse uitleg/samenvatting van deze tekst.

The title refers both to Gotthold Lessing’s Laocoön; An Essay upon the Limits of Poetry and Painting, of 1766, and to lrving Babbitt’s The New Laokoon: An Essay on the Confusion of the Arts, of 1910. Greenberg thus clearly signals his concern with a longstanding question in aesthetics: is the existence of limits serving to distinguish between the various arts also a condition of the possibility of value within them? According to Greenberg’s argument, it is a historical characteristic of the modern arts that each has had to define itself in terms of the limitations of its proper medium. At a time when vociferous claims were being made for the ‘Realism’ of various forms of figurative art, his aim was at one and the same time to establish the quality of certain abstract art and to justify abstraction as the fulfillment of an inexorable historical tendency. (The issues here raised by Greenberg were to be revived and reformulated twenty-seven years later by Michael Fried in his ‘Art and Objecthood’, VIIA6.) Originally published in Partisan Review, VII, no. 4, New York, July—August 1940, pp. 296-310.

The dogmatism and intransigence of the “non-objective’ or ‘abstract` purists of painting today cannot be dismissed as symptoms merely of a cultist attitude towards art. Purists make extravagant claims for art, because usually they value it much more than an one else does. For the same reason they are much more solicitous about it. A great deal of purism is the translation of an extreme solicitude, an anxiousness as to the fate of art, a concern for its identity. We must respect this. When the purist insists upon excluding ‘literature‘ and subject matter from plastic art, now and in the future, the most we can charge him with off-hand is an unhistorical attitude. It is quite easy to show that abstract art like every other cultural phenomenon reflects the social and other circumstances of the age in which its creators live, and that there is nothing inside art itself, disconnected from history, which compels it to go in one direction or another. But it is not so easy to reject the purist’s assertion that the best of contemporary plastic art is abstract. Here the purist does not have to support his position with metaphysical pretentions. And when he insists on doing so, those of us who admit the merits of abstract art without accepting its claims in full must offer our own explanation for its present supremacy.

Discussion as to purity in art and, bound up with it, the attempts to establish the differences between the various arts are not idle. There has been, is, and will be, such a thing as a confusion of the arts. From the point of view of the artist engrossed in the problems of his medium and indifferent to the efforts of theorists to explain abstract art completely, purism is the terminus of a salutary reaction against the mistakes of painting and sculpture in the past several centuries which were due to such a confusion.

I There can be, I believe, such a thing as a dominant art form; this was what literature had become in Europe by the 17th century. [. . .] Now, when it happens that a single art is given the dominant role, it becomes the prototype of all art; the others try to shed their proper characters and imitate its effects. The dominant art in turn tries itself to absorb the functions of the others. A confusion of the arts results, by which the subservient ones are perverted and distorted; they are forced to deny their own nature in an effort to attain the effects of the dominant art. However, the subservient arts can only be mishandled in this way when they have reached such a degree of technical facility as to enable them to pretend to conceal their mediums. In other words, the artist must have gained such power over his material as to annihilate it seemingly in favor of illusion. Music was saved from the fate of the pictorial arts in the 17th and 18th centuries by its comparatively rudimentary technique
and the relative shortness of its development as a formal art. Aside from the fact that in its nature it is the art furthest removed from imitation, the possibilities of music had not been explored sufficiently to enable it to strive for illusionist effects.
But painting and sculpture, the arts of illusion par excellence, had by that time achieved such facility as to make them infinitely susceptible to the temptation to emulate the effects, not only of illusion, but of other arts. Not only could painting imitate sculpture, and sculpture, painting, but both could attempt to reproduce the effects of literature. And it was for the effects of literature that 17th and 18th century painting strained most of all. Literature, for a number of reasons, had won the upper hand, and the plastic arts — especially in the form of easel painting and statuary — tried to win admission to its domain. Although this does not account completely for the decline of those arts during this period, it seems to have been the form of that decline. Decline it was, compared to what had taken place in Italy, Flanders, Spain and Germany the century before. Good artists, it is true, continue to appear – I do not have to exaggerate the depression to make my point — but not good schools of art, not good followers. The circumstances surrounding the appearance of the individual great artists seem to make them almost all exceptions; we think of them as great artists ‘in spite of.` There is a scarcity of distinguished small talents. And the very level of greatness sinks by comparison to the work of the past.
In general, painting and sculpture in the hands of the lesser talents — and this is what tells the story – become nothing more than ghosts and ‘stooges’ of literature. All emphasis is taken away from the medium and transferred to subject matter. It is no longer a question even of realistic imitation, since that is taken for granted, but of the artist’s ability to interpret subject matter for poetic effects and so forth.

III Romanticism was the last great tendency following directly from bourgeois society that was able to inspire and stimulate the profoundly responsible artist — the artist conscious of certain inflexible obligations to the standards of his craft. By 1848 Romanticism had exhausted itself. After that the impulse, although indeed it had to originate in bourgeois society, could only come in the guise of a denial of that society, as a turning away from it. It was not to be an about-face towards a new society, but an emigration to a Bohemia which was to be art`s sanctuary from capitalism. It was to be the task of the avant-garde to perform in opposition to bourgeois society the function of finding new and adequate cultural forms for the expression of that same society, without at the
same time succumbing to its ideological divisions and its refusal to permit the arts to be their own justification. The avant-garde, both child and negation of Romanticism, becomes the embodiment of art’s instinct of self-preservation. It is interested in, and feels itself responsible to, only the values of art; and, given society as it is, has an organic sense of what is good and what is bad for art.
As the first and most important item upon its agenda, the avant-garde saw the necessity of an escape from ideas, which were infecting the arts with the ideological struggles of society. Ideas came to mean subject matter in general. (Subject matter as distinguished from content: in the sense that every work of art must have content, but that subject matter is something the artist does or
does not have in mind when he is actually at work.) This meant a new and greater emphasis upon form, and it also involved the assertion of the arts as independent vocations, disciplines and crafts, absolutely autonomous, and entitled to respect for their own sakes, and not merely as vessels of communication. It was the signal for a revolt against the dominance of literature, which was
subject matter at its most oppressive.

IV The second variant of the avant-garde’s development is concurrent in time with the first. It is easy to recognize this variant, but rather difficult to expose its motivation. Tendencies go in opposite directions, and cross-purposes meet. But tying everything together is the fact that in the end cross-purposes indeed do meet. There is a common effort in each of the arts to expand the expressive
resources of the medium, not in order to express ideas and notions, but to express with greater immediacy sensations, the irreducible elements of experience. Along this path it seemed as though the avant—garde in its attempt to escape from ‘literature’ had set out to treble the confusion of the arts by having them imitate every other art except literature. (By this time literature had had
its opprobrious sense expanded to include everything the avant-garde objected to in official bourgeois culture,) Each art would demonstrate its powers by capturing the effects of its sister arts or by taking a sister art for its subject. Since art was the only validity left, what better subject was there for each art than the procedures and effects of some other art? Impressionist painting, with its progressions and rhythmic suffusions of color, with its moods and atmospheres, was arriving at effects to which the Impressionists themselves gave the terms of Romantic music. [. . .]
Aside from what was going on inside music, music as an art in itself began at this time to occupy a very important position in relation to the other arts, Because of its ‘absolute’ nature, its remoteness from imitation, it’s almost complete absorption in the very physical quality of its medium, as well as because of its resources of suggestion, music had come to replace poetry as the
paragon art. It was the art which the other avant—garde arts envied most, and whose effects they tried hardest to imitate. [. . .]
But only when the avant-garde’s interest in music led it to consider music as a method of art rather than as a kind of effect did the avant-garde. And what it was looking for. lt was when it was discovered that the advantage of music lay chiefly in the fact that it was an ‘abstract‘ art, an art of ‘pure form} It was such because it was incapable, objectively, of communicating anything else than
a sensation, and because this sensation could not be conceived in any other terms than those of the sense through which it entered the consciousness. An imitative painting can be described in terms of non-visual identities, a piece of music cannot, whether it attempts to imitate or not, The effects of music are the effects, essentially, of pure form; those of painting and poetry are too often accidental to the formal natures of these arts. Only by accepting the example of music and defining each of the other arts solely in the terms of the sense or faculty which perceived its effect and by excluding from each art whatever is intelligible in the terms of any other sense or faculty would the non-musical
arts attain the `purity` and self-sufficiency which they desired; which they desired, that is, in so far as they were avant-garde arts. The emphasis, therefore, was to be on the physical, the sensorial. ‘Literature’s’ corrupting influence is only felt when the senses are neglected. The latest confusion of the arts was the result of a mistaken conception of music as the only immediately sensuous art. But the other arts can also be sensuous, if only they will look to music, not  to ape its effects but to borrow its principles as a ‘pure` art, as an art which is abstract because it is almost nothing else except sensuous.

V Guiding themselves, whether consciously or unconsciously, by a notion of purity derived from the example of music, the avant—garde arts have in the last fifty Years achieved a purity and a radical delimitation of their fields of activity for which there is no previous example in the history of culture. The arts lie safe now, each within its ‘legitimate’ boundaries, and free trade has been replaced by autarchy. Purity in art consists in the acceptance, willing acceptance, of the limitations of the medium of the specific art. To prove that their concept of purity is something more than a bias in taste, painters point to Oriental, primitive and children’s art as instances of the universality and naturalness and objectivity of their ideal of purity. [ . . .] The issue is, of course, focused most sharply in the plastic arts, for they, in their non-decorative function, have been the most closely associated with imitation, and it is in their case that the ideal of the pure and the abstract has met the most resistance.
The arts, then, have been hunted back to their mediums, and there they have been isolated, concentrated and defined. It is by virtue of its medium that each art is unique and strictly itself. To restore the identity of an art the opacity of its medium must be emphasized. For the visual arts the medium is discovered to be physical; hence pure painting and pure sculpture seek above all else to
affect the spectator physically. [. . .]
[. . .] The purely plastic or abstract qualities of the work of art are the only ones that count. Emphasize the medium and its difficulties, and at once the purely plastic, the proper, values of visual art come to the fore. Overpower the medium to the point where all sense of its resistance disappears, and the adventitious uses of art become more important.
The history of avant-garde painting is that of a progressive surrender to the resistance of its medium; which resistance consists chiefly in the flat picture plane‘s denial of efforts to ‘hole through` it for realistic perspectival space. In making this surrender, painting not only got rid of imitation — and with it, ‘literature` — but also of realistic imitations corollary confusion between painting and sculpture. (Sculpture, on its side, emphasizes the resistance of its material to the efforts of the artist to ply it into shapes uncharacteristic of stone, metal, wood, etc.) Painting abandons chiaroscuro and shaded modeling. Brush strokes are often defined for their own sake. The motto of the Renaissance artist, Ars est artem celare, is exchanged for Ars est  Artem demonstrare. Primary colors, the ‘instinctive,’ easy colors, replace tones and tonality, Line, which is one of the most abstract elements in painting since it is never found in nature as the definition of contour, returns to oil painting as the third color between two other color areas. Under the influence of the square shape of the canvas, forms tend to become geometrical – and simplified, because simplification is also at part of the instinctive accommodation to the medium. But most important of all, the picture plane itself grows shallower and shallower, flattening out and pressing together the fictive planes of depth until they meet as one upon the real and material plane which is the actual surface of the canvas; where they lie side by side or interlocked or transparently imposed upon each other. Where
the painter still tries to indicate real objects their shapes flatten and spread in the dense, two-dimensional atmosphere. A vibrating tension is set up as the objects struggle to maintain their volume against the tendency of the real picture plane to re-assert its material flatness and crush them to silhouettes. In a further stage realistic space cracks and splinters into flat planes which come forward, parallel to the plane surface. [. . . ]

The destruction of realistic pictorial space, and with it, that of the object, was accomplished by means of the travesty that was cubism. The cubist painter eliminated color because, consciously or unconsciously, he was parodying, in order to destroy, the academic methods of achieving volume and depth, which are shading and perspective, and as such have little to do with color in the common sense of the word, The cubist used these same methods to break the canvas into a multiplicity of subtle recessive planes, which seem to shift and fade into infinite depths and yet insist on returning to the surface of the canvas. As we gaze at a cubist painting of the last phase we witness the birth and death of three—dimensional pictorial space.
And as in painting the pristine flatness of the stretched canvas constantly struggles to overcome every other element, so in sculpture the stone figure appears to be on the point of relapsing into the original monolith, and the cast seems to narrow and smooth itself back to the original molten stream from which it was poured, or tries to remember the texture and plasticity of the clay in which it was first worked out.
Sculpture hovers finally on the verge of ‘pure‘ architecture, and painting, having been pushed up from fictive depths, is forced through the surface of the canvas to emerge on the other side in the form of paper, cloth, cement and actual objects of wood and other materials pasted, glued or nailed to what was originally the transparent picture plane, which the painter no longer dares to puncture — or if he does, it is only to dare. Artists like Hans Arp, who begin as painters, escape eventually from the prison of the single plane by painting on wood or plaster and using molds or carpentry to raise and lower planes. They go, in other words, from painting to colored bas-relief, and finally — so far must they fly in order to return to three dimensionality without at the same time risking the illusion — they become sculptors and create objects in the round, through which they can free their feelings for movement and direction from the increasing ascetic geometry of pure painting. (Except in the case of Arp and one or two others, the sculpture of most of these metamorphosed painters is rather unsculptural, stemming as it does from the discipline of painting. It uses color, fragile and intricate shapes and a variety of materials. It is construction,
fabrication.) [. . .]

VI I find that I have offered no other explanation for the present superiority of abstract art than its historical justification. So what I have written has turned out to be an historical apology for abstract art. To argue from any other basis would require more space than is at my disposal, and would involve an entrance into the politics of taste — to use Venturi’s phrase — from which there is no
exit — on paper. My own experience of art has forced me to accept most of the standards of taste from which abstract art has derived, but I do not maintain that they are the only valid standards through eternity. I find them simply the most valid ones at this given moment. I have no doubt that they will be replaced in the future by other standards, which will be perhaps more inclusive than any possible now. And even now they do not exclude all other possible criteria. I am still able to enjoy a Rembrandt more for its expressive qualities than for its achievement of abstract values — as rich as it may be in them.
It suffices to say that there is nothing in the nature of abstract art which compels it to be so. The imperative comes from history, from the age in conjunction with a particular moment reached in a particular tradition of art. This conjunction holds the artist in a vise from which at the present moment he can escape only by surrendering his ambition and returning to a stale past. This is the difficulty for those who are dissatisfied with abstract art, feeling that it is too decorative or too arid and ‘inhuman`, and who desire a return to representation and literature in plastic art, Abstract art cannot be disposed of by a simple-minded evasion. Or by negation, We can only dispose of abstract
art by assimilating it, by fighting our way through it. Where to? I do not know. Yet it seems to me that the wish to return to the imitation of nature in art has been given no more justification than the desire of certain partisans of abstract art to legislate it into permanency.