Comment on Rosalind Krauss's "In the Name of Picasso", in 'The Originality of the Avant-Garde and other Modernist Myths'. How does her discussion of Picasso's work differ from that of Clement Greenberg?

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A comparison of the critical approaches of Clement Greenberg and Rosalind Krauss entails a consideration of two theoretical approaches to Modern Art which differ variously, by definition. Greenberg, a Modernist, Formalist conducts an analysis inevitably imbued with associated theoretical concerns, with Krauss approaching Modern Art from a retrospective, Postmodern, Feminist stance.

Greenberg's Modernist, Formalist approach is characterized in various ways. A firm believer in the concept of the very, "Avant-Garde" Krauss refers to as, "myth", he considers Modern Art in terms of what he perceives to be its qualities of originality, innovation and progression. Indeed he sees this art as possessing an inner aesthetic logic, advancing towards an envisaged formal conclusion. This view can be seen as exemplified in his influential essay, as he refers to Modern Art and, "its continuation" (Greenberg 75), referring to, "phase" (Greenberg 756), and the notion of it 'ending up' somewhere (Greenberg 75). Possessing a notion of the progressive nature of Modern Art, Greenberg discusses this predominantly in relation to the works' formal qualities. His analyses focus upon a consideration of works in purely aesthetic terms, considering qualities such as line, colour, and form. This is related to his argument of Modern Art as progressive in nature, as he sees an aesthetic progression based on formal qualities occurring. Due to its specific focus this formalist approach does not give rise to a substantial consideration of other factors, such as biography or societal influences, and thus presents a linear progression of Art, based on the monolithic notion of the sole significance of form.

Krauss, by theoretical definition, as a Postmodernist, challenges the very essence of Greenbergian, Modernist sensibilities. The very, "originality of the Avant-Garde", Claimed and valorized by Greenberg, is refuted as one of many, "Modernist Myths" by Krauss, as she challenges various claims made by the antecedent critic. In essence her approach towards Modern Art disputes the Greenbergian notion of a series of progressive movements characterized by innovation. Instead, without seeing this as necessarily negative, she notes a characteristic of repetition in Modern Art, as she does not see it as solely progressive, with regression and reflection referred to in various' of her analyses. Specifically in reference to the Modernist Artists' use of the grid she refers to the characteristic of repetition, as she claims, "…the grid is a stereotype that is constantly being paradoxically rediscovered". (Krauss 106). The second significant aspect of Krauss's critical approach is her notion of the relevance of factors outside of formal or aesthetic qualities in a discussion of these works. Instead, unlike Greenberg, she is concerned with 'the meaning' of works of art, beyond the surface of the picture plane.

In order to conduct a comparison between Krauss's essay and the theoretical approach of Clement Greenberg it is useful to consider one essay of Greenberg's in particular. Relevant in topic to Krauss's, his essay "Collage", of 15, similarly contains a discussion of cubist collage, as well as serving as an exemplary indication of his approach to Modern Art in general. In relation to this comparison I find it useful to first outline the main argument of Greenberg's essay, and in turn consider this in relation to Krauss's work.

Writing in 15, a far less retrospective year than Krauss, Greenberg discusses works of art when there repercussions, as he sees them, have not long transpired amid his perceived notion of the linear, formal progression of Modern Art. One of the initial notions imbued by "Collage" is Greenberg's notion of the relevance of originality, in this case specifically who is to be attributed with the title of 'originator' of cubist collage. Aside from the relevance of any answer to this question is the significance of the implied, or presumed, notion of the very originality of cubist collage itself. Indeed it is seen by Greenberg as a formal style invented within Modernism, a claim which is particularly useful as indicative of his notion of Modernism as characterized by originality and invention. Perhaps one of the predominant issues of theoretical concern apparent in the essay is his staunch notion of the progressive nature of Modern Art. The language of progression proliferates in his essay, as he refers far from sporadically to notions such as, "the evolution of cubism" (Greenberg 1), the, "evolution of Modernist Art" (Greenberg 1), a "direction of that logic" (Greenberg ), and a, "chain reaction" (Greenberg 7), to mention but a few. Related to such claims are his common references to the revolutionary nature of the aspect of Modern Art discussed in this essay, cubist collage. Braque for instance is referred to as taking a, "…radical and revolutionary step" (Greenberg 4), and Picasso is later referred to as having, "…took the lead" (Greenberg 7).

Finally, and perhaps most significantly, in relation to Krauss, Greenberg can be notably seen as primarily concerned with the formal qualities of cubist collage. The 'meaning' of these works in any sense is not discussed, beyond that of their aesthetic significance within the progression of a formal artistic logic. For instance, the work of Picasso and Braque is referred to as "obtaining sculptural results" (Greenberg ), using, "a variety of extraneous materials" (Greenberg 6), and calling, "…attention to the reality of the surface" (Greenberg 4). This latter reference to formal quality is related to perhaps the final useful means of comparison between Greenberg and Krauss's approach to cubist collage. This Greenbergian perception of the importance of the, "surface" of a painting is similarly displayed in his statement

Painting had to spell out, rather than pretend to deny, the physical fact that it was flat

(Greenberg )

This concern is central to the formalist notion that the, "surface" of a painting is its most significant aspect, the, "flat" surface of a work of Modern Art is seen in Greenbergian terms as the very subject matter of the work. This consciousness of the significance the surface of a work is exemplified by Greenberg's reference to the calling of attention to, "…the reality of the surface" (Greenberg 4). Thus the 'meaning' of a work of cubist collage is seen as the physicality of the picture plane, with this seen as most significantly referring to itself, with no substantial consideration of the occurrence of outside or semiotic signification made within the work..

Notions of theoretical approaches towards and analyses of meaning of cubist collage are central concerns of Krauss's essay. One's reading of it therefore is particularly enlightened when considered in relation not only to Greenberg's theoretical concepts, but to this essay of his in particular. Krauss's initial concern is with a sustained criticism of the psychological, biographical approach towards Picasso, exemplified by William Rubin's what she terms, "Autobiographical Picasso" (Krauss 4). Similarly, this is an approach denounced by Greenberg, however, unlike Greenberg Krauss goes on to consider a number of methods of understanding art in, "transpersonal terms" (Krauss 5), including Greenberg's formalist approach, however without advocating the exclusive use of this method of analysis. Instead she makes reference to a consideration of, "period style', (Krauss 5), as well as, "iconographic symbols" (Krauss 5), and, "social and economic context" (Krauss 5). However, in relation to cubist collage, there is one aspect of interpretation that she deems paramount, similar to Greenberg's monolithic use of a formalist approach. Krauss here considers the primary importance of an analysis of cubist collage in relation to Semiotics, indeed she is centrally concerned with, "…the relation between image and meaning" (Krauss 7), or more specifically, "…the operation of the sign within Picasso's collage" (Krauss ). In this sense her approach can be seen as fundamentally different from Greenberg's, indeed from his approach to Modern art in general. In relation to the Greenbergian all important "surface", Krauss instead sees cubist collage's subject matter as that which the "surface", or, "sign", signifies. Using the example of the common use of the form "f" in Picasso's collages, she sees the signified notion, or 'meaning', of this formal aspect of the work as a musical instrument, through its semiotic signification. Thus it can be seen that Krauss's central critical concern in relation to Picasso and Cubist collage challenges very essence of Greenberg's analysis or evaluation of meaning of the picture plane itself being a works sole significant 'meaning'.

In some ways there can be seen similarities between Krauss and Greenberg's approach to cubist collage, and Modern Art in general, as she at times refers to a nominal relation in formal qualities between artists. For instance, she refers to Picasso's, "…affinities with surrealism" (Krauss ), and the language of nominal progression is used at times, for instance in her description of cubist collage as going

…well beyond the analytic cubist dismemberment of illusion into its constituent

elements

(Krauss 5)

However, relations in formal qualities do not appear in Krauss's opinion as proof of the staunch kind of progression purported by Greenberg. Rather, formal relations between artists appear based, in her opinion, more upon notions of reflective influence, rather than the result of an interior artistic logic. Similarly, in relation to her occasional references in the essay to the innovative nature of cubist collage, Krauss again does not seem to be observing a definitive, linear progression of innovation. Instead, Modern Art for her is not denied the possibility of reflection, repetition, and regression, indeed these very qualities are highlighted, and not necessarily in a degradatory sense, in "The Originality of The Avant-Garde and Other Modernist Myths" as a whole. Indeed, she claims to be looking at, "originality and repetition…unprejudicially" (Krauss 106).

It is arguable also that Krauss does not omit completely a consideration of the formal qualities of cubist collage, and may in this sense also be seen as not differing inextricably from Greenberg. In this essay for instance she refers to, "plane", "colour and texture", and the difference to the, "monochrome faceting" (Krauss 1), of analytical cubism. However, her discussion of formal qualities is predominantly in relation to what is signified by these formal qualities. A good example of this is her useful discussion of Nochlin's reading of the formal quality of colour in 'The Scallop' (Krauss 0), as signifying French Nationalism, and her apparent conception of the usefulness of this approach.

Substantially however, one cannot observe any large extent of similarity between Krauss and Greenberg's analyses of cubist collage. Their approaches and judgments are wholly different, with Krauss's main argument contradicting completely Greenberg's. By this I refer to the fact that by performing a semiotic reading of cubist collage, Krauss inevitably places importance, or meaning, upon that which is signified. In relation to Greenberg however this can be seen as a completely contradictory attitude, as for the signified to function in its definitive sense it is necessarily absent from the "surface" of the work. Herein therefore lies the central opposition of Krauss and Greenberg, as an emphasis upon the importance of the signified, that which cannot be seen, inevitably places the picture plane, so valued by Greenberg and other Modernists, in a position of subordination. Indeed doubly perhaps Krauss's approach can be seen as contradicting Greenberg, in the sense that his concentration upon the relevance of form is completely disparaged by Krauss's focus upon the very antithesis of form, that which is not aesthetcised, the semiotic notion of the signified.

Greenberg, Clement, "Collage". http//www.sharecom.ca/greenberg/collage.html

Harrison, Charles, and Paul Wood ed. 'Art in Theory' 100-10 An Anthology of Changing Ideas. Oxford, UK Blackwell Publishers, 1

Kramer, Hilton. The Age of the Avant-Garde An Art Chronicle of 156-17, New York Farrar, Straus and Giroux, 17

Krauss, Rosalind. "In The Name of Picasso", in 'The Originality of the Avant-Garde and other Modernist Myths', pp - ARTT1105 Course Reader

Russel, John.'The Meaning of Modern Art', New York Harper and Row, 174

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