그린버그의 미술역사주의의 문제 -그린버그와 아도르노 = Issues in Clement Greenberg`s Art Historicism

다국어 초록 (Multilingual Abstract)

This essay deals with issues in Clement Greenberg`s art historicism. The issues appear as avant-gardism in Avant-garde and Kitschy, and as modernist theories in Towards a Newer Laocoon. His art historicism sees art history merely as a history of evolving and managing media, form, and canvas, and a history of right consciousness for freedom and equality, to rectify contradictions of the times is thus omitted. That is to say, the history of ``intermediation`` between society and art that has contributed societal emancipation through a combination of forced material power and artistic spontaneity becomes erased. This is a window Theodor Adorno opened. Adorno argues Art is social, but it becomes social by a confrontational position against society, and art can take such a position when it remains autonomous, thus developing dialectical thinking on the duplicity of autonomous works of art. This position is in a countermeasure to Greenberg`s historical belief in evolvement, growth, and instrumental rationality of enlightenment. Adorno argues for objective dialectics even in the fetters of duality art is involved in, within a rationalized world, facing the historical dilemma directly. He places works of art in an uncertain state historically. In other words, he does not lend any historical certainty to works of art as Greenberg did. Greenberg`s idea can thus be referred to as a perspective of material historicism, and Adorno`s as a perspective of historical materialism.

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