Harold Rosenberg Was Not an Art Historian
Friday, August 15, 2008 at 08:56AM 
In 1975 Tom Wolfe predicted that in Cultureburg of the year 2000 “Up on the walls will be huge copy blocks, eight and a half by eleven feet each, presenting the protean passages of the period...a little “fuliginous flatness” here...a little “action painting” there......and some of that “all great art is about art” just beyond.” That show has happened, and if you haven’t been to the Jewish Museum to see it rush over before it ends on September 21st. Masterpieces of American abstract painting - all the slides an art historian depends upon to tell her story - are in real time and space, hanging side by side in this rare event. Too absorbing to ever be replaced by wall text, the paintings are appended by a room of little magazines spread open in vitrines extending from the walls, and another cluttered by Allan Kaprow’s “Words,” 1962.
And, of course, the exhibition catalog. Although titled “Action/Abstraction: Pollock, De Kooning and American Art, 1940-1976,” the catalog - as text, and not an exhibition of paintings - makes it very clear that this is really a story about the two art critics Clement Greenberg and Harold Rosenberg. While the catalog avoids this aspect of their history, these two critics represent the dawning of philosophical art criticism in America, and in raising these two heads at once the scholarly neglect of Harold Rosenberg is redressed. In 1998 Brian Winkenweder wrote that Rosenberg’s “posthumous reputation seemed to shrink with each subsequent publication analyzing the cause and impact of Abstract Expressionism. When Rosenberg’s name does appear in print, invariably it follows that of Clement Greenberg.”* A fine example of this is Tom Moody’s recent blog entry on the subject. As art history’s fallen term Action Painting keeps appearing as the tic that won’t go away. 
For many, Rosenberg symbolizes the ill-formed attempt of a frustrated anti-Stalinist Marxist to find in the artist the new proletariat, and as such he has never left the contained historical context of the New York public intellectual. It’s fair to say that Marx’s failure was Rosenberg’s point of departure. According to Rosenberg Marx’s failure was that the historical character of the proletarian was in fact the absent ego of a class, an abstract economic category mythically personified. It could only ever appear as a false consciousness. The act of the proletarian was unhinged from history, an “historical nothing” - bound to the machine he cannot initiate an act or claim its effect as his own. How could an identity emerge from such an actually lived historical condition?
Seeking resonant forms of an historical nothing in 1932 Rosenberg wrote of the court of law. The unity of identity that is built in narrative theater by the single heroic act is hacked apart by judgment in a court of law. In the court of law there is no final elaboration of the sole individual as a personality - any act that might otherwise lead to the understanding of character is subsumed under one criminal act. Legal judgment “shapes personae like a hatchet,” cutting the individual apart into discrete actions.** Presenting the condition of the one who is judged beside that of the worker, Rosenberg addressed the notion of history and the self as discontinuous. In other words, twenty years before his famous essay was published in Art News in 1952 Rosenberg was in some sense anti-biographical and post-historical, and it is with this in mind that any consideration of Action Painting today is worthwhile.
With his art criticism facing us in this way, we would do well to seek the work of the hatchet. Writes Marjorie Welish, “Rosenberg’s criticism, however prescriptive and strongly voiced, revises its ideological position as it goes along, destabilizing its own fixed points of reference. Over the years, his continual restatement of ‘action’ established a history of seeing art from different points of view and at different levels of generality, a precedent which, if prescriptive, was meant to be contested and to lead to additional intellectual litigation.”***
This sense of Rosenberg’s resistance to the historicist capture to which he has been subjected comes across in comparing two descriptions, those of Arshile Gorky and Barnett Newman. Arshile Gorky was an extraordinary copyist, bouncing from Cezanne to Picasso until out of sheer boredom Gorky was able to scribble his way towards “The Liver and the Cock’s Comb,” 1944.**** Where Gorky faced the world in the spirit of parody and quotation only to turn away from it, Barnett Newman drew upon “the scale of events.” Famously, “Onement I” affected Newman so much that he was unable to paint for nearly a year, claiming “That was, I suppose, the beginning of my present life.” Writes Rosenberg, “It has the intrusive arbitrariness of an act or an event - Newman was justified in regarding himself as closer to the action painters than to the “purists,” Onement I was something he had done, not conceived. No wonder the artist himself was baffled while contemplating it”.*****
Visible in the comparison between Rosenberg’s writings on these two artists is an attention to how their achievement exceeds the constraints of art history by design. This was a very real battle, and in conversations on this blog art history as a rhetorical mode is acknowledged as a problem for recent art. Ironically, it is a trend that Rosenberg himself may have helped to inspire. Charles Harrison wrote of Rosenberg that the ”increasing devotion to a modernist logic of historicity” may have been “partly in reaction against Rosenberg’s rabid Existentialism.”* Similarly, Rosalind Krauss explained that a younger generation of art critics “felt tyrannized and depressed by the psychologizing whine of “Existentialist” criticism. It had seemed evasive to us - the impenetrable hedge of subjectivity whose prerogatives we could not assent to. The remedy had to have, for us, the clear probability of an “if x, then y.”******
Firm resistance to what he observed in the emerging professionalism of art history and its effects upon art is only one side of Harold Rosenberg. The other side is closer to what today we refer to as “visual culture,” a reading of art that is also located outside of art history and belongs more nearly to the journalism of culture at large and its more assertive criticality. This is the Rosenberg who worked by day for the Ad Council, and who in collected essays such as “Artworks and Packages,” writes with the urgency and resolve of one who has arrived on the scene too late. Here he expresses concern over what I have been referring to on this blog as the mobility of art. Increasingly, not only was “all great art about art,” but it was at the same time dumbed down and absorbed by mass media and fetishized as commodity exchange. Perhaps above all else, it is this Rosenberg whine that the art world wishes would go away.
by Catherine Spaeth
* Brian Winkenweder, “Art History, Sartre and Identity in Rosenberg’s America,”’in Art Criticism, V.13, No. 2, 1998. The title of this essay is also from Winkenweder, p. 135.
**Harold Rosenberg, “Character Change and the Drama,” in “The Tradition of the New,” NY: Horizon Press, c. 1966, p. 137.
***Marjorie Welish, “Transforming the Earth (Rosenberg),” in Signifying Art: Essays on Art After 1960, Cambridge University Press, c. 1999, p. 134.
****Harold Rosenberg, “Arshile Gorky: The Man, the Time, the Idea,” NY: Grove Press, 1962.
*****Harold Rosenberg, “Barnett Newman,” NY: Harry N. Abrams, c. 1978.
******Charles Harrison, “Abstract Expressionism,” in Tony Richardson and Nikos Sangos, eds., “Concepts of Modern Art,” NY Harper and Row, 1974, p. 21, note#1; Rosalind Krauss, “A View of Modernism,” Artforum, V. 11 P. 49. As cited in Elaine O’Brien, “The Art Criticism of Harold Rosenberg: Theaters of Love and Combat,” dissertation, CUNY 1997.
Image credits: Jackson Pollock, Convergence, 1952, oil on canvas. Albright-Knox Art Gallery, Buffalo, N.Y., Gift of Seymour H. Knox, Jr., 1956. © The Pollock-Krasner Foundation/Artists Rights Society (ARS), New York; Hedda Sterne, Harold Rosenberg standing, 1964, Ink on paper, 9 x 6 inches, Courtesy of CDS Gallery, New York; Barnett Newman, White and Hot, 1967, acrylic on canvas. Saint Louis Art Museum, Gift of Mr. and Mrs. Joseph Pulitzer, Jr.. © The Barnett Newman Foundation / Artists Rights Society (ARS), New York.
Reader Comments (26)
But does Rosenberg ever pretend to be an art historian? As a critic he sought to interpret some abstract painting in terms of existentialism – to gloss this very quickly - a philosophy of action that denies any of the stable measures of pragmatism, places a premium upon individual doubt/faith and action (let’s say) - tethering it to a wider trend of the times. But it’s no more than a bold sketch, he subsequently continues to revise. It’s never advanced as a coherent picture of a particular culture or time, much less as a comprehensive guide to abstract painting. It was his one big, bold intuition, and I don’t think he ever really knew what to do with it, or how to get past it. The only reason American critics continue to dwell on the pairing of Rosenberg and Greenberg (apart from the cute rhyming by name and color) is that it offers extended contemporary commentary on some of the NY School, reinforces American chauvinism.
They’re of historical interest, but not as historians. ‘Action’ Painting was meant to capture a kind of spontaneous immersion in making or doing by the painter, but it can’t really explain how this differs from preceding abstraction, why action should be especially vital to abstraction rather than figuration or differences amongst Action Painters, or ‘actions’. The reason it attracted a following is because there was something to the trend – the shift in popular music, films, in beat writing and the intense ideological push in the west to promote individualism and improvisation, as the opposite of group or collective effort for communists or socialists. I can see the connection. For the generation of painters who had passed through the 30s and the tacit socialism of mural schemes, the enormous sacrifices and conformity of the war years – the statement was unquestionably one of deep distrust of the big picture, the agreed plan, teams and goals. The reason the paintings get so big is so they can’t be easily accommodated, at any level.
Moody seems to think Rosenberg was just too vague, that no-one rejects him because no-one knows quite what he’s saying. But I think it’s more that Rosenberg can’t really say very much about painting. Sociologically or culturally, what he’s saying is interesting (at least when he said it first) but then when we look beyond NY painters, or even American painters; the situation is far more blurred. The recovery from the war in Europe and the UK was so much slower, because they were far more damaged. This influences their ‘actions’ and abstraction. And the response in painting to these influences; both in NY and elsewhere was not limited to abstraction, far from it.
Greenberg, on the other hand, is just far too picky. It’s easy to see why his views are hotly disputed. But Greenberg would have shared a lot of the existentialist’s convictions. He was of those times and trials. But Greenberg had no doubts about art. This is where he parts company both with surrounding artists and critics. He was at heart an idealist, by other organs an opportunist. He tries to generate an entirely internal or formal account of abstraction – he’s not the first or last in this, but against Rosenberg, this is especially conspicuous. Greenberg does appeal to art history, usually recklessly, mostly incorrectly, but in just the ways that Rosenberg ignores. And yet Greenberg was extremely suspicious of the art historian, urged the role of critic before cataloguer, as a matter of excellence before standards (again, a matter of some concern, philosophically). So the choice is really between a flawed essentialist and an errant incidentalist. I know; I just made that word up. Both crowed loudly, sadly not briefly, one for too few the other for too little.
Excellent, it’s hard to disagree with much of that, so in response, here is my main interest in Rosenberg and Greenberg:
“But does Rosenberg ever pretend to be an art historian?”
No, he doesn’t. But CG has become art history, and so in comparing the two, as one must, you have to look at why CG did and HR did not. I find it important that Rosenberg felt that as an art critic he needed to position himself against art history. For example, Elaine O’Brien argues that the neglect of Rosenberg has been primarily because he alienated art historians so vehemently that out of their own self-identification they could never take him seriously.
“The only reason American critics continue to dwell on the pairing of Rosenberg and Greenberg (apart from the cute rhyming by name and color) is that it offers extended contemporary commentary on some of the NY School, reinforces American chauvinism.”
Today there remain distinctions between art historians, critics, and journalists and much of that history lies in the practices and name calling between these two men. They aren’t reducible to mere history and its chauvinisms but belong to our history of thought. Isn’t there possibly more to the appearance of these two minds than that they simply happened? Might they represent two aspects of critical thought that remain crucial? And as folks who are swept in these currents and caught in its drifts - I can identify in my own writing practices, for example, strong Greenbergian and Rosenbergian strains, each differently in response to what is before me - isn’t it wrong to capture and isolate them in history? I am taking on a lot of folks inside of that question.
I think we agree that there are a lot of problems in accepting CG’s views on abstraction and art history. He is not fair to both, is really at the service of a very narrow range of interests. But I don’t see that HR is much of a remedy. ‘Action Painting’ was too vague stylistically, although as I say, I think struck a chord sociologically. HR certainly struggled to make the term fit certain kinds of painting, but at the same time resisted just this conformity –
‘This new painting does not constitute a School… A School is the result of the linkage of practice with terminology – different paintings are affected by the same words. In the American vanguard the words, as we shall see, belong not to art but to individual artists.’
p.25 The American Action Painters from ‘The Tradition of the New’
Right there is the problem, for the art historian. HR wants to declare movements and yet preserve optimum individualism. Again, this is of a piece with his ‘existential’ advocacy (and obviously I don’t mean he or any of the artists championed were necessarily avid readers of Sartre or Heidegger – ‘existential’ here is more like a general attitude or spirit of the times). As criticism this is fine, in drawing attention to a meaning in the work, but as far as clearly distinguishing works, for the art historian, it’s not much help.
This is the difference between art criticism and art history.
Even CG struggled to give his ‘New York School’ much consistency, and of course he flatly denies much else in order to advance its importance. As an art historian (and one specializing in the period 1950-2000) for me the problem these days is making a more integrated, comprehensive art history. It won’t do simply to append one set of criticisms to another, later on top of earlier, to ‘compile’ art history from the sum of its criticisms. It actually has to be re-written. And this entails jettisoning a lot of the assumptions that underlie CG and earlier writers – although not the works promoted by them, nor largely their interpretations!
I completely agree that the differences between CG and HR represent opposing poles in our thinking – I tried to summarize that at the end of my first comment. For CG art was all about art, always would be; for HR it was all about the individualism of the moment, the time and place. One is all form no content, the other all content, no form. The art historian is always a little at war with the social historian, we want to define art, allow it changes, but don’t want to see it treated as just another historical document when it does change – art at some point stands aside from other artifacts.
This argument is currently being waged with cultural studies, as I see it.
Rosenberg’s comment about there not being a school is crucial, and what is made visible in your disappointment is a very specific notion of what art history does. I don’t think of the history of art as primarily a cataloging of style, and maybe it’s for this reason that Rosenberg interests me. The question of what it is to act, what it is for an artist to act, is so important to the entire history of art - and while Rosenberg was not interested in the work of Kaprow and rejected such artist’s claim to his name, it is important that it was artists who wore his mantle, artists who thought about such things as intention, audience and the object of art.
That specific words do not belong to art but to artists is important, and I think of this a lot. It has to do with an artist’s achievement as being earned by a life of research, of a practice with singular consistency, and this is what you yourself make visible in post 100, a description of the work by two very different artists. What Rosenberg did adequately address was that there is such a thing as a monographic study of art that was without historical and psychologized biography but at the same time deeply involved subjectivity. He does make a clear distinction between Gorky and Newman, form and content are distinctively there.
There is a tendency to say that critics such as Harold Rosenberg and Clement Greenberg matter little today, that what is needed is a whole new form of art criticism. But when I read Baudelaire on the spontaneity of modern life, I see a writer leaning hard into what we now refer to as visual cultural studies. What kind of “tradition of the new” is it to demand a new form of art criticism, when the so-called new forms owe so much to a such a well-earned history of thought? This doesn’t mean the boundaries between journalism, art criticism, art history, visual and cultural studies don’t matter, but that parsing out the specific voices of their histories does. I guess what I want to say is that once you start writing, you are going to run into these voices not only because this is the history of writing about art, but because this history occurred as the way thought happened in response to art. I question that these same voices are irrelevant today. When Clement Greenberg emphasizes the continuity of art history as form and disciplinary research, tentatively offering an “optical third dimension” as the personal in art, and Rosenberg emphasizes the personal in art as radical discontinuity on the one hand and the lack of it as the scene of culture upon which one arrives too late on the other, there is agreement, argument, commentary in here about the nature of art and art criticism, and these are not just contained and local squabbles. To never quite feel secure about what art history is will always be for me an active and generative field, and I take this to be what Rosenberg meant by his resistance to it.
Well firstly cataloging styles of art need not be understood as a passive, strictly clerical exercise. The styles are not just out there, waiting to be collected or recognized. Works do not automatically announce themselves, within apt categories, for novel categories. To some extent they have to be made by the art historian or critic, although there are standards to be met in doing this. There is a pro-active, experimental and creative element to being an historian. And I don’t think this is a recent development, even if we go back to Vasari, there is much of his own endeavor, maneuvering and politics in his chronicle.
So perhaps this reconciles our interests a little. Although extended discussion of behavior and intention I think are best reserved for philosophy.
How new, or how far works depart from an established style, how far criticism might depart from norms and still be recognized as such, obviously remain pressing concerns, in truth have always been. Unquestionably CG’s or HR’s approaches are of little use to the critic or historian grappling with installations, Performance and Video Art, for instance. It’s not simply a matter of fashion; their approaches can really say little or little more about such work. So there are real limitations to what we can take or make from them nowadays.
They are unlikely to be forgotten obviously, but even within the kind of abstraction they dealt in, it’s high time we looked to other voices, frankly. In particular, their contemporary, the French critic Michel Seuphor I think can be revisited with profit. He offers a far more measured and comprehensive view of abstraction through to the 60s, probably because he was also a committed artist and takes a more technical view. I find he complements CG and HR nicely in this respect.
And here is Tom Moody's "reply", which he posts on his own site but not here, with comments off:
"Thanks for the link.
My blog post was actually not a good example of Rosenberg being mentioned only because Greenberg was.
As I said, the pairing of the two critics was the Jewish Museum's frame and I would have been happy to leave Rosenberg out of it.
What I'm getting from your discussion (and the Jewish Museum's) was that Rosenberg was more interested in evaluating artists (are they heroic? cosmopolitan? a good embodiment of Marxist ideals?) than the artwork they make.
I understand there is a strain of art that values personality and anecdote over work and that it may trace itself back to "American Action Painters." To me it's a bit like basing jurisprudence on the lives of the founding fathers and mothers rather than the study of history, economics, and so forth. Fun to read but incoherent if your goal is a common language.
You can compare work to work but it's hard compare artists to artists so you get careers based on personal funkiness, e.g.: "The most important thing about Tracey Emin is...well, her sheer, magnificent Tracey Emin-ness."
--Tom Moody"
And my response: Tom you perhaps unfairly were put into the role of the fall guy. As you saw the two videos, Rosenberg does indeed look rather pathetic in comparison to what Greenberg has to offer. But Rosenberg was not interested in personality and anecdote to the extent that you think, he was actually quite the formalist - Barnett Newman's "thing done" occurred in some sense without him, and what Rosenberg sees here is not unlike Yves Alain Bois' description of his zips on the basis of Beneviste's shifters, as paintings that structure the address of "I" and "you." Rosenberg has had a lot more to offer than he is usually given credit for.
I'm getting a hint of criticism about posting on my commentless blog and not here. Not everyone wants me barging onto their threads with my take no prisoners style.
After having completely open, unmoderated (and at times quite lively) comments for six years I turned them off when I moved to my current URL. Mainly because spam was making it impossible to converse in a spontaneous way and I don't want to deal with filters and "capchas." And other reasons I won't belabor.
I believe with hyperlinking it is possible to have conversations between blogs without using comments, but that's me.
The paired Rosenberg/Greenberg quotes in the Jewish Museum show consistently had the latter getting the better of the former. Another example I recall concerned Barnett Newman. Greenberg had an almost poMo observation about Newman's canvases being perfect foils for clean modern spaces; Rosenberg's quote consisted of rhetorical questions about what kind of man Newman was (a man of taste, erudition, etc., I forget the exact accolades).
I'm actually not interested in "formalism" if it means technique as subject matter. Where I am entranced with Greenberg is his engagement with history and his translation of AbEx studio talk into a critical language. With Rosenberg I get the sense he liked talking at artists rather than listening to them. (The Naifeh and Smith Pollock bio confirms as much.) Greenberg was doing that by the 1960s but early on he was a good student.
--Tom Moody
For the catalog it was Caroline Jones's reading of Greenberg that was chosen, which I feel is an historicism that expresses very little real interest in Greenberg's contribution to philosophical art criticism. I don't disagree with you about the value of Greenberg's art criticism, but on the basis of the scholar they chose to represent his thought I don't think I'd go out of my way to defend the show as Greenberg's champion. You don't do that, you point out what you saw in Greenebrg’s and Rosenberg’s thoughts as expressed and chosen for exhibition format. My interest is in what is under-recognized and of value in Rosenberg’s writing, not his offhand comments, what was not shown, in other words. (And you won’t find what I’m looking for in any biography, which depends on anecdote more than aything else.) This is not a wholesale trade of one for the other. I do think as a formalist that it’s relevant to consider how it is and what it means to act, to express subjectivity. Rosenberg did that.
I always considered Rosenberg an essayist. And yes, I do think it is ridiculous to dismiss all of his writing, several excellent essay collections, because one finds his notion of action painting silly. He put many other ideas before the public. But since no one has the time to go back and read his collections, which are definitely worth reading, it is easier to pigeonhole him or label him irrelevant. Cherry picked quotes from his oeuvre obviously leave a lot out of the picture. Some of his polemics will look dated no doubt, but their are many hidden treasures to be found in his essays and mongraphs on individual artists if one looks hard enough.
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