CLEMENT GREENBERG AND JACKSON POLLOCK, and a Defining Exhibition at Bennington College
Lloyd Studios. Jackson Pollock at the Bennington show, 1952. Archives of American Art, Smithsonian Institution.
The mid-20th century witnessed a seismic shift in the landscape of American art, with the emergence of Abstract Expressionism marking a departure from European traditions and establishing New York as a new global art center. At the heart of this transformative period were two towering figures: Clement Greenberg, a highly influential art critic whose formalist aesthetic shaped the discourse around modern art, and Jackson Pollock, an artistic innovator who revolutionized painting with his energetic "drip" technique.1
Their relationship, a complex interplay of advocacy and artistic creation, profoundly impacted the reception and understanding of Abstract Expressionism. A pivotal moment in their intertwined careers was the 1952 exhibition of Jackson Pollock's work, curated by Clement Greenberg at Bennington College in Vermont, an event that holds significant weight in the history of American modernism.4 Bennington College, during this period, was cultivating a reputation as an institution deeply engaged with contemporary art, making it a noteworthy venue for such an exhibition.8
Clement Greenberg's role in shaping the perception of Jackson Pollock's art cannot be overstated. Greenberg was an early and ardent supporter of Pollock, recognizing his groundbreaking talent at a time when his radical approach was not universally embraced.10 He famously declared Pollock to be "the greatest painter this country has produced," a powerful endorsement that carried significant weight within the art world.10 Beyond mere praise, Greenberg actively championed Pollock's work, taking on the role of a dedicated advocate who meticulously presented and interpreted the artist's innovations to the public.3
This support began in earnest during Greenberg's tenure as the art critic for The Nation in the 1940s, providing him with a prominent platform to articulate his views on Pollock's significance.11 Their initial connection may have been strengthened by a shared intellectual foundation rooted in a Marxist-influenced aesthetic, where both believed in the autonomy of art and its potential for revolutionary impact.3 This shared ideological background could have fostered an early appreciation in Greenberg for Pollock's artistic radicalism, seeing it as a form of cultural vanguardism.
Greenberg's critical lens was distinctly formalist, focusing on the inherent properties of the artwork itself, such as line, color, and composition, rather than narrative content or emotional expression.2 He was particularly drawn to the grand scale of Pollock's canvases, which he saw as liberating painting from the traditional easel, and the revolutionary "drip technique" that flattened the image and emphasized the materiality of paint.2 Concepts like the "all-over" composition and "optical space," central to Greenberg's understanding of modernism, found compelling examples in Pollock's mature work.2
This formalist interpretation provided a crucial framework for understanding and appreciating Pollock's seemingly chaotic abstractions, positioning them within a lineage of modernist innovation. However, the relationship between the critic and the artist was not without its complexities. Pollock reportedly felt like a "phony" due to Greenberg's sometimes overly intellectualized interpretations of his work, suggesting a potential disconnect between the artist's intentions and the critic's analysis.13 Some perspectives even suggest that Greenberg's theoretical framework overshadowed other possible readings of Pollock's paintings, essentially "painting over" the canvases with his own words.13
Despite these tensions, there was a clear mutual dependence, as Greenberg needed a monumental artistic figure to validate his critical theories, and Pollock benefited immensely from the visibility and validation that Greenberg's influential voice provided.13 The impact of their association extended beyond their individual careers, influencing other artists like Helen Frankenthaler, who was introduced to Pollock and his wife Lee Krasner through Greenberg.14
In 1952, Clement Greenberg organized Jackson Pollock's first retrospective exhibition at Bennington College in Bennington, Vermont.4 The venue for this significant event was the Deane Carriage Barn [then known only as The Carriage Barn] on the Bennington College campus.19 While later known primarily as a music facility, the Carriage Barn served as an exhibition space during the early 1950s, indicating Bennington's early commitment to showcasing contemporary art.21
As Pollock's first retrospective, the exhibition aimed to provide a comprehensive overview of his artistic development up to that point.4 The show likely included works spanning from 1943 to 1951, a crucial period that saw Pollock transition towards complete abstraction and fully embrace his revolutionary drip technique.18 Key works championed by Greenberg, illustrating the evolution of Pollock's style and his unique contributions to modernism, were undoubtedly featured.
Broader critical response to Pollock's work during the early 1950s offers some context. While some early reviewers acknowledged the expressive power of his paintings, they often struggled to decipher their meaning.23 Contrasting opinions existed, with some dismissing his work as mere chance or lacking control, while others recognized its dynamism and groundbreaking nature.24 Greenberg, however, remained a steadfast admirer, consistently highlighting the formal complexities and originality he perceived in Pollock's canvases.12 Given that this was Pollock's first retrospective, organized by his most prominent advocate, it undoubtedly played a significant role in shaping his public image and solidifying his place within the evolving narrative of modern art.
The decision to hold Pollock's first retrospective at Bennington College was not arbitrary. By the mid-20th century, Bennington was establishing itself as a significant center for modern art in America.8 The college was a pioneer in integrating visual and performing arts into the core liberal arts curriculum, fostering an environment conducive to artistic experimentation and intellectual discourse.8 This "atmosphere of artistic inquiry" attracted prominent artists and critics, including Clement Greenberg, who had a pre-existing connection to the institution, being a frequent visitor to the campus around 1950.28
Greenberg also collaborated with Paul Feeley, who headed the art department at Bennington, on organizing exhibitions in the Carriage Barn.19 Bennington College hosted exhibitions by other major modern artists like Josef Albers, Robert Motherwell and Barnett Newman, further solidifying its reputation as a hub for avant-garde art.19
Bennington College's commitment to the visual arts in the 1950s was evident in its diverse exhibition program and the presence of influential figures within its art department.8 The college actively hosted a range of art exhibitions in various venues, including the Deane Carriage Barn and the Commons building.34 The presence of Paul Feeley as head of the art department further contributed to the college's engagement with contemporary art trends.31 Bennington's connection to the burgeoning Color Field movement, with artists like Kenneth Noland and Jules Olitski later associated with the college, underscores its sustained focus on modernist abstraction.22 This vibrant artistic environment made Bennington a significant location for the development and exhibition of modern art during this crucial period.
Works cited
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