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• W175088467 abstract "In recent decades, Arnold Hauser has disappeared from classrooms and reading lists at North American universities. His ideas about art and society are not debated, The Social History of Art and The Philosophy of Art History are not read. Hauser’s books, which most university libraries still carry in multiple copies—an indication of the high demand that once existed for them—now gather dust on library shelves. The Social History of Art has been reprinted seven times since the 1960s, most recently in 1999, in a new edition introduced by the British art historian Jonathan Harris. 1 Obviously Hauser’s work retains a readership, but not in the North American academy. Three anthologies in use on North American campuses provide hard evidence of Hauser’s eclipse. The anthologies construct narratives about the history of art history and are designed to fill a market niche in the various methodology and theory courses offered by post-secondary art history programs. In this post-millennial moment of self-reflexivity and theoretical skepticism, such courses have become de rigueur at North American universities. In The Art of Art History: A Critical Anthology, a book that runs to almost six hundred pages, Donald Preziosi fails to mention Hauser at all, let alone to provide an excerpt from Hauser’s writing as an example of how social art history was formulated at mid-century by its most insightful practitioner. 2 Steve Edwards, in Art and Its Histories: A Reader, also omits Hauser from his version of the history of art history. Among the seventy “seminal works” that Edwards selects as “formative of the discipline or informative about historical and recent debate about art,” Hauser’s work is nowhere to be found, and nor is Hauser’s work discussed by Edwards and the authors chosen for inclusion in the anthology. 3 A third anthology, The Subjects of Art History: Historical Objects in Contemporary Perspective, edited by Mark A. Cheetham, Michael Ann Holly and Keith Moxey, does mention Hauser. 4 The reference is so brief, however, that I am inclined to think that silence might have been preferable. Moxey correctly identifies Hauser, Frederick Antal, Max Raphael, and T.J. Clark as writers whose work developed out of the Hegelian tradition and who belonged to a Marxist-informed art history. Moxey writes that these art historians “secularized and materialized the spirit as the class struggle.” 5 Although Moxey professes to admire the work of the Marxist wing to which he alludes, he views Hauser’s art history as being cut from the same cloth as that of Heinrich Wolfflin, thus collapsing the Hauserian “social” with the Wolfflinian “formal.” At best the formulation is misguided, at worst disingenuous. Hauser’s work developed within a Marxist discursive formation, a formation delimited by its own historical coordinates. In this article, I want to reflect on Hauser’s notion of the social history of art at the moment of its inception. Most of all, I want to reflect on the art critic Clement Greenberg’s mid-century understanding and admiration of Hauser’s theoretical position. Greenberg first wrote about Hauser in 1951, in a review of The Social History of Art for The New York Times Book Review. 6 I will argue that there were grounds—historically specific grounds—for Greenberg’s approbation of Hauser’s work at that time. In order to map those grounds, I will first examine Greenberg’s practice as a book critic—which is not, of course, quite the same thing as his practice as an art critic. As a book critic or reviewer, Greenberg expressed dismay at art history’s undialectical positivism, on the one hand, and at its biographical focalizations, on the other. What passed for art history, he said more than once, was second-rate art" @default.
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• W175088467 date "2008-01-01" @default.
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• W175088467 title "Greenberg on Hauser: The Art Critic as Book Critic" @default.
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