Word: steinberger
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...Edward Steinberg...
Svengalis and Status. All American artists, Wolfe argues, are Trilbys. For the past 30 years they have been hypnotized by three powerful critics named Harold Rosenberg, Clement Greenberg and Leo Steinberg. These Svengalis have dictated what shall be painted and sculpted. From abstract expressionism onward, American art has been made only to illustrate their theories. The works are then fobbed off on a public of bourgeois status seekers who strive to soothe their guilt at being rich and successful by patronizing the New. Such is the gist of Wolfe's pamphlet. If it seems familiar, that is only because...
...handle his fantasy's archvillains, Critics Rosenberg, Greenberg and Steinberg. Wolfe is naive about critical power. The idea that Jackson Pollock was Clement Greenberg's ideological puppet in the '40s and '50s is sim ply not true: Greenberg did Pollock a great service by writing about his work intelligently and with passion, but he did not "tell" Pollock how to paint. (That dubious privilege would be reserved for weaker artists in the '60s, who wanted to attach themselves to Greenberg's by then mythical aura as a trend spotter.) In any case, Wolfe...
Thomas Mann and His "Good Scores"; a lecture by Michael Steinberg; Quincy Dining Room...
...decidedly not. A seasoned New Yorker writer can make even New Yorker writers interesting. Besides, from the beginning, Ross's humor magazine attracted remarkable talents: Alexander Woollcott, Robert Benchley, Dorothy Parker, E.B. White, Wolcott Gibbs, S.J. Perelman, John O'Hara, Edmund Wilson, Peter Arno, Charles Addams, Saul Steinberg, George Price. The list can (and in Gill's telling does...