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Meyer Schapiro's Jewish Unconscious
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In 1994, Margaret Olin, reviewing the fourth volume of Meyer Schapiro's Selected Papers, observed that Schapiro “only seldom addressed [his] Jewish heritage”. Surely, she suggests, it must have influenced his practice of art history and criticism. But she is at a loss to say how. Olin notes that Schapiro's neglect of the issue is all the more conspicuous in view of the fact that his contemporaries, the Jewish-American art critics Clement Greenberg and Harold Rosenberg, openly viewed modern art from a Jewish perspective. While it was one among several heuristic gambits, they often privileged it as the most revelatory: the perspective that could disclose what is most at stake or immanent in modern art.
Title: Meyer Schapiro's Jewish Unconscious
Description:
In 1994, Margaret Olin, reviewing the fourth volume of Meyer Schapiro's Selected Papers, observed that Schapiro “only seldom addressed [his] Jewish heritage”.
Surely, she suggests, it must have influenced his practice of art history and criticism.
But she is at a loss to say how.
Olin notes that Schapiro's neglect of the issue is all the more conspicuous in view of the fact that his contemporaries, the Jewish-American art critics Clement Greenberg and Harold Rosenberg, openly viewed modern art from a Jewish perspective.
While it was one among several heuristic gambits, they often privileged it as the most revelatory: the perspective that could disclose what is most at stake or immanent in modern art.
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