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“... his anointed successor John Connally, the former Democrat governor of Texas. In Nixon’s Shadow, David Greenberg explores Nixon’s place in modern American culture. While other politicians struggled for name recognition, manifold images of Nixon infiltrated every level of American life from the early 1950s and persisted long after the Watergate scandal ...”

“... televised debate, epitomises his ambivalent relationship with the medium. In Nixon’s Shadow, David Greenberg argues that Nixon was the first American president pre-eminently concerned with the construction of his image.* Unlike Kennedy, his nemesis, Nixon was a self-made man; he didn’t have the benefit of an extremely wealthy and well-connected ...”

“... abstraction, the painting landed in the collection of the famously plain-spoken art critic Clement Greenberg. Greenberg never published on the relatively obscure Donati, so one might wonder if he liked White to White. This isn’t a trivial issue in the bid to assess Greenberg’s ...”

“... proximate cause of this supposed decline in favour. This paradox is the organising theme of Daniel Greenberg’s heroically researched book. Were the politics of science as important as the altitude of Presidential trousers, Greenberg would certainly be acknowledged as one of the greatest American investigative journalists ...”

“... subscribing to le dernier cri from Europe’. Rothko dominates an essay in the Hopper catalogue by David Anfam, the author of the Rothko catalogue raisonné, who notes that ‘so much has been written about Edward Hopper that perhaps one of the few remaining royal roads by which to approach him is via another massively interpreted artist.’ Anfam makes the ...”

“... There are villains: Dr Henderson, Pollock’s Jungian analyst, Robert Motherwell, Clement Greenberg; and heroes and heroines: the sad, remote father, the brothers, particularly Sande, and his wife Arloie, Reuben Kadish, Roger Wilcox, Rita Benton. They write with respect about Lee Krasner and without parti pris. My impression is that the book is ...”

“... David Smith is often seen as the Jackson Pollock of modern sculpture, the artist who transformed European innovations (in welded steel above all) into an American idiom of expanded scale and expressive power. Like most legends in art history, this isn’t false, despite the immediate catch that his greatest follower, Anthony Caro, is English ...”

“... Diebenkorn remembered helping him hang a show of his work in 1947. But like Elmer Bischoff and David Park, with whom he made the turn to figurative painting a few years later, Diebenkorn was asking questions that abstract expressionism couldn’t always answer, even though, as the early works in the show at the Royal Academy (until 7 June) suggest, he was ...”

“... Romantic vocabulary of boundless energies and limitless spaces’ was not altogether new: Clement Greenberg had six years earlier linked Clyfford Still to Turner. What Rosenblum’s essay did was to suggest in a totally convincing way that the conventional division of the Abstract Expressionist movement into two wings – on the one hand, the ‘colour-field ...”

“... French art writing and curating, second about ‘the dogma of modernism’ promulgated by Clement Greenberg and his followers. Greenberg saw modernist art as part of the Enlightenment project to ground every discipline in its own ‘area of competence’. To pursue its proper mission, painting had to highlight its ...”

“... made a Royal Academician in 2005 but he has remained a quiet man of British art in comparison with David Hockney or R.B. Kitaj, his contemporaries at the Royal College of Art in the early 1960s. ‘Swan i’ (1964) The exhibition shows how decisively he transcends the well-worn term ‘postwar British artist’: Bowling is diasporic, resisting easy ...”

“... between May and November 2004. The even more extensive compilation of documents assembled by Karen Greenberg and Joshua Dratel includes all of these, along with further Bush administration internal memoranda from the years 2001-04, important reports critical of the administration from the New York City Bar Association (April 2004) and the American Bar ...”

“... by Oskar Schlemmer with engaged work by the Mexicans Diego Rivera, José Clemente Orozco and David Alfaro Siqueiros. The juxtapositions are provocative, but the rationale not clear (unless it is merely that the new MoMA is not hostile to committed figuration). The fourth floor, which covers only 1940-70, also begins in an expected way, with late ...”

“... comics and the like could be made to serve some of the goals set for high art from Rembrandt and David to Rothko and Barnett Newman: not only pictorial unity and dramatic focus, but also ‘significant form’ (as Roger Fry and Clive Bell urged) and ‘the integrity of the picture plane’ (the vaunted ‘flatness’ demanded of Modernist painting by Clement ...”

“... was then and largely remains today an ethical slide area.’ The high-priest critic Clement Greenberg ‘didn’t believe in buying art, but he liked receiving it,’ from artists and art dealers whom his words had assisted or would assist. But ‘by far the most corrupt art-world figure I knew in New York … was Henry Geldzahler.’ When the director ...”