| 词条 | Hilton Kramer |
| 释义 |
| name = Hilton Kramer | image = | birth_name = Hilton Kramer | birth_date = March 25, 1928 | birth_place = Gloucester, Massachusetts | death_date = {{death date and age|2012|3|27|1928|3|25|}} | death_place = Harpswell, Maine | death_cause = Heart failure | resting_place = | nationality = American | occupation = Art critic, essayist | years_active = 1950s–2006 | education = Syracuse University (Bachelor's degree in English) Columbia University Harvard University Indiana University New School for Social Research | alma_mater = | home_town = | residence = Damariscotta, Maine | spouse = Esta Kramer | children = | relations = | signature = | awards = | website = }} Hilton Kramer (March 25, 1928 – March 27, 2012) was an American art critic and essayist. BiographyEarly lifeKramer was born in Gloucester, Massachusetts, and was educated at Syracuse University, receiving a Bachelor's degree in English; Columbia University; he studied literature and philosophy at Harvard University, Indiana University, and the New School for Social Research. CareerKramer worked as the editor of Arts Magazine, art critic for The Nation, and from 1965 to 1982, as chief art critic for The New York Times. He also published in the Art and Antiques Magazine and The New York Observer. Kramer's "Media Watch" column was published weekly in the New York Post from 1993 to November 1997. Kramer fought against leftwing political bias in art criticism, and what he perceived as the aesthetic nihilism characteristic of many 20th century working artists and art critics. The frustration with the journal's policies led to his resignation from The New York Times in 1982. He co-founded (with Samuel Lipman) the conservative magazine The New Criterion, for which Kramer was also co-editor and publisher. He took a strongly anti-Communist stance in his 2003 review of Anne Applebaum's A History. In The Twilight of the Intellectuals (1999), he defended the anti-Communist views of art critic Clement Greenberg. In 1952, Kramer took issue with a prevailing understanding of action painting as a "psychological event". He argued that such an understanding "denied the aesthetic efficacy of painting itself and attempted to remove art from the only sphere in which it can be truly experienced, which is the aesthetic sphere".[1] He took issue with Pop art, Conceptual art, and Postmodern art. Kramer characterized postmodernism in the visual arts as "modernism with a sneer, a giggle, modernism without any animating faith in the nobility and pertinence of its cultural mandate". He was incisive in his distinction between modernism and postmodernism, referring to the age of postmodernism as "this age of irony and institutionalized subversion." He has contrasted this with ideals he found in modernism: "the discipline of truthfulness, the rigor of honesty."[2] Kramer contended that federal funding of the arts favored political correctness over artistic merit.[1][2] He wrote in 1993: The most significant thing about this bureaucratic leviathan is that it is completely captive to the political Left. Its principal purpose today is to advance the radical Left's agenda for the cultural revolution that has already completed its "long march" through the universities and is currently in the process of annexing many other institutions of cultural life—the art museums, for example, where the revolution has made enormous inroads in programs and acquisitions, and in the policies of the foundations, corporations, and agencies of government that support museums.[3] Kramer faulted the Whitney Biennial for what he saw as a preoccupation with gender and ethnic identity. He wrote that the biennials "seem to be governed by a positive hostility toward — a really visceral distaste for — anything that might conceivably engage the eye in a significant or pleasurable visual experience."[1][2] DeathHilton Kramer died on March 27, 2012, in Harpswell, Maine, two days after his 84th birthday from heart failure, according to his wife, Esta Kramer.[2] Roger Kimball wrote: [Kramer] was ... a stalwart defender of high culture at a time when the demotic forces of crass commercialism, political correctness, and academic hermeticism threatened to destroy the humanizing resources of the intellectual and moral tradition of the West.[4] Works
References1. ^1 2 {{cite web|url=http://www.latimes.com/news/obituaries/la-me-hilton-kramer-20120328,0,4502572.story|title=Hilton Kramer dies at 84; polarizing but widely read art critic|last=Woo|first=Elaine|date=March 28, 2012|work=Los Angeles Times|accessdate=28 March 2012}} 2. ^1 2 3 {{cite web|url=https://www.nytimes.com/2012/03/28/arts/design/hilton-kramer-critic-who-championed-modernism-dies-at-84.html|title=Hilton Kramer, Art Critic and Champion of Tradition in Culture Wars, Dies at 84|last=Grimes|first=William|date=March 27, 2012|work=New York Times|accessdate=March 28, 2012}} 3. ^http://www.newcriterion.com/articles.cfm/Art---its-institutions--notes-on-the-culture-war-4795 Kramer of federal funding of the arts 4. ^Roger Kimball, "Hilton Kramer 1928-2012," Pajamas Media, March 27, 2012. Kimball on Kramer Accessed 6/2/2012 External links
17 : 1928 births|2012 deaths|American art critics|American academics|American Jews|Columbia University alumni|Critics employed by The New York Times|Critics of postmodernism|Disease-related deaths in Maine|Harvard University alumni|Indiana University alumni|National Humanities Medal recipients|New York Observer people|People from Damariscotta, Maine|People from Gloucester, Massachusetts|Syracuse University alumni|The Nation (U.S. magazine) people |
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