Greenberg saw the clotted and oil - caked surfaces as reflecting the artists» existential struggle; Rosenberg saw the finished object as only a kind of
residue of the actual work of art, which he thought lay in the «process» of the painting's creation.
The canvas was no longer considered a hermetic, independent object, but rather became «an arena in which to act» and the finished work was only
a residue of the actual work of art — the process of the painting's creation.
Not exact matches
Rosenberg's critique shifted the emphasis from the object to the struggle itself, with the finished painting being only the physical manifestation, a kind
of residue,
of the
actual work of art, which was in the act or process
of the painting's creation.
Elsewhere the
actual dehydrated
residue of individual jellyfish is preserved in a series
of framed
works on paper.