Does the fact that a disparity such as this within the frame of a single cultural tradition, which is and has been taken for granted — does this fact indicate that the disparity is a part of the natural order of things? These two concepts prevailed in the art world during a trivial time in history for artist. Culture requires support and, thus, the avant-garde maintains its connection its “umbilical cord of gold”, to borrow a phrase from Marx to the dominant culture. Content is to be dissolved so completely into form that the work of art or literature cannot be reduced in whole or in part to anything not itself. But things being as they are in Russia — and everywhere else — the peasant soon finds the necessity of working hard all day for his living and the rude, uncomfortable circumstances in which he lives do not allow him enough leisure, energy and comfort to train for the enjoyment of Picasso. It is not enough today, in a country like ours, to have an inclination towards the latter; one must have a true passion for it that will give him the power to resist the faked article that surrounds and presses in on him from the moment he is old enough to look at the funny papers.
For what is called the academic as such no longer has an independent existence, but has become the stuffed-shirt “front” for kitsch. In the Middle Ages the plastic artist paid lip service at least to the lowest common denominators of experience. It becomes difficult to assume anything. It has been argued, by Dwight Mac Donald, that kitsch became the dominant culture in the Soviet Union due to the social conditioning and education of the people by the Soviet leaders. I have many more things to say but I will limit myself to one thread of thought: The Conditions Necessary for Avant-Garde Art In contrast to the easy assimilation of the kitsch consumer, the higher level of appreciation of a “cultivated spectator” of a Picasso depends on a “second order” of reflection on form — an aesthetic distance that permits viewer “projection” or contribution to the experience of viewing. According to the critic,.
New perspectives of this kind, becoming a part of the advanced intellectual conscience of the fifth and sixth decades of the nineteenth century, soon were absorbed by artists and poets, even if unconsciously for the most part. There has been an agreement then, and this agreement rests, I believe, on a fairly constant distinction made between those values only to be found in art and the values which can be found elsewhere.
Furthermore, he makes his case based on certain social, historical and political assumptions and empirical observations.
The garre concern of a painter like Dali is to represent the processes and concepts of his consciousness, not the processes of his medium. And Adorno pretty much fits, as well, into the Greenberg outline.
The idea that the only way to problematize the author is by using found text or fake author meta ways is very reductive and it doesn’t take into account all kinds of gatde dynamics that may go into a mere little “painting”.
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Retiring from public altogether, the avant-garde poet or artist sought to maintain the high level of his art by both narrowing and raising it to the expression of an absolute in which all relativities and contradictions would be either resolved or beside the point.
It is essa source of its profits. As long as there was general agreement as to what were the worthiest subjects for art, the artist avanh relieved of the necessity to be original and inventive in his “matter” and could devote all his energy to formal problems.
Now and then it produces something of merit, something that has an authentic folk flavor; and these accidental and isolated instances have fooled people who should know better. There has always been on one side the minority of the powerful — and therefore the cultivated — and on the other the great mass of the exploited and poor — and therefore the ignorant.
This is not to say, however, that it is to the social advantage of the avant-garde that it is what it is. The modern western response to the crisis of tradition in the modern age gave birth to a new approach — the avant-garde. The literature and art they enjoy and understand were to be proclaimed the only true art and literature and any other kind was to be suppressed.
That Repin can paint so realistically that identifications are self- evident immediately and without any effort on the part of the spectator — that is miraculous. In the Middle Ages the plastic artist paid lip service at least to the lowest common denominators of experience.
Exoskeleton: Clement Greenberg’s “Avant Garde and Kitsch”
Joyelle argues more or less the same, in the essays by her you’ve posted. From the point of view of this formulation, Surrealism in plastic art is a reactionary tendency which is attempting to restore “outside” subject matter.
A Theory of Mass Culture. The avant-garde’s specialization of itself, the fact that its best artists are artists’ artists, its best poets, poets’ poets, has estranged a great many of those who were capable formerly of enjoying and appreciating ambitious art and literature, but who are now unwilling or unable to acquire an initiation into their craft secrets.
True, the first settlers of bohemia — which was then identical with the avant-garde — turned out soon to be demonstratively uninterested in politics. The precondition for kitscha condition without which kitsch would be impossible, is the availability close at hand of a fully matured cultural tradition, whose discoveries, acquisitions, and perfected self-consciousness kitsch can take advantage of for its own ends.
For the first time in decades would the idea of what acceptable art was would be questioned. This made trying times for artists of this era because artists rely on these exact subjects to construct gards appealing to a particular audience.
Clement Greenberg, “Avant-Garde and Kitsch” Analysis | ART
What have they said that is so “naughty”? It is lucky, however, for Repin that the peasant is protected from the products of American capitalism, for he would not stand a chance next to a Saturday Evening Post cover by Norman Rockwell.
Or do you think it can still do something worthwhile? Traps are laid even in those areas, so to speak, that are the preserves of genuine culture.
Here revolvers and torches begin to be mentioned in the same breath as culture. It becomes difficult to assume anything.
Nevertheless, without the circulation of revolutionary ideas in the air about them, they would never have been able to isolate their concept of the “bourgeois” in order to define what they kitwch not. In point of fact, that is precisely what happened to the Soviet avant-garde which was deemed inarticulate.
Clement Greenberg, “Avant-Garde and Kitsch” Analysis
Should the official culture be one superior to the general mass-level, there would be a danger of isolation. I’ve been incredibly impressed by them many times. Structure of the Analysis [ 2 ].