A Quote by Clement Greenberg
The peasant finds no "natural" urgency within himself that will drive him toward Picasso in spite of all difficulties. In the end the peasant will go back to kitsch when he feels like looking at pictures, for he can enjoy kitsch without effort
Related Quotes
Kitsch evokes a future utopia looking back at a past that is selectively (mis)remembered, thereby helping to stabilize the present toward which kitsch is otherwise deeply anatagonistic.
Every peasant has a lawyer inside of him, just as every lawyer, no matter how urbane he may be, carries a peasant within himself.
Before we are forgotten, we will be turned into kitsch. Kitsch is the stopover between being and oblivion.
Within the category of Kitsch we can thus distinguish between more and less successful paintings. Kitsch, too has its masterpieces.
The maker of kitsch does not create inferior art, he is not an incompetent or a bungler, he cannot be evaluated by aesthetic standards; rather, he is ethically depraved, a criminal willing radical evil. And since it is radical evil that is manifest here, evil per se, forming the absolute negative pole of every value-system, kitsch will always be evil, not just kitsch in art, but kitsch in every value-system that is not an imitation system.
Who keeps the tavern and serves up the drinks? The peasant. Who squanders and drinks up money belonging to the peasant commune, the school, the church? The peasant. Who would steal from his neighbor, commit arson, and falsely denounce another for a bottle of vodka? The peasant.
By destroying the peasant economy and driving the peasant from the country to the town, the famine creates a proletariat... Furthermore the famine can and should be a progressive factor not only economically. It will force the peasant to reflect on the bases of the capitalist system, demolish faith in the tsar and tsarism, and consequently in due course make the victory of the revolution easier... Psychologically all this talk about feeding the starving and so on essentially reflects the usual sugary sentimentality of our intelligentsia.
The essence of kitsch is the confusion of ethical and esthetic categories; kitsch wants to produce not the "good" but the "beautiful."
Once kitsch is interpreted ironically, it ceases to be kitsch
When the Hymalayan peasant meets the he-bear in his pride,
He shouts to scare the monster, who will often turn aside.
But the she-bear thus accosted, rends the peasant tooth and nail,
For the female of the species is more deadly than the male.
Kitsch offers instantaneous emotional gratification without intellectual effort, without the requirement of distance, wihtout sublimation.
To call a work of art Kitsch is to condemn it for being bad art. But there is a great deal of bad art that we do not condemn as Kitsch. To condemn something as Kitsch is to condemn it on moral grounds.
The precondition for kitsch, is the availability of a fully matured cultural tradition, whose discoveries kitsch can take advantage of for its own ends. It draws its lifeblood, so to speak, from this reservoir of accumulated experience
Salvador Dali has been called kitsch, but, although some of this work may be grotesque, its brazenly self-conscious bad taste saves it from being true kitsch, which always strives to please.
Kitsch parodies catharsis...It is in vain to try to draw the boundaries abstractly between aesthetic fiction and kitsch's emotional plunder. It is a poison admixed to all art; excising it is today one of art's despairing efforts.
In the attacks on the old ways of doing things on word in particular came into currency. That word was "kitsch." Once introduced, the word stuck. Whatever you do, it musn't be kitsch. This became the first precept of the modernist artist in every medium.
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