A Quote by Hermann Broch
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.
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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.
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.
To tell you the truth, I am rather perplexed by the concept of 'art'. What one person considers to be 'art' is often not 'art' to another. 'Beautiful' and 'ugly' are old-fashioned concepts that are seldom applied these days; perhaps justifiably, who knows? Something repulsive, which gives you a moral hangover, and hurts your ears or eyes, may well be art. Only 'kitsch' is not art - we're all agreed about that. Indeed, but what is 'kitsch'? If only I knew!
Kitsch is the daily art of our time, as the vase or the hymn was for earlier generations. For the sensibility it has that arbitrariness and importance which works take on when they are no longer noticeable elements of the environment. In America kitsch is Nature. The Rocky Mountains have resembled fake art for a century.
We always said that our struggle was not only against the British as representatives of colonialism, it was against all the evil that existed in India. The evil of the feudal system, the evil of the system based on caste, the evil of economic injustice.
Kitsch is certainly not "bad art," it forms its own closed system.
Before we are forgotten, we will be turned into kitsch. Kitsch is the stopover between being and oblivion.
High-class kitsch may well be "perfect" in its form and and composition: the academic painters were often masters of their craft. Thus, the accusation that a work of kitsch is based not on lack of for or aesthetic merit but on the presence of a particularly provocative emotional content. (The best art, by contrast, eschews emotional content altogether.)
The essence of kitsch is the confusion of ethical and esthetic categories; kitsch wants to produce not the "good" but the "beautiful."
What is evil? Killing is evil, lying is evil, slandering is evil, abuse is evil, gossip is evil, envy is evil, hatred is evil, to cling to false doctrine is evil; all these things are evil. And what is the root of evil? Desire is the root of evil, illusion is the root of evil.
Within the category of Kitsch we can thus distinguish between more and less successful paintings. Kitsch, too has its masterpieces.
Once kitsch is interpreted ironically, it ceases to be kitsch
When one has once accepted and absorbed Evil, it no longer demands the unfitness of the means. The ulterior motives with which youabsorb and assimilate Evil are not your own but those of Evil.... Evil is whatever distracts. Evil knows of the Good, but Good does not know of Evil. Knowledge of oneself is something only Evil has. One means that Evil has is the dialogue.... One cannot pay Evil in installments--and one always keeps on trying to.
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.
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 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.
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