A Quote by Karsten Harries

Within the category of Kitsch we can thus distinguish between more and less successful paintings. Kitsch, too has its masterpieces. — © Karsten Harries
Within the category of Kitsch we can thus distinguish between more and less successful paintings. Kitsch, too has its masterpieces.
Before we are forgotten, we will be turned into kitsch. Kitsch is the stopover between being and oblivion.
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.
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.
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
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
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.)
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.
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.
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.
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.
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 meet thus in kitsch with a reappropriation of the results of past struggles.
Whether it is a garden gnome, the sound of Bing Crosby launching into 'White Christmas', the blinking innocent eyes of Bambi or the words of Patience Strong, the kitsch phenomenon is there as strong and recognisable as your mother's face. You seldom if ever have the question, whether this is kitsch or not. If you think it might be, then it is.
The main trouble with avant-garde art and literature, from the point of view of fascists and Stalinists, is not that they are too critical, but that they are too "innocent," that it is too difficult to inject effective propaganda, that kitsch is more pliable to this end.
This site uses cookies to ensure you get the best experience. More info...
Got it!