Clement greenberg kitsch essay

But this logic has also worked to exclude the decorative — the decorative insofar as it functions solely as decoration. It's as though aesthetic value, quality, could be preserved only by concentrating on "absolute" or "autonomous" art: thus on visual art — including even architecture — that held and moved and stirred the beholder as sheer decoration could not. Decoration is asked to be "merely" pleasing, "merely" embellishing, and the "functional" logic of Modernism leaves no room, apparently, for such "mereness." This is part of the pity of Modernism, one of the sacrifices it enjoins....

Adorno, Theodor. "On Popular Music." Studies in Philosophy and Social Science 9 (1941): 17-48.

Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction." In Illuminations, edited by Hannah Arendt. Translated by Harry Zohn. New York: Harcourt, Brace & World, 1968.

Broch, Hermann. "Kitsch" (1933) and "Notes on the Problem of Kitsch" (1950). In Kitsch: The World of Bad Taste , edited by Gillo Dorfles. New York: Universe Books, 1968.

Calinescu, Matei. Five Phases of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism. Durham, North Carolina: Duke University Press, 1987.

Crow, Thomas. Modern Art and the Common Culture. New Haven: Yale UPress, 1996.

Dorfles, Gillo, ed. Kitsch: The World of Bad Taste . New York: Universe Books, 1968.

Greenberg, Clement. "Avant-Garde and Kitsch." Partisan Review 6 (1939): 34-49.

Kulka, Thomas. Kitsch and Art. University Park, Pennsylvania: Pennsylvania University Press, 1996.

Kundera, Milan. The Unbearable Lightness of Being, translated by Michael Henry Heim. New York: Harper and Row, 1984.

McLuhan, Marshall. Understanding Media: The Extensions of Man. Cambridge, Massachusetts and London: MIT Press, 1994.

Rosenberg, Harold. "Pop Culture: Kitsch Criticism." In The Tradition of the New. Chicago and London: University of Chicago Press, 1959.

Schapiro, Meyer. "The Social Bases of Art" (1936). In Artists Against War and Fascism: Papers of the irst American Artists Congress, 1936, edited by Matthew Baigell and Julia Williams. New Brunswick, NJ: Rutgers University Press, 1986.

Solomon, Robert. "On Kitsch and Sentimentality." Journal of Aesthetics and Art Criticism 49 (Winter 1991): 1-14.

Sontag, Susan. "Notes on Camp" (1961). In Against Interpretation. New York: Dell Laurel Edition, 1969.

Accidental Specificity:
Modernism from Clement Greenberg to Frank Tashlin 

Burke Hilsabeck  
There are some surprising correspondences between the writing of Clement Greenberg and the films of Frank Tashlin. Greenberg’s 1939 essay ‘Avant-Garde and Kitsch’, as well as his later ‘“American-Type” Painting’ of 1955, and Tashlin’s Artists and Models , a Dean Martin-Jerry Lewis vehicle of the same year, articulate competing conceptions of medium-specificity (as that term might be applied to painting and to film), as well as revealing accounts of the relationship between high modernist or avant-garde artworks, on the one hand, and mass cultural or what we could call (after Miriam Hansen) ‘vernacular modernist’ artifacts on the other. (1)

Clement greenberg kitsch essay

clement greenberg kitsch essay


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