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Clement Greenberg : 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. # Modern and Modernism # Literature # Propaganda

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Clement Greenberg quote-The main trouble with avant-garde art and literature, from the point of view...

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Joseph Joubert : " Innocence is always unsuspicious. " # Modern and Modernism # Literature # Propaganda

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Jean Baudrillard : " There is no aphrodisiac like innocence. " # Modern and Modernism # Literature # Propaganda

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Publilius Syrus : " If you would live innocently, seek solitude. " # Modern and Modernism # Literature # Propaganda

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Albert Camus : " The innocent is the person who explains nothing. " # Modern and Modernism # Literature # Propaganda

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Sir Edward Coke : " One threatens the innocent who spares the guilty. " # Modern and Modernism # Literature # Propaganda

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Ernest Hemingway : " All things truly wicked start from an innocence. " # Modern and Modernism # Literature # Propaganda

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Mignon McLaughlin : " It's innocence when it charms us, ignorance when it doesn't. " # Modern and Modernism # Literature # Propaganda

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Jean Racine : " Now my innocence begins to weigh me down. " # Modern and Modernism # Literature # Propaganda

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Bishop Robert South : " Innocence is like polished armor; it adorns and defends. " # Modern and Modernism # Literature # Propaganda

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Oscar Wilde : " Nothing looks so like innocence as an indiscretion. " # Modern and Modernism # Literature # Propaganda

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Clement Greenberg Wisdom feed

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Clement Greenberg: " All profoundly original art looks ugly at first." # Originality # Arts and Artists # Beauty

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Clement Greenberg: " Realistic, naturalistic art had dissembled the medium, using art to conceal art; Modernism used art to call attention to art." # Photography # Arts and Artists # Reality

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Clement Greenberg: " It belongs to journalism — and to the millennial complex from which so many journalists and journalist intellectuals suffer in our day — that each new phase of Modernist art should be hailed as the start of a whole new epoch in art, marking a decisive break with all the customs and conventions of the past. Each time, a kind of art is expected so unlike all previous kinds of art, and so free from norms of practice or taste, that everybody, regardless of how informed or uninformed he happens to be, can have his say about it. And each time, this expectation has been disappointed, as the phase of Modernist art in question finally takes its place in the intelligible continuity of taste and tradition. Nothing could be further from the authentic art of our time than the idea of a rupture of continuity. Art is — among other things — continuity, and unthinkable without it. Lacking the past of art, and the need and compulsion to maintain its standards of excellence, Modernist art would lack both substance and justification." # Journalism and Journalists # Arts and Artists # Excellence

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Clement Greenberg: " One is also reminded of how in art the tortoise so often overtakes the hare. Not all, but too many of the best writers, composers, and artists of our time begin to be acclaimed only when they no longer have anything to say and take to performing instead of stating. This is how they first become accessible to broad taste, which is lazy taste, and by the same token to the processes of publicity and consecration. As long as they were trammeled up in the urgency of getting things said they were too difficult, too "controversial."" # Politicians and Politics # Arts and Artists # Writers and Writing

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Clement Greenberg: " It has become apparent that art can have a startling impact without really being or saying anything startling — or new. The character itself of being startling, spectacular, or upsetting has become conventionalized, part of safe good taste." # Character # Arts and Artists # Taste

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Clement Greenberg: " "Purity" of and in art — any art, including music and dance — is an illusory notion, of course. It may be remotely conceivable or imaginable, but it can't be realized because it can't be recognized any more than a "pure" human being or a "pure" (or, for that matter, gratuitous) act can be. All the same, for Western art in its Modernist phase "purity" has been a useful idea and ideal, with a kind of logic to it that has worked, and still works, to generate aesthetic value and maintain aesthetic standards as nothing else in our specializing culture has over the last hundred-odd years. 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...." # Arts and Artists # Architecture # Music

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Clement Greenberg: " 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." # Modern and Modernism # Literature # Propaganda

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Clement Greenberg: " Perhaps the greatest change that industrialism (along with Protestantism and rationalism) has made in daily life is to separate work from leisure in a radical and almost absolute way. Once the efficacy of work began to be more clearly and fully appreciated, work had to become more efficacious in itself — that is, more efficient. To this end, it had to be more sharply separated from everything that was not work; it had to be made more concentratedly and purely itself — in attitude, in method and, above all, in time. Moreover, under the rule of efficiency, seriously purposeful activity in general tended to become assimilated to work. The effect of all this has been to reduce leisure to an occasion more exclusively of passivity, to a breathing spell and interlude; it has become something peripheral." # Friends and Friendship # Leisure # Change

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Clement Greenberg: " Once efficiency is universally accepted as a rule, it becomes an inner compulsion and weighs like a sense of sin, simply because no one can ever be efficient enough, just as no one can ever be virtuous enough. And this new sense of sin only contributes further to the enervation of leisure, for the rich as well as the poor. The difficulty of carrying on a leisure-oriented tradition of culture in a work-oriented society is enough in itself to keep the present crisis in our culture unresolved." # Leisure # Sin # Virtue

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Clement Greenberg: " Complete honesty has nothing to do with "purity" or naivety. The full truth is unattainable to naivety, and the completely honest artist is not pure in heart." # Honesty # Truth # Purity

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