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WP_161/ 2010
(  Satoshi Kinoshita )
| Series: | Works on paper: Paintings 2 | | Medium: | acrylic on paper/ four sheets | | Size (inches): | 89.4 x 30.1 (overall) | | Size (mm): | 2270 x 765 (overall) | | Catalog #: | WP_0161 | | Description: | Signed, date and copyright in pencil on the reverse.
"Art criticism, I would say, is about the most ungrateful form of "elevated" writing I know of. It may also be one of the most challenging.. if only because so few people have done it well enough to be remembered.. but I'm not sure the challenge is worth it." - Clement Greenberg
-www.artquotesbook.com/artists/clement-greenberg/index.htm
Avant-Garde and Kitsch -
Avant-Garde and Kitsch is the title of a 1939 essay by Clement Greenberg, first published in the Partisan Review, in which he claimed that avant-garde and modernist art was a means to resist the 'dumbing down' of culture caused by consumerism. Greenberg termed this 'kitsch', a word that his essay popularized.
Key ideas:
Greenberg believed that the avant-garde arose in order to defend aesthetic standards from the decline of taste involved in consumer society, and seeing kitsch and art as opposites. He outlined this in his essay "Avant-Garde and Kitsch". One of his more controversial claims was that kitsch was equivalent to Academic art: "All kitsch is academic, and conversely, all that is academic is kitsch." He argued this based on the fact that Academic art, such as that in the 19th century, was heavily centered in rules and formulations that were taught and tried to make art into something learnable and easily expressible. He later came to withdraw from his position of equating the two, as it became heavily criticized.
-en.wikipedia.org/wiki/Avant-Garde_and_Kitsch
The Work of Art in the Age of Mechanical Reproduction -
The Work of Art in the Age of Mechanical Reproduction (German: Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit; originally published in Zeitschrift für Sozialforschung) is a 1935 essay by German cultural critic Walter Benjamin, which has been influential in the fields of cultural studies and media theory. It was produced, Benjamin wrote, in the effort to describe a theory of art that would be "useful for the formulation of revolutionary demands in the politics of art". In the absence of any traditional, ritualistic value, art in the age of mechanical reproduction would inherently be based on the practice of politics. It is the most frequently cited of Benjamin's essays.
Aura:
Benjamin used the word "aura" to refer to the sense of awe and reverence one presumably experienced in the presence of unique works of art. According to Benjamin, this aura inheres not in the object itself but rather in external attributes such as its known line of ownership, its restricted exhibition, its publicized authenticity, or its cultural value. Aura is thus indicative of art's traditional association with primitive, feudal, or bourgeois structures of power and its further association with magic and (religious or secular) ritual. With the advent of art's mechanical reproducibility, and the development of forms of art (such as film) in which there is no actual original, the experience of art could be freed from place and ritual and instead brought under the gaze and control of a mass audience, leading to a shattering of the aura. "For the first time in world history," Benjamin wrote, "mechanical reproduction emancipates the work of art from its parasitical dependence on ritual."
-en.wikipedia.org/wiki/The_Work_of_Art_in_the_Age_of_Mechanical_Reproduction
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