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.
Art teaches us to see into things. Folk art and kitsch allow us to see outward from within things.
Kitsch may be conveniently defined as a specifically aesthetic form of lying.
Kitsch is art that follows established rules in a time when all rules in art are put into question by each artist.
Kitschis one of the major categories of the modern object. Knick-knacks, rustic odds-and-ends, souvenirs, lampshades, and African masks: the kitsch-object is collectively this whole plethora of "trashy," sham or faked objects, this whole museum of junk which proliferates everywhere.... Kitsch is the equivalent to the "cliché" in discourse.
Kitsch makes things that are pretty as representations, but ugly as art, modern artists made things that are ugly as representations but beautiful as art.
Before we are forgotten, we will be turned into kitsch. Kitsch is the stopover between being and oblivion.
Kitsch is more dangerous than it looks when taken to the extreme.
The essence of kitsch is the confusion of ethical and esthetic categories; kitsch wants to produce not the "good" but the "beautiful."
Kitsch is Mechanical and operates by formulas.
Kitsch tends to wallow in beauty - its shortcoming is not aesthetic, but ethical
Ultimately Warhol's private moral reference was to the supreme kitsch of the Catholic church.
Kitsch is deceptive. It has many different levels, and some of them are high enough to be dangerous to the naive seeker of true light.
No matter how much we scorn it, kitsch is an integral part of the human condition.
How can we prevent this telescoping of cultures and styles from ending up in kitsch eclecticism, a cool hellenism excluding all critical judgment?
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.
In truth, “Extremely Loud & Incredibly Close” isn't about Sept. 11. It's about the impulse to drain that day of its specificity and turn it into yet another wellspring of generic emotions: sadness, loneliness, happiness. This is how kitsch works. It exploits familiar images, be they puppies or babies - or, as in the case of this movie, the twin towers - and tries to make us feel good, even virtuous, simply about feeling. And, yes, you may cry, but when tears are milked as they are here, the truer response should be rage.
Kitsch excludes everything from its purview which is essentially unacceptable in human existence.
The Super Bowl is Americana at its most kitsch and fun.
One function of art is to de-kitschify kitsch.
All of us alive today are or can be its prey, most of all the person who believes he is creating works of art when he is in fact creating mere kitsch objects.
A real Rembrandt hung in a millionaire's home elevator would undoubtedly make for kitsch.
When applied to politics and taken to its extreme, kitsch is the mask of death. Fascism was all aesthetics. There was no core principle to it. There was no truth to it.
I don't do the L.A. scene. I stay focused and very myopic. I don't feel I need to prove myself or be in people's faces, especially in this town.
A lot of people are surprised to hear that an actor studied for two or three years. They take the craft for granted and wanna just wake up and be an actor.
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