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 and irony would disintegrate the personality, kitsch makes it whole.
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.
Before we are forgotten, we will be turned into kitsch. Kitsch is the stopover between being and oblivion.
Kitsch is art that follows established rules in a time when all rules in art are put into question by each artist.
No matter how much we scorn it, kitsch is an integral part of the human condition.
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.
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 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 deceptive. It has many different levels, and some of them are high enough to be dangerous to the naive seeker of true light.
Kitsch tends to wallow in beauty - its shortcoming is not aesthetic, but ethical
Kitsch is Mechanical and operates by formulas.
One function of art is to de-kitschify kitsch.
Ultimately Warhol's private moral reference was to the supreme kitsch of the Catholic church.
Kitsch excludes everything from its purview which is essentially unacceptable in human existence.
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.
A real Rembrandt hung in a millionaire's home elevator would undoubtedly make for kitsch.
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.
How can we prevent this telescoping of cultures and styles from ending up in kitsch eclecticism, a cool hellenism excluding all critical judgment?
The Super Bowl is Americana at its most kitsch and fun.
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.
The 1950s to me is darkness, hidden history, perversion behind most doors waiting to creep out. The 1950s to most people is kitsch and Mickey Mouse watches and all this intolerable stuff.
You must neither completely nor partially copy the art of others. If so, you will be producing kitsch.
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