Harold Rosenberg Quotes about Art

Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it. Advanced art today is no longer a cause -it contains no moral imperative. There is no virtue in clinging to principles and standards, no vice in selling or in selling out.

The aim of every authentic artist is not to conform to the history of art, but to release himself from it in order to replace it with his own history.

Both art and the artist lack identity and define themselves only through their encounter with each other.

Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.

It is not logical for art to be logical. Art goes against the grain of the times as readily as it goes with it and at the very same moment. Instead of seeking the nearest exit, art responds to a new situation by uncovering a labyrinth of problems.

The differences between revolution in art and revolution in politics are enormous. Revolution in art lies not in the will to destroy but in the revelation of what has already been destroyed. Art kills only the dead.

Kitsch is art that follows established rules in a time when all rules in art are put into question by each artist.

Imitation of the art of earlier centuries, as that done by Picasso and Modigliani , is carried on not to perpetuate ancient values but to demonstrate that new aesthetic orders now prevail.

Abstract art as it is conceived at present is a game bequeathed to painting and sculpture by art history. One who accepts its premises must consent to limit his imagination to a depressing casuistry regarding the formal requirements of modernism.

Co-operating critics comb the studios like big-league scouts, prepared to spot the art of the future and to take lead in establishing reputations. Art historians stand by ready with cameras and notebooks to make sure every novel detail is safe for the record. The tradition of the new has reduced all other traditions to triviality.

The new painting has broken down every distinction between art and life.

Only through apprehending, by means of present-day creations, how art is created, can the creations of other periods be genuinely appreciated.

The current demoralization of the art world is attributable at least in part to museum interference, ideological and practical, with ongoing creation in art.

One of the grotesqueries of present-day American life is the amount of reasoning that goes into displaying the wisdom secreted in bad movies while proving that modern art is meaningless. They have put into practice the notion that a bad art work cleverly interpreted according to some obscure Method is more rewarding than a masterpiece wrapped in silence.

Greatness in art is always a by-product.

Not only were the minds of artists formed by the university; in the same mold were formed those of the art historians, the critics, the curators, and the collectors by whom their work was evaluated. With the rise of Conceptual art, the classroom announced its final triumph over the studio.

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.

Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it.

The artist does not exist except as a personification, a figure of speech that represents the sum total of art itself. It is painting that is the genius of the painter, poetry of the poet, and a person is a creative artist to the extent that he participates in that genius.

What better way to prove that you understand a subject than to make money out of it?

Art has arrived at the paradox that tradition itself requires the occurrence of radical attacks on tradition.

The internationalization of art becomes a factor contributing to the estrangement of art from the artist. The sum of works of all times and places stands against him as an entity with objectives and values of its own. In turn, since becoming aware of the organized body of artworks as the obstacle to his own aesthetic self-affirmation, the artist is pushed toward anti-intellectualism and willful dismissal of the art of the past.

In reality, however, an artist is a product of art

Abandoned by philosophy, politics, and sociology, historical determinism continues to hold out in formalist art criticism.

How much the work of an artist owes to an art movement to which he belongs can never be determined exactly, if only because the movement derives its character from the individual creations of its members.