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

Harold Rosenberg

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Harold Rosenberg
Age: 72 †
Born: 1906
Born: February 2
Died: 1978
Died: July 11
Art Critic
Art Historian
Journalist
Philosopher
Teacher
Writer
New York City
New York
Society
Art
Stills
Subversion
Still
Shaken
Believe
Conservatives
Carried
Shock
Arts

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In the United States, revolts tends to be directed against specific situations, rarely against the social structure as a whole.
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Art has arrived at the paradox that tradition itself requires the occurrence of radical attacks on tradition.
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The struggle to make an absolute statement in an individually conceived vocabulary accounts for the profound tensions inherent in the best modern work.
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No dealer, curator, buyer or critic, or any existing combination of these, can be depended on to produce a reputation that is more than a momentary flurry.
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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.
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A painter with prestige among painters is bound to be discovered sooner or later.
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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.
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Whoever undertakes to create soon finds himself engaged in creating himself.
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For the artist, fulfillment of self consists not in marching in the ranks of the liberators but in being entered in the roll of the Masters. The artist tends to find himself in the position of a deserter from his social group or, at best, one who collaborates, with secret reservations.
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An artist is a person who has invented an artist.
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American time has stretched around the world. It has become the dominant tempo of modern history, especially of the history of Europe.
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The story of Americans is the story of arrested metamorphoses. Those who achieve success come to a halt and accept themselves as they are. Those who fail become resigned and accept themselves as they are.
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The big moment came when it was decided to paint...Just To Paint. The gesture on the canvas was a gesture of liberation, from Value- political, aesthetic, moral.
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At a certain moment the canvas began to appear to one American painter after another as an arena in which to act-rather than as a space in which to reproduce, re-design, analyze or express an object, actual or imagined. What was to go on the canvas was not a picture but an event.
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Kitsch is art that follows established rules in a time when all rules in art are put into question by each artist.
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Avant-gardism is an addiction that can be appeased only by a revolution in permanence.
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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.
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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.
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In reality, however, an artist is a product of art
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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.
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