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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
Believe
Conservatives
Carried
Shock
Arts
Society
Art
Stills
Subversion
Still
Shaken

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What better way to prove that you understand a subject than to make money out of it?
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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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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.
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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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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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No degree of dullness can safeguard a work against the determination of critics to find it fascinating.
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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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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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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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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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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.
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Loiter in the neighborhood of a problem. After a while a solution strolls by.
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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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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.
Harold Rosenberg
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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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Both art and the artist lack identity and define themselves only through their encounter with each other.
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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.
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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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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.
Harold Rosenberg