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

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
Arrived
Attacks
Paradox
Radical
Requires
Tradition
Art
Occurrence

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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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An artist is a person who has invented an artist.
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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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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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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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Only conservatives believe that subversion is still being carried on in the arts and that society is being shaken by it.
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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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In reality, however, an artist is a product of art
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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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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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Only through apprehending, by means of present-day creations, how art is created, can the creations of other periods be genuinely appreciated.
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Loiter in the neighborhood of a problem. After a while a solution strolls by.
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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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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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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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In the United States, revolts tends to be directed against specific situations, rarely against the social structure as a whole.
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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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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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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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