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.
Kitsch may be conveniently defined as a specifically aesthetic form of lying.
Art teaches us to see into things. Folk art and kitsch allow us to see outward from within things.
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.
Art and irony would disintegrate the personality, kitsch makes it whole.
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.
The essence of kitsch is the confusion of ethical and esthetic categories; kitsch wants to produce not the "good" but the "beautiful."
No matter how much we scorn it, kitsch is an integral part of the human condition.
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.
One of the characteristics of kitsch is precisely the neutralization of 'extreme situations', particularly death, by turning them into some sentimental idyll.
Kitsch is the most pernicious of all prisons. The bars are covered with the gold of simplistic, unreal feelings, so that you take them for the pillars of a palace.
One function of art is to de-kitschify kitsch.
Kitsch is more dangerous than it looks when taken to the extreme.
Kitsch tends to wallow in beauty - its shortcoming is not aesthetic, but ethical
Kitsch is Mechanical and operates by formulas.
Kitsch excludes everything from its purview which is essentially unacceptable in human existence.
The maker of kitsch does not create inferior art, he is not an incompetent or a bungler, he cannot be evaluated by aesthetic standards; rather, he is ethically depraved, a criminal willing radical evil. And since it is radical evil that is manifest here, evil per se, forming the absolute negative pole of every value-system, kitsch will always be evil, not just kitsch in art, but kitsch in every value-system that is not an imitation system.
Ultimately Warhol's private moral reference was to the supreme kitsch of the Catholic church.
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.
The trumped-up charges against kitsch and sentimentality should disturb us and make us suspicious.
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.
A real Rembrandt hung in a millionaire's home elevator would undoubtedly make for kitsch.
A good old rodeo never hurt anyone.
All of us alive today are or can be its prey, most of all the person who believes he is creating works of art when he is in fact creating mere kitsch objects.
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