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Avant Garde and Kitsch

Though his first published essays dealt mainly with literature and theatre, art still held a powerful attraction for Greenberg, so in 1939, he made a sudden name as a visual art writer with possibly his most well-known and oft-quoted essay, "Avant-Garde and Kitsch", first published in the journal Partisan Review. In this Marxist-influenced essay, Greenberg claimed that true avant-garde art is a product of the Enlightenment's revolution of critical thinking, and as such resists and recoils from the degradation of culture in both mainstream capitalist and communist society, while acknowledging the paradox that, at the same time, the artist, dependent on the market or the state, remains inexorably attached "by an umbilical cord of gold". Kitsch, on the other hand, was the product of industrialization and the urbanization of the working class, a filler made for the consumption of the working class: a populace hungry for culture, but without the resources and education to enjoy cutting edge avant garde culture. Greenberg writes,

"Kitsch, using for raw material the debased and academicized simulacra of genuine culture, welcomes and cultivates this insensibility. It is the source of its profits. Kitsch is mechanical and operates by formulas. Kitsch is vicarious experience and faked sensations. Kitsch changes according to style, but remains always the same. Kitsch is the epitome of all that is spurious in the life of our times. Kitsch pretends to demand nothing of its customers except their money – not even their time." ^[3]

For Greenberg, avant garde art was too "innocent" to be effectively used as propaganda or bent to a cause, while kitsch was ideal for stirring up false sentiment.

Greenberg appropriated the German word 'kitsch' to describe this low, concocted form of 'culture', though its connotations have since been recast to a more affirmative acceptance of nostalgic materials of capitalist/communist culture. "Avant Garde and Kitsch" is clearly a politically motivated essay, in part a response to the destruction and repression of Modernist Art in Nazi Germany and the Soviet Union, and represents a denouncement of the growing totalitarian threat in Europe and the "retrogression" of fascism.