Interpretations of modernism : Clement Greenberg and Walter Benjamin'

Interpretations of modernism :  Clement Greenberg and  Walter Benjamin

This essay discusses interpretations of modernism through the writings of Clement Greenberg's Avant-Garde and Kitsch and Walter Benjamin's The Work of Art in the Age of Mechanical Reproduction. For Greenberg modernism brought about two distinct arts, the avant-garde and kitsch, with the avant-garde striving to resist the exploitation of culture by kitsch. He makes his case based on  social, historical, and political observations.
For Benjamin modernism was profoundly impacted by mechanical age of reproduction, which resulted in  concepts such as aura of authenticity, creativity and genius, eternal value and mystery, being made obsolete. Art therefore would be based on process of politics in the absence of traditional and ritualistic value.

While reproduction of art was not a new concept, for Benjamin the advent of the mechanical age and modernism brought about two new methods of reproduction. The process of technological reproduction as a work of art, for example film. And technological devices such as photography which can reproduce any art form, which affects the originals authenticity. For Greenberg the industrial revolution, urbanization and an increase in literacy led to the development of the dichotomous relationship between the kitsch and the avant-garde. The relevance of folk culture dwindled and popular culture filled its void. The  new popular culture, kitsch, demanded nothing from the consumer other than their money. The traditions, acquisitions and refined self-consciousness of a developed culture were exploited, for the mass produced kitsch. It was highly profitable, tempting to the avant-garde and had the potential to masquerade as genuine culture.

Mass-production and kitsch allows mass culture to easily assimilate a work of art, this assimilation is discussed by both authors. Greenberg states that a work by Repin is kitsch , the work predigests the art for the spectator,  the spectator in this case being a Russian peasant.  Repin paints so realistically; with a continuity between art and life; that everything is obvious; presenting no difficulties in interpretation; nothing is left to the viewer.  In contrast an avant-garde work by Picasso relies on a cultivated spectator, permitting viewer reflection. “Where Picasso paints cause, Repin paints effect” But to appreciate Picasso's work the viewer requires the necessity of leisure and education. Class dynamics therefore are recognised in the disparity of the avant-garde and kitsch as few have the privilege, time and means to appreciate high art.
For Benjamin the reaction toward art by the masses changed with mechanical reproduction. The cameraman penetrates the veil of reality where as the painter maintains a distance. Resulting in a progressive reaction towards a Chaplin movie as opposed to a reactionary attitude towards a Picasso painting . And as Greenberg also noted, Benjamin identifies the distinct difference between the educated viewer and mass audience. The educated viewer appreciates the aesthetic value of the work through close observation and is absorbed by it. Where as the artwork is assimilated into the mass audience who only seeks to be entertained and distracted . Once the process of assimilation by the masses is complete the work of art then becomes an instrument of political mobilisation.

Greenberg claimed that artists whom were influenced by historicism, drew on revolutionary political ideas to oppose the masses. The emerging avant-garde liberated themselves of this political foundation and of society, in the pursuit of progressive art, “art for art's sake”.
The art of the avant-garde became reflexive, concentrating on the medium itself. For Greenberg that meant that art was and should be justified in its own terms, and was the subject matter of itself. Regarding film, Benjamin found the defining feature of was the relationship between the actor and the mechanical apparatus. The 'aura' of the actors original performance dissolves as it is replicated apon screens. Benjamin notes that the concept of authenticity of the work of art originates in tradition and ritual . And “even the most perfect reproduction of a work of art is lacking in one element: Its presence in time and space, its unique existence at the place where it happens to be” . With the creation of art in secular settings, a work of art is liberated from its ritual roots by technological reproduction. The aesthetic authority of a work of art is absent in the reproduction by changing its cultural context. And the social-value is diverted to political goals once separated from its ritualistic origins. The value is thus determined by is exhibition value, as opposed to being defined by its ritualistic cult value . Quality therefore is found in quantity, and the viewer an absent-minded examiner.

Both authors discuss the political relationship with the arts. Greenberg notes how kitsch was used as the official culture in Russia, Italy and Germany. To ingratiate themselves with their subjects, totalitarian regimes employ kitsch as an economical tool. Regimes flatted the masses by bringing culture down to their level, instead of raising the cultural level. Kitsch was used as a tool for fascism, propaganda was imbued into the entertainment of the masses. Where as avant-garde art, due to its critical nature, was not suited for this purpose. On the contrary, it posed a threat not only to totalitarianism but to capitalism. Benjamin presents an analysis of art in capitalist and fascist society. For capitalism he explains that mass production and the socio-economic conditions result in the exploitation of the proletariat and creates conditions which lead to its downfall .  A formulation of a new theses is therefore identified, diminishing the arts traditional concepts which would render fascism dysfunctional. Factual material is susceptible to manipulation by fascism if these concepts are applied. In the end if aesthetics are integrated into politics, it will lead to war.

Both authors acknowledge the political relationship with the arts and the consumption of the arts by mass culture. For Greenberg modernism brought about two distinct arts, the avant-garde and kitsch, with the avant-garde breaking free of society and historicism, to develop art for arts sake. For Benjamin modernism was profoundly impacted by mechanical reproduction, which resulted in concepts such as aura of authenticity being dissolved.

























Bibliography

Greenberg, Clement. Avant-Garde and Kitsch. Partisan Review, 1939.

Benjamin, Walter. The Work of Art in the Age of Mechanical Reproduction. Translated by Harry Zohn.. New York: Schocken Books, 2007.