The Origins of Kitsch, and Other News
July 14, 2014 | by Dan Piepenbring
- Bill Gates’s favorite business book is 1969’s Business Adventures, “twelve classic tales from the worlds of Wall Street and the modern American corporation,” and “it’s easy to see why. Brooks, who wrote for [The New Yorker] for more than thirty years, approached business in an unusual way. He had an eye for the technical details that mattered to insiders, but the sensibility of a broad-minded cultural critic.”
- “If you visit Florence this summer, you may find that ducking into the Palazzo Strozzi to see the remarkable exhibition ‘Pontormo and Rosso Fiorentino: Diverging Paths of Mannerism’ (through July 20) is a great way to dodge the tourist crowds that choke the city’s streets. The works by these two Tuscans, who have good claim to being considered the originators of Mannerism, are as fascinating and problematic as ever. But chances are, if you’re inclined to look at them to discover affinities with art’s future, it’s not Matisse, German Expressionism, or Giacometti you’ll think of first. At least I didn’t—what I saw, for better or worse, was a postmodern Mannerism: the invention of bad taste or, as Clement Greenberg used to call it, kitsch.”
- Talking to Jamie Keenan, a jacket designer: “Turd Theory (one of The Twenty Irrefutable Theories of Cover Design, written by myself and Jon Gray) works on the idea that in a scary world of disorder and chaos people are programmed to seek out repetition and order. So even the worst cover in the world, repeated twenty times in different colors of the rainbow, will get you an award or two.”
- Some of literature’s greatest opening sentences—now in punch-card form.
- Michael Oakeshott was one of the most original philosophers of the twentieth century, but also, his notebooks reveal, one of the strangest: “His response to the modern world was to cultivate an Epicurean gaiety and independence. (He rebuffed politely an approach by Margaret Thatcher, who had it in mind to recommend him as a Companion of Honour.) It was a style of life that combined seemingly antagonistic attitudes: a highly developed aesthetic sensitivity with a tolerance of everyday routine (he was punctilious when acting as chair of his LSE department); a capacity for intense romantic engagement with deep detachment.”