Abstract
This paper analyzes the abstract aesthetics and apolitical ideology in "Avant-Garde and Kitsch" by Clement Greenberg.

Tags:art, greenberg, kitsch

Abstract
The writer contends that clothing produced for his campus stores is an inappropriate venue for orientalist kitsch because the goal of the gear is money-making, not consciousness change. The writer argues that the t-shirts send the message that exploitation is fine when it is done in the name of financial gain. The writer strongly believes that Asian-Americans must not be exploited for the capital gains of the dominant culture.

From the Paper
""Surreal," described one student on campus after being shown the new line of Orientalist-kitsch t-shirts, sweatshirts, baseball caps, and other paraphernalia. I see what she means; the new line of clothing is eerily reminiscent of the Abercrombie & Fitch fiasco several years back. When I asked a salesperson in the campus store about the clothes, the individual shrugged his shoulders and said, "I don't see anything wrong with it. It's just a joke, I think it's funny.
"Funny? Why not design a sister line depicting blackface minstrel characters like Sambo? Or t-shirts with a Muhammad caricature. Reactions to the racial slurs seeping into pop culture and defended as being jokes can be far from funny. The new line of Orientalist kitsch should be removed from our campus stores immediately. Just as Abercrombie and Fitch recalled their line of offensive clothing, so too should our campus stores."

Tags:Asian-Americans, racism, exploitation

Abstract
The paper describes how Greenberg is trying to get the reader to realize the differing challenges and innovations avant-garde art represents. The paper discusses how he is trying to make the reader realize the difference between art that is being manipulated for governmental/elite class control-and the type of art that simply stands outside of the endless Marxist cycle of unoriginal art without real meaning or sense of self.

Tags:greenberg, article, studies

Abstract
This paper discusses the way that Chinese culture has been trivialized by Americans due to the commercialization of Chinese cultural objects. The author argues that because sacred symbols in Chinese culture can be bought as t-shirts or tacky items, it detracts from their meaning and leads Americans to perceive these items as kitsch and discusses the implications of this.

From the Paper
"It is common for Americans to decorate their homes or wear clothing with Chinese symbols or objects that would generally be perceived of as kitsch. Many Chinese gift shops sell items that are culturally or religiously significant in China but are not fully understood by Americans and are merely viewed as novelties or decorations. While this phenomenon certainly happens with any cultural symbol entering a foreign society, I believe that it is more common with Chinese objects. Because of the commercialization and commodification of Chinese cultural objects, Americans perceive any form of Chinese art or religious symbols as kitsch. Furthermore, I would argue that buying an item of Chinese kitsch has greater cultural implications than are initially obvious."

Tags:commodification, fetishism

Abstract
By examining two of Greenberg's articles written 35 years apart, the writer explores this critic's changing attitudes towards art. The articles examined are "Avant-Garde and Kitsch" written in 1939 and "Modernist Painting," written in 1965.

From the Paper
"Clement Greenberg has over influenced the art world greatly with his ongoing criticism. In two of his essays written over 35 years apart, he presents two arguments which show his evolving opinion as the nature of art changes around him, despite (or perhaps because of) his outspoken opinions. The first article, from 1939, discusses exactly what the title indicates: "Avant-Garde and Kitsch" and frames them in the social attitudes of the time. He criticizes kitsch, stating that avant-garde art, which is only understood by the cultural elite, is the one true art. The second is called "Modernist Painting," written in 1965. This piece seems to accept kitsch as part of our culture, and as part of Modernism. By analyzing the ramifications of what Greenberg says in these two essays, I am able to determine the relevance of his arguments from my own perspective, which is obviously different from his."

Tags:art, avant, clement, garde, greenberg, kitsch, modern, critic

Abstract
This paper discusses how Las Vegas has been an object of scholarly fascination at least since the early 1970's. Then, a study discussed how the city was a postmodern assault on modernist architecture and urban design. The paper explores Las Vegas as the world's first truly postmodern city. The hypothesis is that Las Vegas is a city which is emblematic of postmodernity, given its conflation of the real, the fake, and the kitsch within a hypermediated cultural space that is both theatrical and commercial.

From the Paper
"Las Vegas has been an object of scholarly fascination at least since the early 1970s when Venturi, Scott Brown and Izenour published Learning from Las Vegas as a decisive salvo in the postmodern assault on modernist architecture and urban design. Although often superficially derided as a city emblematic of America's crassness, crime and commercialism - the city of dated Rat Pack crooners and Elvis - Las Vegas began attracting the attention of scholars and cultural commentators who recognized in its multi-layered urban form the avatar of urban design's future. In this..."

Tags:city, geography, culture

Abstract
This paper firstly examines the relationship between modernism and minimalism. It then explores the kitsch elements of pop art. In conclusion both art forms are defined and examples of art from each are described.

From the Paper
"Often new schools in the art world arise as a reaction against whatever style was dominant just before it just as Modernism was a reaction to Romanticism. However it is usually the case that the relationship between different dominant artistic style ..."

Tags:minimalism, warhol, pop art, greenberg

Abstract
This paper provides a comparison and contrast of three different renderings of the Mona Lisa, including Leonardo Da Vinci's classic portrait, Marcel Duchamp's "Mona Lisa LHOOQ, and Andy Warhol's "30 are Better than One." The comparison and contrast focuses on how subject matter often is manipulated to manipulate the message of the artist.

From the Paper
"Leonardo Da Vinci first painted the Mona Lisa on a piece of wood. According to one art historian; "Never in the history of art has one painting been so admired." This is due largely to the enigmatic smile which has caused so much speculation. In exploring two other renderings of the Mona Lisa, Marcel Duchamp's "Mona Lisa LHOOQ" and Andy Warhol's "30 Are Better than One" it is apparent that other artists often bring a different theme, content or subject matter to the..."

Tags:culture, Italian Renaissance, 1960s, reproduction, deconstruction, masculinized, kitsch, high art and culture