d e c e m b e r 7, 2012
George Grosz danger George Grosz: Art Is in Danger

G. Grosz. Café. 1918-1919. Private collection

[…] Never has art been more off-putting than it is now, especially, for the common man of today, who claims he can live without art. Whatever one understands art to be, it’s clear that its overriding task is to satisfy man’s living Bildhunger (yearning for images). This Bildhunger persists today, more than ever, within the masses. And it’s going to be satisfied in an unprecedented way, but not by our display window conception of art. Photographs and motion pictures will be sufficient to meet this need.

[…] Neatly packed, today’s artworks lie in a small cylinder and can appear (another advantage) simultaneously in New York, Berlin, London, Paris, and just as easily in the most remote village. In comparison, how laborious and antiquated the creation of an oil painting appears. How quaint. In film the work is also fresher, and its making does not depend on the talent of one individual. Many minds work on it, and thereby the film more easily achieves a social character. More easily than the individual handwork of an artist does.  Incidentally, problems of light and motion, which were only partly solved by painters, present no difficulty in film. How can a painting compare, really, with a film of a moving ocean? The painting is a boring affair; at best it is only more or less well done.

 

                                                 George Grosz and Wieland Herzfelde. Art Is in Danger. 1925

                                             George Grosz. Thoughts and Work. Progress Publishers, Moscow. 1975