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Clement Greenberg

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It has become apparent that art can have a startling impact without really being or saying anything startling — or new. The character itself of being startling, spectacular, or upsetting has become conventionalized, part of safe good taste.
--
"Avant Garde Attitudes", The John Power Lecture in Contemporary Art, University of Sydney, (1968-05-17); printed by The Power Institute of Fine Arts, University of Sydney (1969)

 
Clement Greenberg

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The disposition to consider intelligence a peril is an old Anglo-Saxon inheritance. Our ancestors have celebrated this disposition in verse and prose. Splendid as our literature is, it has not voiced all the aspirations of humanity, nor could it be expected to voice an aspiration that has not characteristically belonged to the English race; the praise of intelligence is not one of its characteristic glories. “Be good, sweet maid, and let who will he clever.” [Charles Kingsley, “A Farewell”] Here is the startling alternative which to the English, alone among great nations, has been not startling but a matter of course. Here is the casual assumption that a choice must be made between goodness and intelligence; that stupidity is first cousin to moral conduct, and cleverness the first step into mischief; that reason and God are not on good terms with each other; that the mind and the heart are rival buckets in the well of truth, inexorably balanced—full mind, starved heart—stout heart, weak head.

 
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