“Surrealism was a genuine addition to the repertoire of avant-garde arts, its novelty attested by the ability to produce shock, incomprehension, or what amounted to the same thing, a sometimes, embarrassed laughter, even among the older avant-garde.”

— Eric Hobsbawm , book The Age of Extremes

The Arts 1914-1945
The Age of Extremes (1992)

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Eric Hobsbawm 47

British academic historian and Marxist historiographer 1917–2012

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“The time has probably come to admit that the notion of an avant-garde is no longer useful in discussing contemporary literature. How can there be an avant-garde without a mainstream? Avant-garde de quoi? one must ask. Establishment institutions — universities, museums, foundations, commercial galleries, even the state — have embraced the idea of experimental art for so long that the avant-garde is now a safely domesticated concept, just another traditional style.”

Dana Gioia (1950) American writer

"Notes Toward a New Bohemia," http://www.danagioia.net/essays/ebohemia.htm transcript of a 1993 talk at the Poet's House, New York City, published in Poetry Flash (November/December 1993) and revised for publication in Grantmakers in the Arts (Spring 1994)
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“I’ve always enjoyed feeling a connection to the avant-garde, such as Dada and surrealism and pop art. The only thing the artist can do is be honest with themselves and make the art they want to make. That’s what I’ve always done.”

Jeff Koons (1955) American artist

Jeff Koons in: Graeme Green. " 60 SECONDS: Jeff Koons http://metro.co.uk/2007/07/18/60-seconds-jeff-koons-532798/#ixzz3bThr2XKI," at metro.co.uk, 2007/07/18
1990s and later

“Avant-garde art has become habitual, a dead letter with little spiritual consequence, however materially refined.”

Donald Kuspit (1935) American art critic

"Reconsidering the Spiritual in Art" http://www.blackbird.vcu.edu/v2n1/gallery/kuspit_d/reconsidering_print.htm, Blackbird (2003).

“Avant-garde artistes such as respondents remain entirely free to é pater les bourgeois [shock the middle classes]; they are merely deprived of the additional satisfaction of having the bourgeoisie taxed to pay for it. It is preposterous to equate the denial of taxpayer subsidy with measures 'aimed at the suppression of dangerous ideas.”

Antonin Scalia (1936–2016) former Associate Justice of the Supreme Court of the United States

On tax-funded art: National Endowment for the Arts v. Finley (1998) (concurring).
1990s

“The main trouble with avant-garde art and literature, from the point of view of fascists and Stalinists, is not that they are too critical, but that they are too "innocent," that it is too difficult to inject effective propaganda, that kitsch is more pliable to this end.”

Clement Greenberg (1909–1994) American writer and artist

"Avant-Garde and Kitsch" http://www.sharecom.ca/greenberg/kitsch.html (1939), p. 19
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“Postmodernism is among other things a sick joke at the expense of… revolutionary avant-gardism.”

Terry Eagleton (1943) British writer, academic and educator

Capitalism, Modernism and Postmodernism, ch. 9 (1985)
1980s

“The whole concept of the avant-garde in art is meaningless. I can see what it means when applied to sport, for instance. But to apply it to art would be to accept the idea of progress in art; and though progress has an obvious place in technology — more perfect machines, capable of carrying out their functions better and more accurately — how can anyone be more advanced in art? How could Thomas Mann be said to be better than Shakespeare?”

Andrei Tarkovsky book Sculpting in Time

Source: Sculpting in Time (1986), p. 97

“Gautier says, “Baudelaire abhorred philanthropy, progressivists, utilitarians, humanitarians and utopianists.” In other words, Baudelaire condemned Rousseausism in all its forms. Today, Rousseausism has so triumphed that the arts and the avant-garde are synonymous with liberalism, an error enforced by literature teachers, with their humanist bias. I follow the Decadents in trying to drive Rousseauist benevolence out of the discourse in art and literature. The Decadents satirized the liberal faith in progress with sizzling prophecies of catastrophe and cultural collapse.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 429

“In the past fifteen years, Marxist approaches towards literature have enjoyed increasing vogue. To be conscious of the social context of art seems to automatically entail a leftist orientation. But a theory is possible that is both avant-garde and capitalist. Marxism was one of Rousseau’s nineteenth-century progeny, energized by faith in the perfectabilty of man. Its believed that economic forces are the primary dynamic force in history is Romantic naturism in disguise. … Marxism is the bleakest of anxiety-formations against the power of cthonian mothers.”

Camille Paglia (1947) American writer

Source: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (1990), p. 36

“I regard criticism as an art, and if in this country and in this age it is practiced with honesty, it is no more remunerative than the work of an avant-garde film artist. My dear anonymous letter writers, if you think it is so easy to be a critic, so difficult to be a poet or a painter or film experimenter, may I suggest you try both? You may discover why there are so few critics, so many poets.”

Pauline Kael (1919–2001) American film critic

"Replying to Listeners" http://www.paulrossen.com/paulinekael/replylisteners.html, broadcast on KPFA (January 1963).

“Surrealism was a genuine addition to the repertoire of avant-garde arts, its novelty attested by the ability to produce shock, incomprehension, or what amounted to the same thing, a sometimes, embarrassed laughter, even among the older avant-garde.”

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Eric Hobsbawm 47

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