From The Art and Popular Culture Encyclopedia
- "Both high and low culture have produced masterpieces and works of mediocrity. It is our task to find beauty in unexpected places."
- In music: "The "postmodern" 1960s were by no means the first period in which the boundaries between popular music and high culture had been seriously challenged. Rock was not the first popular music to cross the divide between high and low. We need only recall the Jazz Age of the 1920s when the avant-gardes of Paris and Berlin were enthusiastically consuming jazz and attempting to assimilate its aesthetic into their own practices." --Between Montmartre and the Mudd Club (2002) - Bernard Gendron, page 2
- In literature and the visual arts: "The notion of one art for the 'cultural,' i.e., the favored few in any given society and of another subart for the 'uncultered,' i.e., an excluded majority as deficient in Gutenberg skills as they are untutored in 'taste,' in fact represents the last survival in mass industrial societies (capitalist, socialist, communist - it makes no difference in this regard) of an invidious distinction proper only to a class-structured community. Precisely because it carries on, as it has carried on ever since the middle of the eighteenth century, a war against that anachronistic survival, Pop Art is, whatever its overt politics, subversive: a threat to all hierarchies insofar as it is hostile to order and ordering in its own realm. What the final intrusion of Pop into the citadels of High Art provides, therefore, for the critic is the exhilarating new possibility of making judgments about the 'goodness' and 'badness' of art quite separated from distinctions between 'high' and 'low' with their concealed class bias." --Fiedler, 1971
- "Focused on genres: "The discussion of high and popular culture does not suppose that individuals possess knowledge of particular cultural objects, but only some knowledge of a hierarchy of genres. I have argued that one of the most widely shared elements of modern culture consists in the awareness of which kinds of cultural objects are highbrow and which are popular. Therefore, the most important questions of cultural mediation center around differences between highbrow and popular genres." --Fringe and Fortune (1996) - Wesley Monroe, Jr., page 73
- Concepts in flux: "Although theater is now a highbrow form, this was not so until the nineteenth century." --Fringe and Fortune (1996) - Wesley Monroe, Jr., page 73
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