Clement Greenberg has, in defining Modern Art as well as Kitsch, demonstrated the usefulness of this term Kitsch, in identifying the current art epoch. My argument is that all art being created today may be that of Kitsch as a result of the artist/genius through his/her intuition is creating for the elite of the super-rich. As a result, in the philosophy of Julia Kristeva, artists have arrived, in Hegelian terms at the end of art, to their ‘Abyss of Horror.’ This last of the art epochs, namely, Abject Art, is the result of this abjection. I will discuss the relationship of kitsch and the new mass culture, its resulting effect on imagination and luxury consumption. I will explore the question of a lack of quality in new art, and argue that the avant-garde may no longer be evident in the current art milieu. The temporal, linearity of art history may be over and the avant-garde with it. And, finally, as a result of this inescapable flux of artistic praxis, the artist finds herself in what Nietzsche describes as the ‘horizonlessness of Modernity.’ In support of my thesis, I will cite the following essayists: Walter Benjamin and what the age of mechanical reproduction means for the divergence of linearity of art history, Homi Bhabha and the trope of hybridization of art, Rosalind Krauss concerning the originality of the avant-garde, Julia Kristeva’s concepts of abjection and how this applies to the artist, and finally, Jean-Fançois Lyotard, defining the Post-Modern movement.
Samuel Kochansky was educated at the Brooks Institute of Photography/University of California, Santa Barbara, receiving a Master of Science In Photography degree. He received his Master of Education degree from the University of Southern California. He is a working artist, with his studio, Atelier Lucia & Gallery, located in Albuquerque, New Mexico.