Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of … - Harold Rosenberg

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Exhibitions of minority art are often intended to make the minority itself more aware of its collective experience. Reinforcing the common memory of miseries and triumphs will, it is expected, strengthen the unity of the group and its determination to achieve a better future. But emphasizing shared experience as opposed to the artist's consciousness of self (which includes his personal and unshared experience of masterpieces) brings to the fore the tension in the individual artist between being an artist and being a minority artist.

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About Harold Rosenberg

Harold Rosenberg (February 2, 1906 – July 11, 1978) was an American art critic, educator and historian. His essay on Action painting of 1952 made him an important voice in the New York art world.

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Not only were the minds of artists formed by the university; in the same mold were formed those of the art historians, the critics, the curators, and the collectors by whom their work was evaluated. With the rise of Conceptual art, the classroom announced its final triumph over the studio.

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The mingling of object and image in collage, of given fact and conscious artifice, corresponds to the illusion-producing processes of contemporary civilization. In advertisements, news stories, films, and political campaigns, lumps of unassailable data are implanted in preconceived formats in order to make the entire fabrication credible. Documents waved at hearings by Joseph McCarthy to substantiate his fictive accusations were a version of collage, as is the corpse of Lenin, inserted by Stalin into the Moscow mausoleum to authenticate his own contrived ideology. Twentieth-century fictions are rarely made up of the whole cloth, perhaps because the public has been trained to have faith in "information." Collage is the primary formula of the aesthetics of mystification developed in our time.

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