Abstract

Within the strategy that we call avant-garde there are two sets of tactics, one immediate, the other long term. One set could be called a tactics of short-term attention, and it is this set that has been most often noticed. Shock, surprise, self-promotion, the baiting of middle-class solemnity, outrage, a subversive playfulness, a deliberate frustration of habitual expectations, an apparent difficult or refusal of communication, a banality where profundity and seriousness were earlier the norm: these are a few of the tactics that again and again appeared as part of the competitive marketplace strategy for advertising the new.To be a notorious artist was always halfway to becoming a famous one, and many were willing to take the chance that once conditions were right the slight move from notoriety to fame could be accomplished. These tactics made it clear that the problem for an artist within the modern period was first of all to stand out within a crowd, within a surplus of candidates for the few places available nationally or internationally. The rivalry for initial attention under modern conditions set every artist the question of how his own work might have clear identity and felt importance. This was, in an age of products and advertising, the problem of how to turn a style into a brand. Philip Fisher is professor of English at Harvard University and the author of Hard Facts . The essay published here forms part of his forthcoming book Making and Effacing Art. He is currently at work on a book on the philosophical and literary history of the Passions