Fred E.H. Schroeder, Semi- Annual Installment on the American Dream: The Wish Book as Popular Icon

"But the American Dream: every man a king. Hence, if art is for kings, art is presumably for every American? Or, is art to be revered and viewed oly on sabbath afternoons in secular temples? To do so is o revere things, not ideals, and the catalogue icon resists the whole idea of reverence for material things. Artworks, stoves, Bibles, and mail-order catalogues are themselves things, material, transitory, and replaceable." (Schroeder 83)

" in the Wish Book are values of material well being, of middle class equality and of democratic mutual respect." (Schroeder 82)

" in six months there will be a new window on even higher realms of material well being. Ane that well being will be attainable too. (Schroeder 82)

" . . . providing an affirmation of the attainment of the dream of those who emigrated to America: a dream of sharing equally in the material produce of the society." (Schroeder 83)

"The icon is classless yet distinguishes between the old, which is obsolete and outcaste, and the new, which must be kept new in semi-annual reincarnations." (Schroeder 83)

"The unfathomable paradox of the American mind is that the unchanging value is change itself. The carrot moves before the donkey, the fruit eternally eludes Tantalus, and the mail order catalogue draws Americans forward with wishes of something better." (Schroeder 83)

"The uncompromising materialism of the icon and its mosaic bits reassure consumers of eternal spiritual values: that there is, there are things that money cannot buy". (Schroeder 83)

Shroeder also references Frank Getlein of the New Republic: The catalogue pays ultimate compliment to artwork by calling it product.


Fishwick, Entrance

"Icons are symbols and mindmarks. They tie in with myth, legend, values, idols, and aspirations." (Fishwick 2)

"Traditionally icons connote fixity and permanence; but pop icons deal with the flux and impermanence of contemporary Protean Man." (Fishwick 3)

"your icon my kitsch. no mass media or external force can assure us of internal conviction. The operative word for icon is still magic" (Fishwick 5)

"Icons and Symbols. like other fully operative and functional parts of culture, tend to be assumed rather than defined by the people involved." (Fishwick 7)


Fishwick, Icons of America

"Icons are associated with age and class groups. They demand a cult, a lore, a spot of veneration. . . as the old order has changed, yielding place to the ever-new, the sacred spots for icons are no longer churches and monasteries but, in the new statements of man's beliefs and aspirations, on superhighways, television screens, and in discotheques." (Fishwick 6)

" . . . sensitive indicators of who we are, where we come from, where we intend to go."

In Christendom icons "legend, belief, sacred object, veneration" (Fishwick 6)

Gregor Goethals, Sacred - Secular Icons

ICON : "a term that refers to a special kind of image, an image intended to put us in relationship to the sacred . . . even our causal use of the term trades upon its religious meaning and function." (Goethals 24)

"Our Icons are often part of the free enterprise, competitive frenzy of contemporary publicity images. The images that "catch on" and become popular are frequently attuned to the deeply felt sentiments that transcend the individual and offer persons a larger whole with which they can identify." (Goethals 32)

"To peruse further the analogies between traditional sacred images and modern sacred images involves a reevaluation of the concept of the "sacred" itself and a hard look at our loyalties and values in contemporary culture." (Goethals 32)

"a serious study of popular icons will lead us sooner or later into a study of that which a society finds sacred." (Goethals 33)


David Gerald Orr, The Icon in the Time Tunnel

"They are not gods but opened books to remind us of God and to His honor set in our churches and adored." (Orr 15).

"Icons are images, sacred objects, storehouses of traditional lore, and in religious ritual, the inspirer of veneration."(Orr 16)

"The American eagle benefited from centuries of European acceptance as an icon of political strength and military authority." (Orr 17).

"Things are not merely things: they are distinct capsules of meaning." (Orr 20)

"They externalize our own quest for cultural identity. They tower above us as firm commitments to aspirations and ideals." (Orr 21)

"Icons must not embarrass or confuse. They must remind and reinforce" (Orr 21).


Erwin Panofsky, Meaning in the Visual Arts, 1974.

" which reveal the basic attitude of a nation, a period, a class, a religious or philosophical persuasion" (Panofsky 30)


Nietzsche, Friedrich. “Live Dangerously.”

        “God is dead” (Nietzsche 105).


James Panero, The New Criterion

"contemporary galleries now earn upwards of 50 percent of their sales from fairs where it once was 10" (Panero 42)


Carol Vogel. NYT.

"Serious American collectors, dealers, caution house experts and museum curators make an annual pilgrimage to Maastricht" (Vogel B7)


Gregory Hall, Courier Journal

"Greg Fischer and daughter Mary Fischer 10, made their traditional visit to the fair" (Gregory Hall B3)

Hall quotes co-chair Jerry Lyndrup speaking about visitors:
          the fair is "their right of spring"


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