Abstract

As the twenty-first century begins, Benjamin’s aura as the quality of an authentic-art-object might be outdated, but the notion of kitsch remains essential in a post-Warholian world. The following discussion is an attempt to assess Western contemporaneity. By using a few examples, so to dissect problems into their smallest components, I suggest that the current popularity of kitsch inclinations and behaviours in Western societies are not a means to resist cultural and aesthetic elitism, but an implication of widespread bad taste.