Kitsch-or tacky, simplistic art and art forms-is used by various political actors to shape and limit what we know about ourselves, what we know about our past and our future, as well as what our present-day public policy options might be. Using a plethora of historic and contemporary examples (such as Forrest Gump and Boys Town ), the author maps out how kitsch is employed in various political and educational sites to shape public opinion and understandings. Bibliography. Index.

In Kitsch and Art Tomáš Kulka notes that natural landscapes cannot be called kitsch. Kitsch needs to be produced by a human being, he says. I agree with that. Experience-wise it is more complicated, though. Sometimes kitsch affects our experience of landscapes. It is not just that our overwhelming culture of images affects how we see nature, but that also sugared, sentimental and stereotypical kitsch images of nature, that we see in postcards and social media, (...) affect our experience of e.g. sunsets and picturesque landscapes. We might desire to fight back, but at least we need to understand and to some extent accept our situation. Kitsch is in our experience even when there is no kitsch around, and our experiences of nature prove that. (shrink)

Gibt es einen spezifisch "linken" Kitsch in Abgrenzung zu politisch "rechtem"? Dieser vernachlässigten, für das Verständnis "linken Denkens" seit der Französischen Revolution aber wichtigen Frage gehen die Beiträge dieses Bandes nach.0Gezeigt wird, dass "linkes" Denken aus ganz anderen Gründen kitschanfällig ist als sein "rechtes" Pendant, auch wenn die Pathosformeln sich mitunter frappierend ähneln. Denn während rechte Ideologien den Veränderungsdruck der Moderne kompensieren, streben linke eher danach, ihn nach dem Motto "Mehr desselben" zu überbieten. Dieses Phänomen »linker Kitsch± nimmt (...) der Band in historischer und theoretischer Hinsicht anhand von sprachlichen, bildlichen und filmischen Beispielen in den Blick, sodass es in seinem konstitutiv transmedialen Charakter zur Geltung kommt. (shrink)

Vladimir Putin's image functions as a political talisman far outside of the borders of his own country. By studying material objects, fan fiction and digital media, this book traces the satirical uses of Putin's public persona, notably how he stands as a foil for other world leaders. It argues that the internet is crucial to the creation of contemporary Putin memorabilia and that these items show a continued political engagement by young people, even as some political scientists and media experts (...) decry what they see as the opposite. The book further addresses the ways in which explicit sexual references about government officials are being used as everyday political commentary in the United States. Turning a critical eye to Putin kitsch shows how the number of such references skyrocketed during the 2016 US Presidential election campaign, and suggests that the phenomenon is likely to still be important when Americans next return to the polls. Finally, the internet makes possible a totally new kind of kitsch--the virtual kind. An examination of how the Russian president's image circulates via memes and parodies, as well as through apps and games, suggests that political culture has become increasingly participatory in the last decade. (shrink)

"C.E. Emmer’s article addresses the ongoing debates over how to classify and understand kitsch, from the inception of postmodern culture onwards. It is suggested that the lack of clear distinction between fine art and popular culture generates 'approaches to kitsch – what we might call 'deflationary' approaches – that conspire to create the impression that, ultimately, either 'kitsch' should be abandoned as a concept altogether, or we should simply abandon ourselves to enjoying kitschy objects as kitsch.' (...) The author offers critical insight into 'kitschy' items made in response to 9/11 and tries to examine the reception of these products through scrutinizing a selection of remarks posted by the Internet commentators." Editor Justyna Stępień's summary from her introduction to Redefining Kitsch and Camp in Literature and Culture (Newcastle upon Tyne: Cambridge Scholars Publishing, 2014), p. 2. The final pages of the chapter analyze the seemingly sweet landscape paintings of Thomas Kinkade to show the spirit of revenge their Christian coding can conceal. (shrink)

"The writer discusses the concept of kitsch. Having reviewed a variety of approaches to kitsch, he posits an historical conception of it, connecting it to modernity and defining it as a coping-mechanism for modernity. He thus suggests that kitsch is best understood as a tool in the struggle against the particular stresses of the modern world and that it uses materials at hand, fashioning from them some sort of stability largely through projecting images of nature, stasis, and (...) continuity. He discusses the relation of kitsch to fine art, arguing that fine art also has as its primary function a counter-movement to modernity. He suggests that the main difference between fine art and kitsch is that fine art, as well as its emotional function, also involves a reception context that allows it to assume an intellectual task. Among the writer's conclusions, he finds that positing a stark or absolute contrast between kitsch and fine art is unjustifiable as both have the same roots and objectives." [WilsonWeb]. (shrink)

This essay argues that bullshit art is a meaningful concept that differs from bullshitting about art, although the two may occur in tandem. I defend what I call the social pretense theory of bullshit art. On this view, calling a work of art ‘bullshit’ highlights a discrepancy between the prestige accorded a work of art and its nonsense character. This category of aesthetic criticism plays a unique role that cannot be identified with kitsch but bears only a contingent connection (...) to it. (shrink)

What is kitsch? What is behind its appeal? More important, what is wrong with kitsch? Though central to our modern and postmodern culture, kitsch has not been seriously and comprehensively analyzed; its aesthetic worthlessness has been generally assumed but seldom explained. _Kitsch and Art _seeks to give this phenomenon its due by exploring the basis of artistic evaluation and aesthetic value judgments. Tomas Kulka examines kitsch in the visual arts, literature, music, and architecture. To distinguish (...) class='Hi'>kitsch from art, Kulka proposes that kitsch depicts instantly identifiable, emotionally charged objects or themes, but that it does not substantially enrich our associations relating to the depicted objects or themes. He then addresses the deceptive nature of kitsch by examining the makeup of its artistic and aesthetic worthlessness. Ultimately Kulka argues that the mass appeal of kitsch cannot be regarded as aesthetic appeal, but that its analysis can illuminate the nature of art appreciation. (shrink)

Si les sociétés occidentales vivent sous la pathos d’une authenticité définie par l’originalité et la singularité d’une subjectivité, elles n’en sont pas moins des sociétés où cette subjectivité est codifiée, où sa liberté est encapsulée dans une méta contrainte. Dans le champ de l’art, le kitsch apparaît comme un lieu essentiel de cette combinaison. Les tenants du Kitsch en ont fait la vérité de l’art, à partir du moment où il était supposé devenir la vérité de l’époque. Ils (...) n’ont défini qu’un conformisme social, à travers même la façon dont le Kitsch se donne comme la vérité et l’authenticité de l’art. (shrink)

Circumstances in which someone has died might be particularly prone to the use of kitsch, but gestures that are arguably kitschy can be among the most appropriate ways to express sympathy. Although showing respect for the deceased and the bereaved does require some concern for aesthetic suitability, a certain amount of kitsch may be virtually unavoidable in these contexts, and we should learn to live with that.

In deze bewogen ‘Notities over de verloren ziel van de cultuur’ signaleert Jack Miles hoe religie tot kitsch dreigt te verworden wanneer we haar uitsluitend bezien in concurrentie met de voortschrijdende wetenschap. Pas zodra we deze tweestrijd over rivaliserende kennisaanspraken opgeven en onze duurzame onwetendheid onder ogen zien, is er ruimte voor een religiositeit die geen kitsch is en het ontzag, de verering en de angst voor het Onbekende een plaats geeft in ons leven. Uiteindelijk zouden de klassieke (...) religies van Europa - judaïsme en christendom – een analoge plaats moeten krijgen in de bestudering van onze cultuur, doordat we ze bezien per differentiam, waardoor we ze met een antropologische nieuwsgierigheid tegemoet kunnen treden. (shrink)

Sections of the mass media report so closely on political decision-making that politicians cannot ignore the media when making decisions ; this book questions whether the decision-making process is now more important than any political action deriving from the decisions. Media appearances are no longer adjuncts to the political process ; they are the process.

The discourse on kitsch has changed tone. The concept, which in the early 20th century referred more to pretentious pseudo-art than to cute everyday objects, was attacked between the World Wars by theorists of modernity (e.g. Greenberg on Repin). The late 20th century scholars gazed at it with critical curiosity (Eco, Kulka, Calinescu). What we now have is a profound interest in and acceptance of cute mass-produced objects. It has become marginal to use the concept to criticize pseudo-art. Scholars (...) who write about kitsch are no longer against it (Anderson, Olalquiaga). And since the 2000s, art students have been telling us that they “love kitsch”. The contemporary concept is strongly attached to certain colors (pink) and materials (porcelain). In this article I aspire to find some keys on how to view the history and contemporary state of the concept. My hypothesis is that the change in the use of the concept has at least partly to do with changes in the concept of art, which has lately, this is my hypothesis, become sufficiently decentralized from its original roots and boundaries (upper class, male, ethnically Central European). (shrink)

“Kitsch” has sometimes been used (for example, by Harold Rosenberg) to refer to virtually any form of popular art or entertainment, especially when sentimental. But though much popular art is cheap and crude, it is at least direct and unpretentious. On the other hand, a persistent theme in the history of the usage of “kitsch,” going back to the word’s mid-European origins, is pretentiousness, especially in reference to objects that ape whatever is conventionally viewed as high art. As (...) Arnold Hauser has remarked, kitsch differs from merely popular forms in its insistence on being taken seriously as art. Kitsch can thus be defined as a kind of pseudo-art which has an essential attribute of borrowing or parasitism, and whose essential function is to flatter, soothe, and reassure its viewer and consumer. (shrink)

Harry Frankfurt’s twenty-two page long essay “On Bullshit” was published in 1986 in an academic journal and appeared as a stand-alone book in 2005. The small book was successful and has sparked many discussions by both academics and public intellectuals. In this article I want to examine if, in the realm of art, kitsch overlaps with bullshit as a sort of “aesthetic bullshit” or if there are differences between bullshit as a predominantly ethical phenomenon and kitsch, which works (...) much more with categories such as pleasure and indulgence. Given bullshit’s intrinsic link with techniques such as embellishment and the willful stylization of facts, as well as its ambition to create an autonomous reality, bullshit seems.. (shrink)

One of the reasons for the disappearance of beauty in the artistic ideology of the late twentieth century has been the seeming similarity of beauty to certain kinds of kitsch. Beauty has also been associated with flawlessness and with glamour. I will content that the flawless and the glamorous are actually categories of kitsch, and that the dominance of these images in marketing has contributed to our societal tendency to confuse them with beauty. The quests for flawlessness and (...) glamour are both self-sabotaging, a premise on which the marketing of beauty depends. These false paradigms of beauty have ob cured the fact that human beauty manifests an ideal of balance and health that is neither self-conscious nor a consequence of deliberate effort. I will defend the relevance of this ideal to beauty to our personal and cultural well-being. (shrink)

Im Folgenden wird der Versuch unternommen, ausgehend von John Deweys Kunst als Erfahrung ein Verständnis des Kitsches als ästhetischer Untugend zu entwickeln. Dabei wird der leitenden Frage des Bandes, ob Kunst moralisch sein muss, in der Weise begegnet, dass nach der spezifischen moralischen Wirkungsweise von Kunstwerken gefragt wird. Nachdem entgegen einer Dichotomisierung von Kunst und Moral die Leistung moderner Literatur und Kunst darin erkannt wird, die Grenzen lebensleitender moralischer Begriffe und Werte anschaulich zu machen und damit Lern- und Reflexionsprozesse auszulösen, (...) wird Kitsch als Umkehr dieser Wirkungsweise von Kunst aufgearbeitet. Kitsch stabilisiert demnach moralische Überzeugungen, Wertvorstellungen und Lebensmodelle, indem er eine sinnliche Welt vor Augen führt, die einen stetigen Resonanzraum letzterer darstellt. Vom Befund ausgehend, dass sein ideologischer Gebrauch in der Natur des Kitsches angelegt ist, wird schließlich Krieg – und insbesondere der gegenwärtige Krieg in Europa – als ein Anlass betrachtet, der die Untugend der Kunst zum Gedeihen bringt. -/- The following paper aims at developing an understanding of Kitsch as an aesthetic vice, drawing mainly upon John Dewey’s Art as Experience. Does art have to be moral? - the guiding question of this volume is addressed by reflecting on the specific operativity of art in moral terms. The genuine force of modern art and literature lies, contrary to a dichotomic view of the relation of morality and the arts, in showing the limits of concepts and values guiding the recipient and therefore activating processes of learning and reflection. It is then argued that Kitsch is the inversion of such an activity. Kitsch stabilizes moral convictions, value orientations and thus ways of life by creating an image of the world that resonates with the latter. Following the observation that Kitsch has a manifest affinity to be used for ideological purposes, war – with focus on the current war in Europe – is considered a primal occasion for the thriving of the aesthetic vice. (shrink)

Etude du phénomène du kitsch à travers les littératures et cultures d'Europe, d'Amérique du Nord et du Sud et du Japon.

One can read the history of kitsch and the history of kitsch theories by accentuating either everyday aesthetics (knickknacks) or pseudo art/bad art. The authors have divided their introduction to the topic by accentuating first everyday aesthetics (this part includes a detailed history of kitsch research) and then art—especially the wave of contemporary art that has lately been knocking on the doors of kitsch. Three historical stages of kitsch are discussed. The first stage discusses the (...) topic and gives (e.g., bad, sentimental art and interior design) negative attention only. This phase ends with Clement Greenberg’s essay “Avant-Garde and Kitsch” (1939). The second wave discusses kitsch in a curious manner, mainly around the 1960s. And the contemporary stage of the discussion is often positive (starting from the 1990s). In the part where contemporary art is analyzed, art’s kitschy side is traced historically to the Dutch art market of the seventeenth century. But today’s art world, which is strongly invaded by kitsch, gains the main attention. How did kitsch become so central to contemporary art? What forms has it taken there? (shrink)

Tomas Kulka’s celebrated body of work on aesthetics has its logical groundings among other influences in the work of Karl Popper in the philosophy of science and Nelson Goodman on art and symbolic systems. I will revisit these two anchors to draw the philosophical move Tomas takes in his Kitsch and Art and use it to further a philosophical move of my own aiming at the very logical core of the question of art.

Kitsch ist mehr, als man ihm gemeinhin zutraut. Er ist nicht nur eine ästhetische Reaktion auf die Industriegesellschaft oder bloß ein progressives Ausdrucksmittel - vielmehr steht er auch für eine spezifische ästhetische Sensibilität für die Welt. Yushin Ra geht dem nach und zeigt: Kitsch erzeugt einen Unernst durch die eigentümliche Weise der Interaktion einer metakommunikativen Ebene und der vordergründigen Mitteilung. Er schwebt auf der Grenze der beiden und erzeugt dadurch eine Unklarheit, die beim Rezipienten eine bestimmte Skepsis ob (...) des Ernstes des Produkts entstehen lassen. Diese unernste Haltung steht für die Auffassung, dass es auf der Welt eine Nische gibt, die vom Zwang zur Vernunft und zum sinnvollen Handeln nicht erreicht wird. (shrink)

Kitsch e neokitsch -- Kitsch antropologico -- Forma, bellezza e godimento nel Kitsch -- Problemi di gusto -- La casa di Ivan Il'ič -- Disgustosamente moderni -- Mangiando una cipolla.

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. (shrink)

_Five Faces of Modernity_ is a series of semantic and cultural biographies of words that have taken on special significance in the last century and a half or so: _modernity_, _avant-garde_, _decadence_, _kitsch_, and _postmodernism_. The concept of modernity—the notion that we, the living, are different and somehow superior to our predecessors and that our civilization is likely to be succeeded by one even superior to ours—is a relatively recent Western invention and one whose time may already have passed, if (...) we believe its postmodern challengers. Calinescu documents the rise of cultural modernity and, in tracing the shifting senses of the five terms under scrutiny, illustrates the intricate value judgments, conflicting orientations, and intellectual paradoxes to which it has given rise. _Five Faces of Modernity_ attempts to do for the foundations of the modernist critical lexicon what earlier terminological studies have done for such complex categories as _classicism_, _baroque_, _romanticism_, _realism_, or _symbolism_ and thereby fill a gap in literary scholarship. On another, more ambitious level, Calinescu deals at length with the larger issues, dilemmas, ideological tensions, and perplexities brought about by the assertion of modernity. (shrink)

Wie lassen sich Banalität, Trivialität und Kitsch voneinander unterscheiden und welche Rolle spielen sie für Kunst und Literatur? Zur Beantwortung dieser Fragen betrachtet Julia Genz Banalität, Trivialität und Kitsch als Bestandteile von Diskursen, in denen Zugänglichkeit bewertet wird. Zugänglichkeit ist dabei nicht von vornherein gegeben, sondern muss diskursiv erst hergestellt werden. Durch die Ausdifferenzierung in soziale, kognitive und emotionale Zugänglichkeit lassen sich die drei bislang nicht überzeugend getrennten Bereiche voneinander abgrenzen und mit ihren Gegenpolen Exklusivität, Komplexität und Kunst (...) in ein umfassendes Ästhetikmodell integrieren. (shrink)