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)

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)

This article owes a lot to Arthur C. Danto's heuristic writings about the Artworld, which have shown us, that the ontological status of works of art is, at least when we discuss some current, maybe even dominating trends in contemporary art, dependent on our more or less philosophical interpretations of them. The effects of the Dantoan atmosphere of theory and art historical consciousness are, still, decisive for just some contemporary art. Danto's interest in the philosophical side of contemporary art makes (...) his philosophy of art exclusive in relation to art which is less philosophically appealing than the readymade tradition, to the extent that Danto did not, for a long time, even try to incorporate problems of beauty, aesthetic experience, and formal qualities, to his theory of the Artworld. (Opening paragraph.). (shrink)

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)

Shusterman, R. (2021) Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love. Cambridge: Cambridge University Press. ISBN 978-1107004764.

In this short epilogue, Barragán and Ryynänen discuss the possibility of using kitsch and kitsch theories horizons for interpreting contemporaneity in various ways. The main spearhead of the critical notes is aimed at academic culture, which Barragán and Ryynänen claim to have become “kitschified” in a sense.

This edited volume traces cultural appearances of disgust and investigates the varied forms and functions disgust takes and is given in both established and vernacular cultural practises. Contributors focus on the socio-cultural creation, consumption, reception and experiencing of disgust, a visceral emotion whose cultural situatedness and circulation has historically been overlooked in academic scholarship. Chapters challenge and supplement the biological understanding of disgust as a danger reaction and as a base emotion evoked by the lower senses, touch, taste and smell, (...) through a wealth of original case studies in which disgust is analyzed in its aesthetic qualities, and in its cultural and artistic appearances and uses, featuring visual and aural media. Because it is interdisciplinary, the book will be of interest to scholars in a wide range of fields, including visual studies, philosophy, aesthetics, sociology, history, literature, and musicology. (shrink)

What separates Mario Perniola from other philosophers of his generation, is his programmatic inquiry into the dark side of humanities, what I here call ‘dank humanities’ – with a focus on topics hard to catch, and sides of experience and interpretation which evade simple pleasure and order. Often his thinking finds a niche where one can feel barely human or sense something that in the end evades interpretation. Suggestive in tone, it inquired into these topics also in a way that (...) made his thinking hard to classify as philosophy, cultural studies and/or psychoanalysis. In my article on his work, I aspire to think of it more commonly as a form of overall humanities, and to see it as a programmatic attempt to nail the potentials of the humanities to reach beyond our pleasures, understanding and safety-driven metaphysics. (shrink)

In his review of Richard Shusterman’s (ed.) Bodies in the Street, Max Ryynänen accentuates the way the book explores the complex network of architecture, weather, social conditioning, politics, gender, and ritual that make up our bodily presence and life in urban contexts.

Shusterman, R. (2021) Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love. Cambridge: Cambridge University Press. ISBN 978-1107004764.

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)

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)

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)

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)

Less than an attempt to philosophically define anything, the following text should be read as a theoretical sketch to portray an artistic margin, which has not yet been much discussed, although it has been loosely touched upon as a side product of many other theoretical aspirations. Its name, ‘nobrow’, is borrowed from a use somewhat different from mine, but is accurate in pointing out that there is a dynamic position works of art can acquire when they use both high and (...) low for their own purposes, still not really belonging to either field of culture. I will begin by sketching the outlines of this phenomenon, and then try to shed some light on it through by means of some examples, and conclude by claiming, that it lives on our cultural situation, where high and low, even if they are not as rigid compartments of culture as they used to be, continue to exist and to affect us. (Opening paragraph.). (shrink)

This book is an introduction to the history of art as an institution, from its development in Central Europe to its global expansion through colonialism and diaspora. It considers how the class, gender, and race of artists function to challenge highbrow notions of art and develops the concept of nobrow as a way to democratize art in the future.

Radically Rethinking Copyright in the Arts: A Philosophical ApproachYoungJames O. Routledge. 2020. pp. 184. £120.

This book inaugurates a new phase in kitsch studies. Kitsch, an aesthetic slur of the 19th and the 20th century, is increasingly considered a positive term and at the heart of today’s society. Eleven distinguished authors from philosophy, cultural studies and the arts discuss a wide range of topics including beauty, fashion, kitsch in the context of mourning, bio-art, visual arts, architecture and political kitsch. In addition, the editors provide a concise theoretical introduction to the volume and the subject. The (...) role of kitsch in contemporary culture and society is innovatively explored and the volume aims not to condemn but to accept and understand why kitsch has become acceptable today. (shrink)

Preview: /Commentary: Richard Shusterman, Ars Erotica: Sex and Somaesthetics in the Classical Arts of Love, 436 pages./ I think “it is official” now. Ars Erotica will become some sort of classic. There are several reasons why. Some, just cannot stop giggling when they hear the word sex. Many will grab the book out of curiosity, and maybe some, although I do not believe that many, will even do it for camp reasons. Many of these readers have a neurotic and/or complicated (...) relationship to sexuality, and hopefully at least some of them will find the book helpful, as they reflect on themselves and their sexual lives through the text. On the other hand, I cannot imagine anyone in aesthetics or with a scholarly interest in sexuality who would not find the book helpful. Nothing comparable on the relationship of aesthetics and sexuality has been done and the book embraces the topic globally – featuring Shusterman’s vast and deep knowledge – about not just Western philosophy and culture, but also Chinese and Japanese thinking among others. (shrink)

Our culture of appreciation of old buildings today is a product of the heritage culture of the eighteenth-century Central European upper class. While we find it pleasant and historically informative to have buildings well preserved, we find the absence of critical questioning of the practice surprisingly absent, although we observe an increasing number of academic discussions in the field of heritage studies, informed by decolonisation, climate change activism, and sustainability issues. Critical artistic practices have too been venturing into heritage and (...) memory politics. The extensive costs of preserving old architecture raise eyebrows mainly only in the far- and alt-right circles, but as late reactions by parts of the global community, such as the attacks on statues as part of the Black Lives Matter movement, signal, there might be a change coming regarding our relationship to the built material past. We offer a reading of the history of the phenomenon, which will make it easier to, first, see it as an ethnic and class construct, and then sketch out a new perspective on its metaphysics, from memory to identity, to discourse. We include voices external to the world of heritage­­ – one that is still run by a privileged group that often claims to speak for others, and whose aims and practices are often, at least for now, accepted by others. We then proceed to discuss what kind of a role a curatorial approach could have in questioning and rethinking the idea of preserving. (shrink)