Abstract
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).
Keywords aesthetics  art  class  kitsch  figurines  modernity  globalism  multiculturalism  status
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References found in this work BETA

Art as Experience.John Dewey - 1934 - G. Allen & Unwin.
Art as Experience.D. W. Prall - 1935 - Philosophical Review 44 (4):388-390.
Pragmatist Aesthetics: Living Beauty, Rethinking Art.Richard SHUSTERMAN - 1992 - Transactions of the Charles S. Peirce Society 29 (3):480-488.

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