Kitsch has long been viewed as fine art's poor relation, aping its form while failing utterly to achieve its depth of meaning. In "On Kitsch" Odd Nerdrum and others discuss the meaning and value of kitsch in today's world, and its relationship to art. For the first time in this volume, English-speaking fans have the chance to read the writings of Odd Nerdrum, Norway's most famous contemporary artist, or kitch painter, as he would refer to himself. This printing of a variety of writings by Nerdrum and others includes speeches, essays, and humorous pieces such as "The Kitch Questionnaire," and "Kitch Aphorisms." This book is an opportunity to discover the thought process of one of the world's most unique and compelling artists.

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 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.

Kitsch is Odd Nerdrum's luxuriously produced apologia for the enduring relevance of the old master style. Containing writings and interviews by and with Nerdrum alongside hefty plate sections of both Nerdrum's own paintings and those by painters he sees as exemplars of a certain kind of figurative art, it is a bold attack on the foundations of modernism. In Nerdrum's view, what we call "kitsch" art is a consequence of modernism's "make it new" ethic. For Nerdrum, this insistence on novelty has permeated the thinking of institutions, critics, artists and the public, and has effectively suppressed what Nerdrum most values in a work of art: sentimentality, passion, pathos and the self-evident skill and emotion of sheer craft. By this latter value in particular, the kitsch painter is able to work according to knowable standards that painting prior to modernism has established--standards that are "more than art," for, as Nerdrum puts it, "the kitsch painter commits himself to the eternal: love, death and the sunrise." Kitsch is a manifesto that recruits figurative painters both old and new, such as William Dyce, Paul Fenniak, Sampo Kaikkonen, Isaac Levitan, Osiris Rain, Ilya Repin, Giovanni Segantini, Valentin Serov, George Tooker, George Frederick Watts and Anders Zorn, and situates their work alongside more than 70 of Nerdrum's recent paintings. Alongside essays, poems and plays by the artist, Kitsch contains an extended dialogue on the topic between Nerdrum and Maria Kreyn.

It’s fun, it’s fanciful, it’s kitsch! Celebrate the art of cool imitation, fantastic escapism, and nostalgia for late 20th-century populist culture that lies at the heart of this lighthearted and contemporary design style. These 18 fabulous spaces are aimed at those who want to create a feeling of irreverence and fantasy in their homes while still maintaining a semblance of style and glamour—and the extraordinary and exuberant interiors include those of Zandra Rhodes in London and Pierre et Gilles in Paris. A riot of a book, packed with vivid colour, humor, extravagantly themed décor, and inventive low-budget ideas, Kitsch Deluxe is an essential read for devotees of the wacky, weird, and wonderful.

Vladimir Putin's image functions as a political talisman far outside of the borders of his own country. Studying material objects, fan fiction, and digital media, Putin Kitsch in America traces the satirical uses of Putin's public persona and how he stands as a foil for other world leaders. Uncovering a wide variety of material culture - satirical, scatological, even risqué - made possible by new print-on-demand technologies, Alison Rowley argues that the internet is crucial to the creation of contemporary Putin memorabilia. She explains that these items are evidence of young people's continued interest and participation in politics, even as some experts decry what they see as the opposite. The book addresses the ways in which explicit sexual references about government officials are used as everyday political commentary in the United States. The number of such references skyrocketed during the 2016 US presidential election campaign, and turning a critical eye to Putin kitsch suggests that the phenomenon will continue when Americans next return to the polls. An examination of how the Russian president's image circulates via memes, parodies, apps, and games, Putin Kitsch in America illustrates how technological change has shaped both the kinds of kitsch being produced and the nature of political engagement today.

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.

Reveals the hidden origins of kitsch in poetry from the eighteenth century. Taking its title from John Keats, My Silver Planet contends that the problem of elite poetry’s relation to popular culture bears the indelible mark of its turbulent incorporation of vernacular poetry—a legacy shaped by nostalgia, contempt, and fraudulence. Daniel Tiffany reactivates and fundamentally redefines the concept of kitsch, freeing it from modernist misapprehension and ridicule, by tracing its origin to poetry’s alienation from the emergent category of literature. Tiffany excavates the forgotten history of poetry’s relation to kitsch, beginning with the exuberant revival of archaic (and often spurious) ballads in Britain in the early eighteenth century. In these controversial events of poetic imposture, Tiffany identifies a submerged pact—in opposition to the bourgeois values of literature—between elite and vernacular poetries. Tiffany argues that the ballad revival—the earliest explicit formation of what we now call popular culture—sparked a perilous but seemingly irresistible flirtation (among elite audiences) with poetic forgery that endures today in the ambiguity of the kitsch artifact: Is it real or fake, art or kitsch? He goes on to trace the genealogy of kitsch in texts ranging from nursery rhymes and poetic melodrama to the lyric commodities of Baudelaire. He scrutinizes the fascist “paradise” inscribed in Ezra Pound’s Cantos as well as the avant-garde poetry of the New York School and its debt to pop and “plastic” art. By exposing and elaborating the historical poetics of kitsch, My Silver Planet transforms our sense of kitsch as a category of material culture.

From bottle gardens, the bachelor pad and Batman to designer gnomes and monogamy spray, this book uses a diverse range of objects to explore the changing significance of kitsch. With its unique approach to its subject, Kitsch! Cultural Politics and Taste promises to advance debates in cultural studies and sociology around taste, while providing an invaluable introduction for students and interested readers. Kitsch! examines how the idea of kitsch is mobilized – progressively, as bad taste, as camp and as cool – to inform notions of identity and sensibility. Where most studies proceed from the kitsch object, this book takes the moment of aesthetic judgment as its starting point and attempts to identify the ideological work performed by the category itself. The book poses the strongest challenge to those who argue that taste is democratized in contemporary culture, offering ample evidence that judgments of taste have shifted ground rather than relaxed.