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| An essay on art and kitsch presents the events of art history that have lead to the current concept of art. It also introduces the alternative kitsch philosophy presented by Odd Nerdrum as a solution to restore the respect of traditional art and skill. |
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The mechanism of art has made this much clear; if you admire the Old Masters, refine your technique, and paint sentimental kitsch, you have taken the proverbial pistol of art, put it to your temple, and pulled the trigger.
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Figurative Kitch Paintings by Aleksander Balos
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Let me begin by first asking you: What’s your definition of Passion?
Setting values and individual interpretations aside, it’s really just a word right? Synonymous with other words like fervour, ardour and enthusiasm. But surely there’s something more to it than just those seven letters stuck together isn’t there?
It is what it represents and how it manifests that interest me. But more than so, it drives me and defines me the as the man I am, and the painter I try very hard to become.
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In my home country, there is no acknowledgement of kitsch painting. Most of the Swedish critics prefer art. Transparent ambiguous concepts are commonly accepted, as opposed to the sincerity and timeless themes of kitsch. Why is this? Why is there a stigma against kitsch?
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By Shane Young
Whatever belief someone has in the essence of an individual - whether it is a soul, spirit or a result of consciousness- there is no doubt, it is something that science nor religion has been able to pinpoint. I see the tripartite concept as important. Religion translates it to us as Father, Son and Holy Spirit and it is this concept that God used in creating Man into Mind, Body and Soul. Science deals more with the bipartite concept of mind and body and deals with the soul from more or a less a nerouscience perspective. A result of consciousness.
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The belief that the public holds some sort of quasi-rights to works of art is commonly held. The artist is supposed to produce with the "common good" in mind. As this relates to kitsch, I see this true only in the realm of what I will term "cognitive accessibility." The practice of the rights of a particular work being adopted by a collective of the same race, nationality or philosophical tendency as the creator, is in essence, theft. That is unless of course the creator gives up his/her rights to a work explicitly. What I mean by "cognitive accessibility" is that the public should be able to understand a work but this does not translate into any form of tangible ownership. By addressing the needs of individuals, the kitsch work does not serve the public, kitsch in turn serves the individual.
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Essay written by Hanna Cecilie Skurdal. WorldWideKitsch´s official sociologist and kitsch-philosopher.
Skurdal is the woman behind  www.kitschforum.com and has written many essays about kitsch, art and Ayn Rand.
This essay is also an example of what kind of discussions you can find in the Free Word.
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By Jan-Ove Tuv,
Norwegian Kitsch painter.
Today, Art has an iron grip on the world comparable to that of Communism in Eastern Europe at the beginning of Ronald Reagan`s presidency. No wonder there were surprised faces, even in the USA, when he declared his “Star Wars" program and started referring to the Soviet Union as “the empire of Evil". But he managed to bring this system to its knees, a system in which Communism had full control and therefore posed a threat to other cultures. Thus, international socialism fell, 44 years after the fall of national socialism. However, we are still supressed by Art – the third and most aggressively imperialistic child of Hegel. How shall we get rid of this last evil?
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By Boris Koller.
Kitsch painter from Austria.
Born in a country that has gone through Roman occupation, Christianisation, reformation, counter-reformation, empire, Austro-fascism, National Socialism, allied occupartion and now almost 10 years of EU membership, one is likely to develop allergies against totalitarian structures at an early age. From this point of view I consider the abolishment of Art a laudable task. It even proves to be relatively easy even if it has to be done quickly.
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By Shane Young.
The giants of past and present in painting, made great strides with the self in mind. They took what was inside themselves, their dreams, hopes, ambitions and made them real. Showing, what man is and can be. These accomplishments however, woke those that slumber in themselves, day to day, wishing, wanting.... wanting to be. But it ends there, with want.
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by Shane Edward Semler,
American Painter (digital and analog)
The great pinup painter Alberto Vargas was once quoted as saying, "It's all done by hand. There's no airbrush here. There are some artists who work with the airbrush, but that's not you, that's the machine doing it for you." With all due respect to the late Mr. Vargas, if you use that logic you may as well say if you are not finger-painting, then you are not really painting, the brush is doing it for you. We can carry that logic to every aspect of painting, drawing, sculpture or any craft. Your brushes are a technological innovation, otherwise you'd have to get by with your fingers. The canvas you paint on, it is woven together by a machine. The cotton or linen fibers that make up the threads are processed and refined by machines. Even if you make your own paints and grind the pigments yourself, you are still using tools (i.e. technology) to do it, unless you're grinding the minerals with your teeth. The sculptor does not bang the wood or stone with his bare fists, he uses a chisel and hammer. And the potter's wheel is, of course, more technology. I think it is obvious, the logic that technology is inherently negative is flawed.
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