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Thomas Kinkade: the Artist in the Mall #1965308 in eBooks 2011-03-01 2011-03-01File Name: B004Z1HQHK | File size: 42.Mb From Duke University Press Books DOC | *audiobook | ebooks | Download PDF | ePub [Download] Thomas Kinkade: The Artist in the Mall Thomas Kinkade: The Artist in the Mall From Duke University Press Books : Thomas Kinkade: The Artist in the Mall before purchasing it in order to gage whether or not it would be worth my time, and all praised Thomas Kinkade: The Artist in the Mall: 5 of 6 people found the following review helpful. Great Collection of EssaysBy B AllenThis book contains an excellent collection of essays that offer insight into not only Thomas Kinkade, but to the current state of the art world in general. The essays are not universally critical of the artist and tend to bring helpful conversations about art forward that consider the ideas of highbrow/lowbrow, popular/elite, art/kitsch, insider/outsider. Highly recommended, intriguing and also entertaining at times. "This one's for you Walt" -Kindade3 of 28 people found the following review helpful. ArtNews' Top 200 Collectors Will Feature This Trophy Art Next!By Peter P. FuchsYou need only the incredible phrase from one of the essays to get the Gestalt of this thing: "in attempting to locate thomas Kinkade in terms of artistic precedent.." What is left to know about this can be filled in by reading Jed Perl's great review of it from the New Republic. Meantime, I want to reflect on the state of serious scholarship in the humanities. It seems to consist in casting about for any new topic to dissect for the fun of it, and not for any serious purpose, and in this mere turning of the soil, for no purpose, it brings to mind the mere garden hoe. In more ways than one. I fully expect that soon ArtNews will feature one of its 200 Top Collectors who has purchased one of Kinkade's masterpieces. The savvy collector will have this to say when asked "What is your collecting approach".....""I buy on instinct and my instinct tells me that a picture of an elfin cottage speaks of our cultural anxiety, the golden dew drops are like our society's tears, and also it looks striking nest to my Richard Serra."7 of 31 people found the following review helpful. Art vs. "Wall Decor"By RANDY SIn my opinion, Mr. Kinkade falls squarely into the "wall decor" camp. For some reason, most people can't abide unadorned interior spaces. Consequently, there are millions of painters generating mountains of images designed to match the drapes and sofas for those people who feel an empty wall is somehow cheap and tacky. As long as one of these painters meets or exceeds the minimum set of 'artistic' requirements as perceived by their audience, then whatever success and popularity they enjoy is a result of marketing. Kinkade's biggest business strategy by far has been exploiting Christians --niche marketing at it's finest.The irony is that Kinkade's work created during the 1980's was much more subtle, more skilled and less garish than what followed once the publicly traded marketing machine went into overdrive. His early plein air paintings are no better or worse than what one might see in a lot of museums. But like most painters, Kinkade reached the proverbial "fork in the road" ..and he chose to sell his soul for fame among fools and a fast buck. And each new painting thereafter shows the effect of his chasing an audience instead of letting them find him. Each new work seemed created to pander to whatever sub-niche he had yet to exploit.Kinkade's popularity peaked some time ago and seems to be steadily contracting. He hasn't been an on-air vendor with the QVC shopping channel for years and only has a few token pieces on their website. During the years 1997 through 2005, court documents reportedly show "at least 350 independently owned Kincade franchises at peak. By May, 2005, that number had more than halved." Sites like eBay greatly undermined the much touted "investment" potential of his reproductions by demonstrating where the market for them really is. To be sure, only a tiny fraction of his collectors are likely to buy and read this or any other book on art or criticism.Kinkade will never likely be considered among the company of great artists even though he could probably buy and sell many of them. Often featuring lighthouses, bridges, or quaint country homes, Thomas Kinkadersquo;s soft-focus landscapes have permeated American visual culture during the past twenty years, appearing on everything from Bibles to bedsheets to credit cards. Kinkade sells his work through his shopping-mall galleries, QVC, the Internet, and Christian stores. He is quite possibly the most collected artist in the United States. While many art-world and academic critics have dismissed him as a passing fad or marketing phenomenon, the contributors to this collection do not. Instead, they explore his work and its impact on contemporary art as part of the broader history of American visual culture. They consider Kinkadersquo;s imagery and career in relation to nineteenth-century Currier and Ives prints and Andres Serranorsquo;s Piss Christ, the collectibles market and the fine-art market, the Thomas Kinkade Museum and Cultural Center, and ldquo;The Village at Hiddenbrooke,rdquo; a California housing development inspired by Kinkadersquo;s paintings. The conceptual artist Jeffrey Vallance, the curator of the first major museum exhibition of Kinkadersquo;s art and collectibles, recounts his experiences organizing that show. All of the contributors draw on art history, visual culture, and cultural studies as they seek to understand Kinkadersquo;s significance for both art and audiences. Along the way, they delve into questions about beauty, class, kitsch, religion, and taste in contemporary art.Contributors. Julia Alderson, Alexis L. Boylan , Anna Brzyski, Seth Feman, Monica Kjellman-Chapin, Micki McElya, Karal Ann Marling, David Morgan, Christopher Pearson, Andrea Wolk Rager, Jeffrey Vallance ldquo;At last, a thoughtful book on Thomas Kinkade. This is much more than a case of visual studies replacing art history with social and economic analyses: the contributors wrestle with value, quality, irony, self-reflexivity, aesthetics, taste, complexity, class, religion, nostalgia, and kitsch. Despite what several authors argue or hope, this excellent book implies Kinkade is very much a part of contemporary fine art: he troubles the discourses of art history, art theory, and visual studies in just the way an exemplary artist should.rdquo;mdash;James Elkins, author of On the Strange Place of Religion in Contemporary Art .
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