edited by Alexis L. Boylan contributions by David Morgan, Micki McElya, Seth Feman and Karal Ann Marling
Duke University Press, 2011 Cloth: 978-0-8223-4839-9 | Paper: 978-0-8223-4852-8 | eISBN: 978-0-8223-9339-9
ABOUT THIS BOOK | AUTHOR BIOGRAPHY | REVIEWS | REQUEST ACCESSIBLE FILE
ABOUT THIS BOOK
Often featuring lighthouses, bridges, or quaint country homes, Thomas Kinkade’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 Kinkade’s imagery and career in relation to nineteenth-century Currier and Ives prints and Andres Serrano’s Piss Christ, the collectibles market and the fine-art market, the Thomas Kinkade Museum and Cultural Center, and “The Village at Hiddenbrooke,” a California housing development inspired by Kinkade’s paintings. The conceptual artist Jeffrey Vallance, the curator of the first major museum exhibition of Kinkade’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 Kinkade’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
Alexis L. Boylan is Assistant Professor in Residence in the Art and Art History Department and Women’s Studies Program at the University of Connecticut.
“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.”—James Elkins, author of On the Strange Place of Religion in Contemporary Art
“This excellent anthology is a significant contribution to scholarship at the interstices of art practice, art theory, and popular culture. It is an erudite book that brings together diverse approaches to Thomas Kinkade’s work and ‘culture,’ yet maintains a surprisingly even quality of thought and writing.”—Maria Elena Buszek, author of Pin-Up Grrrls: Feminism, Sexuality, Popular Culture
-- Michael Clapper AHAA Reviews
-- Joachim Pissarro and David Carrier Artforum
-- Judith R. Halasz Visual Studies
-- E. K. Mix Choice
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