His marketing strategies are targeted at lower class Americans. His works are not owned by the upper classes, which is notable for any product but especially art which always purports to be noble (and Kinkade more than most artists wants to be perceived as high-minded).
it’s not Art; on the spectrum of art, it falls squarely in the “decoration” camp. There’s no deeper meaning, no depth, it’s simply trying to be a pretty picture
It’s considered bad taste because it marks you as someone who isn’t familiar with much art, or hasn’t thought much about it. If you’ve seen a lot of art, spent time paying attention to it, or compared pieces, styles and movements, you will probably find Kinkade very dull.
“he sucks, he’s bad, if you like him you’re an Ump-Tray Upporter-Say, etc”
Perhaps Kinkade’s work is so obviously bad that it’s not even worth analysing. It’d be like trying to quantify why a cockroach is so repulsive. Art is about instinctive, unlearned responses, after all. There’s little need to “analyze” art when the response is the aesthetic equivalent of a white phosphorous explosion.
But refusing to analyze things can lead to blind spots – it’s still interesting to consider what makes a cockroach more disgusting than, say, a woodlouse or a mouth. And it’s interesting to consider why Kinkade’s art is uniquely bad, when other similar art isn’t.
With respect to Gandalf, it’s time to break apart the Painter of Light.
1) Kinkade’s art communicates nothing
Art is defined as an artist’s attempt to create meaning in the mind of the audience. What’s meant by “artist” (and “meaning” and “audience”) is up for grabs. But there always has to be some element of communication. Art is the bridge for the artist’s ideas.
This is what separates artwork from wallpaper. It’s also why I have reservations calling the work of Dalle-2 “art”, even though it might look like it.
The triumh of the modernist movement was to understand that art is also an interpretive process. A work of art can be understood differently by different people, and the meaning might change depending (: the meaning can va).
But by the same token, it’s not totally up for grabs. But there has to be something. Art exists to say things. Just as language exists to say things.
Kinkade’s paintings say “goo goo ga ga”.
They’re bland collisions of soggy, overly sentimental imagery and branded Disney characters. The aesthetic impact they have (for me, sickened), seems almost accidental: Kinkade seems to have painted each one with dispassion bordering on contempt, working down a checklist of “nostalgic” signifiers.
2) He doesn’t understand that less is more
Do you like beer? Enjoy a cold brew over dinner, perhaps?
Well, Thomas Kinkade just threw you into an enormous 5000 gallon vat of beer. Salud!
Any chance his paintings have of creating a nice mood is spoiled by the fact that he does it to excess. When looking at Kinkade’s paintings, you get the feeling that you’re looking at a fighting game where the “Cute” and “Whimsy” sliders are stuck on maximum. This is the essence of kitsch. Sometimes this creates a ludicrous effect: with elements of the paintings not even seeming to exist in the same world. For example:
It’s the middle of the day. But every window is aglow with firelight, as would only happen at night. And who would build a cottage on low ground right next to a stream? Streams flood. After a week of heavy rain, the water would be up to the wainscoting. These are little things that shatter the impression of a unified world.
3) Almost all interesting art grapples with ugliness in some way
I don’t mean it has to be about or predominently feature ugliness. But Kinkade’s paintings deliberately do not feature it at all. As per his instructions:
The concept of beauty. I get rid of the “ugly parts” in my paintings. It would be nice to utilize this concept as much as possible. Favor shots that feature older buildings, ramshackle, careworn structures and vehicles, and a general sense of homespun simplicity and reliance on beautiful settings.
The image above shows off this philosophy in action.
He wants firelit windows…but doesn’t want a night scene. Because night is scary and forbidding. Very few Kinkade paintings depict night, and the ones that do normally turn it into a ghoulish purple-pink twilight that resembles a scene from an alien planet.
Here’s another one:
Another Kinkade signature move is branded Disney characters. Here he tries to capture the entire story of Bambi on one frame, and produces an overstuffed exercise in claustrophobia. Aren’t there sad and scary parts in Bambi’s tale? Not according to Kinkade.
There’s an essential phonyness to Kinkade’s work that shines through even when he adapts Disney. His work is too idealized to be realistic, yet too enslaved to familiarity and folksiness to succeed as a work of imagination or fantasy.
3) He was not what he appeared to be.
Kinkade was a self-promoter and an entrepeneur: being a painter was incidental.
Yes, he worked hard on his paintings. Not because they had value in themselves (even as investment assets, many people who were suckered into buying them found themselves holding unsellable and unvaluable paintings), but because they were his brand, his business.
“Putting Thomas Kinkade in an art-historical context is like trying to put Jack Chick in the context of the illustrated comic strip,” – Peter Frank. A striking comparison.
Technically, Jack Chick is among the most successful comics creator of the 21st century. But it doesn’t seem right to describe him as a comics artist. He was a religious evangelist: the comics were a means to an end. Likewise, Kinkade’s pose as a “painter of light” is a cheap mask over the kind of hyper-aggressive Type-A personality cluster you see in Wolf of Wall Street and Glengarry Glen Ross. The type and tries to “close” three grannies before lunchtime.
His skilled technique makes it worse, in a way. If his art was dashed-off rubbish by an amateur, its lack of quality would be understandable. Instead, Kinkade worked hard to make his paintings suck.
His business-focused approach was unusual among artists. First, he identified a need in the market. Cosy, nostalgic imagery. Then he “iterated over a cycle”, in business speak, eventually achieving product market fit. He made himself tens of millions of dollars selling fairly worthless art.
Artists do not normally trademark names for themselves. Nor do they mass-produce their own work. Kinkade was incredibly succcessful, in the sense of making money. He was also so bad that his paintings almost have secret lives as depictions of folkcore dystopias. (This page describes Kinkade as the “Painter of Shite”, which is so banal and obvious that it might be the Thomas Kinkade of insults.)
There was a mass shooting in Buffalo, NY. Ten dead.... | News | Coagulopath
There was a mass shooting in Buffalo, NY. Ten dead.
This is a bigger deal than the ~60 murders that happen in Buffalo every year because of the shooter’s beliefs, which were rather naughty. He belonged to the far right. He believed in something called “The Great Replacement”. The FBI is conducting forensic analysis of his keyboard to see if he ever typed offensive hate-slogans like “subscribe to Pewdiepie”, but sadly he probably did.
Social media is effervescing with the usual mixture of anger, sorrow, sloganeering, conspiracies, and bizarre object-level claims about reality. In particular, people seem fascinated with the idea that the media ignores right wing terrorism; or that it calls terrorists “lone wolves” if they’re white.
Look at the breezy confidence of these tweets. They’re not saying the media might call him a lone wolf. They’re saying it will. That it has.
Is this true? I’m going to cheat by actually looking at what the media’s saying.
Zero out of ten describe the attacker as a “lone wolf”.
Ten out of ten connect him to right wing causes, or quote officials who have done the same.
In fact, Googling “Buffalo + ‘lone wolf'” serves no relevant results, just people handwringing about how everyone is calling the shooter a lone wolf.
This is the epitome of “making up a guy to get mad at”. Nobody is doing this thing. Nobody at all. “The sooner we can dispense of this absolutely ridiculous descriptor, the better.” We can’t “dispense” of a descriptor that nobody’s using.
Twitter almost feels like a window into an alternate universe at this point. These people live in a world where every newspaper headline and news station chyron is referring to the shooter as a “lone wolf”. So why are their messages appearing in my world, where the most casual investigation shows this to be false? Quantum entanglement anomaly? I wish these visitors from Dimension X would specify whether their tweets relate to their home planet or to the world that I live in, similar to how Marvel Comics distinguishes between Earth-616 and Earth-1610 timelines. It would be less confusing.
“Lone wolf” means something relatively specific: a terrorist that plans and executes an attack alone. It doesn’t mean “the shooter is unmotivated by ideology” or “the shooter has no political views”. No semantic boundary exists between “lone wolf” and “terrorist” and “white supremacist”. You can be all of those things at once. It’s less a question of “what did you do?” or “why did you do it?” and more a question of “who did you do it for?”
Did you blow up a migrant hostel with two tons of ANFO because you’re nuts? Then you’re a lone wolf. Did you do it on the orders of Combat 18? Then you’re part of a terrorist group. But there’s a huge fuzzy area in between, where blame becomes hard to assign. What counts as a terrorist group? What counts as acting alone? What counts as being nuts? We end up asking existential questions about the nature of free will and causality.
Yes, the killer was influenced by 4chan’s /pol/ board. Is the board causally responsible for the terrorist attack (in the sense that if moot hadn’t renewed 4chan’s domain name in 2004, ten people in Buffalo would now be alive?) Possibly. But that’s not the same as moral responsibility. It’s also possible that Payton Gendry was a psychologically broken person, and that without /pol/ he would have fallen down some other rabbit hole (or would have encountered the same reading material elsewhere, and would have been radicalized the same way). We can’t conduct a scientific a/b test involving two Payton Gendrons, one exposed to /pol/ and one that wasn’t. We’ll never know. Calling/pol/ a terrorist network feels very tenuous, in the same way as calling William Powell a “terrorist leader” because someone copied a bomb recipe from The Anarchist Cookbook.
A lot of people want to use the shooter’s ideological stance as a weapon against mainstream conservatism. If you’ve spoken critically about immigration, you’re promoting “Great Replacement” conspiracy theories, and a direct causal line can be drawn from you to the killer.
I don’t blame her for the headline, which she didn’t write. I blame her for the stuff after the headline, though, which she did.
The argument seems to be “Tucker Carlson is worried about birth rates declining, and the killer is worried about birth rates declining, so let’s draw a causal link between Tucker Carlson and the killer, based off no evidence. Don’t question it. They’re both on the same side.”
But there’s no sign that the killer was a Tucker Carlson fan, or had anything but contempt for the Republican Party. He cites NZ shooter Brenton Tarrant as an influence. From his manifesto: Which is being scrubbed from the internet, in the name of “not spreading the killer’s views”. This has the side effect that any idiot can claim Payton Gendry said something, and … Continue reading
On p157, he says “conservatism is dead. Thank god. Now let us bury it and move on to something of worth.” On p31, he includes an antisemitic collage of Fox News hosts, each with a Star of David over their faces. The implication appears to be “Fox News is run by Jewish globalists”. Was he really inspired an avid Tucker Carlson fan?
The fact that he and Carlson may have agreed on some points is neither here nor there. This man – insofar as he has a firm political outlook – is probably an eco-fascist, as Tarrant was. I doubt Tucker Carlson has ever endorsed such a viewpoint on his show or even knows what it is.
Your political opponents are not all secretly the same. This must be the most prevalent fallacy in politics. I used to see it on boards like Free Republic, where you’d hear about how Obama was going to rally his army of Islamic terrorists and Godless atheists and Marxist college grads and Hispanic anchor babies and devil-worshipping Satanists to overthrow America. They seemed to believe that all of these (vastly different) people were all working on the same team.
This isn’t how it works. Conservatism isn’t a monolithic hivemind any more than liberalism is, but Lavin has no interest in that kind of nuance. To her, life is a chessboard. There’s her side, then there’s the enemy side. All conservatives are secretly working from the same playbook.
It’s an awful piece, full of emotive verbiage and factual mistakes (Alito did not coin the phrase “domestic supply of infants”, he quoted it from a 2008 CDC report about adoption). Also, it’s written like shit. Aren’t journalists supposed to be eloquent?
“The Republican Party’s embrace of nativism has been more of a full-on dash than a slow slide, and it has been catalyzed by the vast constellation of right-wing media.”
Can an “embrace” be a “full-on dash” which is “catalyzed” by a “constellation”? This sentence has five metaphors and four make no sense with any of the others.
“Far from ebbing as Trump has ceased to be the party’s sole center, however, the tide of white animus has become even more central to a new crop of Congresspeople and candidates.”
How does a “tide of white animus” become “even more central” to a “crop”? What’s a “sole center”? Is there any other kind?
But hey, I’m glad to have Ms Lavin writing this stuff, if it leaves her too busy to pursue her side hustle as an internet Nazi hunter.
Which is being scrubbed from the internet, in the name of “not spreading the killer’s views”. This has the side effect that any idiot can claim Payton Gendry said something, and nobody can effectively disprove or debunk it.
Why is it being hidden from the world like weapons-grade plutonium? It’s not scary or interesting. It’s a profoundly nerdy document, proving something that’s already been proven to Valhalla and back: mass shooters are not cool. The part where he cites the white birthrate to two decimal places has a Leeroy Jenkins energy. “I’m getting a 32.33 percentage, repeating of course, chance of survival!”
In movies and shows from the 50s/60s, the standard handwavium explanation for how the superhero got his powers was “nuclear radiation”. Around 2000, it became “genetic engineering”. But in the 80s and 90s, it was “vat of toxic waste.”
As a kid, I kind of assumed that there were barrels of green goo lying around all over the place, and that if I fell into one my life would radically change. I probably wasn’t wrong.
The “green goo” trope is found everywhere, from The Killing Joke to The Toxic Avenger to CHUD. It even worked its way to children’s shows like Teenage Mutant Ninja Turtles and The Secret Life of Alex Mack. Pick three random Goosebumps titles: at least one will have green goo on the cover. Nickelodeon game shows traditionally ended with the loser getting “slimed”. The most cliche’d videogame baddie – facing stiff competition from the Spider(tm), the Bat(tm), and the Skeleton(tm) – was the Sentient Pile of Green Slime(c)(tm)(r).
Usually we weren’t told what the green goo actually was. Medical waste? Phlegm? Minced-up Dubliners? The true answer was always “a barrel full of glowing green Plot Device”, and attempts to be more specific always backfired. Andy Sidaris’s 1987 shlockfest Hard Ticket to Hawaii involved a snake “infected with deadly toxins from cancer-infested rats.” That’s a real line from the movie.
In truth, if you see a barrel of green chemical waste, it’s probably hexavalent chromium.
Also, you now have cancer.
Hexavalent chromium is one of the worst substances on Earth. It’s toxic and carcinogenic in almost any quantity, and through any route of absorption. You cannot drink it, breathe it, or get it on your skin. It causes blindness, asthma and cancer; ulcerates mucus membranes and skin; and damages germline DNA, so have fun reproducing.
A common gag in cartoons is that the supervillain throws the hero into a laughably overkill deathtrap (like a lake of boiling lava filled with spikes and flame-retardant sharks). Hexavalent chromium is the chemical version of that deathtrap: no matter how dead you are, you are still not dead enough for chromium-6.
Swallowing it, through handling food when you have chromium dust on your hands
Single exposure to hexavalent chromium compounds can cause:
irritation and inflammation of the nose and upper respiratory tract if such compounds are in the air;
irritation of the skin with skin contact – and for chromic acid, burns to the skin, possibly leading to ulcers;
eye damage from splashes.
Repeated exposure to hexavalent chromium compounds can cause:
damage to the nose, including ulcers and holes in the flap of tissue separating the nostrils (the nasal septum);
inflammation of the lungs;
allergic reactions in the skin and respiratory tract;
cancer of the lung;
based on experimental data, concerns about potential effects on reproduction, in both male fertility and the development of unborn babies.
I don’t recommend bathing in hexavalent chromium. Consider using one of the many other fine elements on the periodic table instead (like lead or mercury). The HSE fact sheet doesn’t say whether you can boof hexavalent chromium, but that’s likely a bad idea too.
Chemically, it’s chromium in a highly oxidized +6 valence state. Its highly reactive nature makes it helpful for certain industrial applications, such as electroplating, anodising, and dye production. It can be alloyed with steel to increase its hardness. Mixed with sulphuric acid, it’s a powerful cleansing agent, but disposal of hexavalent chromium is so difficult that it’s typically not used for this purpose.
The aerospace sector is a big consumer of the stuff, proving the truth of the aviator’s aphorism: “if it’s good for the airplane, it’s bad for you.” Aluminium by nature corrodes easily, and hexavalent chromium (in conversion coatings and primers) is known as a “sacrificial anode” – essentially, a super-reactive skin that oxidises instead of the aluminium underneath. However, increasing regulations mean that “chrome-free paint” is now something of a selling point.
Everywhere in every industry, hexavalent chromium is being phased out wherever an even slightly viable alternative exists. It used to be far bigger. Tens of thousands of tons of it were manufactured per year in the 80s, and fortunately, many of those tons were disposed of correctly and legally. When they aren’t, things start to read like a Simpsons episode.
JERSEY CITY, N.J. — — Alberta Tillman stepped into her basement one day last November and discovered 1 1/2 feet of water. She flicked on the light and noticed that the water practically glowed a fluorescent yellow-green. Like many residents of this gritty industrial town across the Hudson River from New York City, Tillman learned only recently that, for more than four decades, she, her husband and their neighbors have been living next door to, down the street from or, in some cases, on top of toxic chromium waste.
“We called them chemical mountains,” said Thomas Burke, a Jersey City native and deputy commissioner of the state’s department of health. “I remember as a kid playing on them and jumping on them.” Companies discovered that they could dispose of the chromium slag by using it as landfill and in building foundations. The city and state did not object because chromium residue cost nothing, and state officials marveled at how it killed troublesome rodents.
Infectious, deadly toxins from chromium-infested rats.
Hexavalent chromium was the waste at issue in the famous Erin Brockovich case. Due to its extreme horribleness, chromium-6 leaks are associated with immense fines, and corporate decisionmakerrs going to prison. I have a new goal in life, by the way: to not ever be described as the “‘green ooze’ company chief” in a news article.
Incidentally, hexavalent chromium is not really green. It forms compounds that range in hue from lemon-yellow to orange to dark red. When waste is a dramatic neon green color, it usually means that the EPA is tracing a leak.
As a plot device, the green ooze is like radiation and genetic editing: lazy shorthand that says something about our cultural anxieties. But with the reality of hexavalent chromium,
Those Nickelodeon “sliming” shoes always seemed pretty unfair. But believe me. Believe me, you would richly deserve social ostracism. That stuff just isn’t it.