text: Kitsch Commodification vis-à-vis Poverty in Photography
  Updated: Jun 7
  by Alyssa Iresare | August 2023
  Fig. 1. Use Your Illusion by Alyssa Iresare
  Imagine finding yourself at a crossroads: having entered a prestigious photography competition with the potential to win up to PHP 100,000, you strategically choose to focus on a subject that has consistently captured global attention— impoverished individuals. As your portrayal of these unwitting subjects secures you the competition's top prize, you are now confronted with an ethical conundrum. Undoubtedly, your work shines a spotlight on an enduring issue—people living on the brink of the economy. Through your depiction of their struggles, you effectively raise awareness among viewers who might otherwise remain detached from such harsh realities. This turns your photographs into a tool for social consciousness, encouraging introspection into the profound inequalities that permeate society.
  The ethical dilemma surfaces from the stark contrast between your artistic success and the actual lives of those you have depicted. Despite the cash prize and recognition you've gained, you have yet to take concrete steps to alleviate the circumstances of the individuals whose images propelled you to victory. This incongruity raises a fundamental question about the integrity of your artistic endeavor. Does your lack of action, even though it highlights the destitution endured by these people, diminish the merit of your work? This, in turn, prompts the question of whether your actions can be justified solely based on the awareness they have generated. Furthermore, it raises the issue of whether you bear an obligation to contribute to the betterment of the lives your art has captured. Regardless of your intentions, one fact remains evident: you have benefited from the misfortunes of others, while their lives haven't experienced the same transformative effect as your career and portfolio.
  The Problem with Kitsch
  (/kɪtʃ/ KITCH; loanword from German)
  Combining the definitions from the Merriam-Webster dictionary and Roger, kitsch signifies the production of art that is characterized by its excessive sentimentality, melodrama, and superficiality. This aesthetic, often regarded with skepticism by the highbrow artistic establishment, revels in the overtly emotive and commercially appealing. Kitsch operates within a realm of mass production and consumerism, invoking a superficial emotional response, often at the cost of intellectual depth.
  The scenario described in the previous paragraphs brings to light a profound interplay between an artist's intentions and the ensuing consequences (Price 21). This dynamic becomes especially complex when artistic expression delves into the depiction of real-world suffering. In our contemporary digital era, where images inundate our lives, visual representations wield an extraordinary influence over how society perceives and responds to different issues (Viray et al 137).
  It's worth acknowledging that many argue that kitsch isn't inherently negative, a perspective that emerged with the ascent of pop art and modern art movements. Kitsch can capture the essence of popular culture, appealing to a broader audience and evoking immediate emotional responses. However, amidst this discussion, it's essential to recognize that the portrayal of poverty, while achieving a wider reach among the general public, is susceptible to veering into the territory of exploitation (Hutnyk 80). Broch, a prominent modernist writer, distills kitsch as an essence of imitation—unconcerned with ethical considerations, it seeks to replicate the aesthetically pleasing without regard for moral rectitude. In contrast to art, Walter Benjamin suggests that kitsch is utilitarian and lacks the critical distance that should exist between the object and the observer. Benjamin argues that kitsch provides instant emotional gratification, sidestepping the need for intellectual engagement, distance, or sublimation.
  In essence, the complex synergy between kitsch and the portrayal of poverty signifies a multifaceted dialectic. On one hand, kitsch has the potential to make art accessible and relatable to a larger audience, democratizing aesthetics. On the other hand, it can inadvertently transform serious issues, like poverty, into mere commodities for mass consumption (Horkheimer & Adorno 107). This creates a tension between art's role in sparking meaningful conversations and its potential to undermine the gravity of certain subjects (Horkheimer & Adorno 125). Furthermore, the amalgamation of poverty and kitsch generates an ethical quandary. As artists leverage kitsch to convey the gravity of societal challenges, they risk trivializing these very issues. The commercial appeal of kitsch might inadvertently eclipse the true depth of suffering experienced by marginalized communities, thus diluting the message and inadvertently perpetuating stereotypes.
  Scruton on the other hand, argued that kitsch imitates art intending to evoke counterfeit emotions, deceiving consumers into believing they are experiencing profound and authentic sentiments. In Tomáš Kulka's work "Kitsch and Art," two fundamental facts are put forth: kitsch undeniably holds mass appeal while being scorned by the art-educated elite (13). Kulka (46) further outlines three essential conditions for kitsch: it portrays subjects of beauty or intense emotional charge, these subjects are immediately and effortlessly recognizable, and finally, kitsch fails to substantially enrich the viewer's associations linked to the depicted subject. Ultimately, the allure of kitsch transcends the observed object, focusing more on the psychology of the observer than the observed.
  The central issue, therefore, lies in striking a balance between the accessibility and broad appeal of kitsch and the need for ethical and meaningful representation, particularly in the context of sensitive subjects such as poverty. Achieving this balance necessitates a conscientious approach on the artist's part, where artistic expression is grounded in a deep understanding of the issues at hand. Moreover, it requires audiences to engage critically with the art they encounter, delving beyond the surface appeal to comprehend the layers of meaning.
  Inadvertently, this global fixation led to a skewed perspective, wherein genuine empathy is diluted by the allure of aesthetics. This detachment from the reality of poverty sustains stereotypes, doing a disservice to the subjects and contributing to their continued marginalization. Moreover, this fixation perpetuates a cycle of exploitation, as photographers and artists profit from their portrayals of poverty, while the subjects remain trapped in their destitution.
  In all honesty, it's essential to recognize that a majority of photographs possess a certain predatory quality, encapsulating a necessary façade of assistance that's molded and manipulated to cater to individual agendas (Hutnyk 81). As we peer through the lens, we aim to shed light on the obscured facets of reality. Yet, the saying that a picture conveys a thousand words falls short of capturing the complete essence. A single frame, after all, captures merely a solitary perspective, which in turn can either augment or diminish the context of the broader narrative. In our earnest attempt to share experiences within our online communities, there lingers an intrinsic element of self-gratification that warrants contemplation. Surprisingly, the benefits reaped by the subjects remain confined, and their circumstances undergo minimal alteration despite our genuine endeavors (Viray et al 142). Instead of being transformative, these photographic subjects often reappear as recurrent motifs, each time reimagined in different roles. Still, the underlying theme that binds them together remains consistent—that of exploitation.
  In the intricate world of artistic expression, photography stands out as a vivid example of the interplay between intention and impact. This dynamic is particularly evident in the portrayal of societal issues, where images of poverty can be transformed into commodified spectacles (Price 20). In today's digital age, poverty photographs often take on an unintended allure, drawing mass consumption. However, this popularity comes with a significant concern—the potential to dilute the true gravity of the subject matter (Hutnyk 81).
  The challenge before us is finding a way to harness the appeal of poverty photographs without sacrificing the authenticity of the message they carry. This responsibility rests not only with the creators behind the lens but also with the audience engaging with these images. It's a call to dig beneath the surface, to grasp the profound complexities that lie beneath. It's crucial to remember that art wields the power to shape perceptions, spark meaningful conversations, and challenge prevailing norms. Navigating this challenge requires us to blend the immediate impact of popular appeal with genuine understanding. By doing so, we can leverage photography as a tool to bridge gaps, evoke empathy, and give a potent voice to those whose stories often go unheard. In a world where visual imagery communicates a universal language, the onus of faithfully capturing reality is significant.
  As we move forward, let's commit ourselves to ethical representation, acknowledging the influential sway of our lens. Let's cultivate a genuine desire to create and appreciate art that drives positive change. With each step, let integrity steer our creativity, enlightenment guide our perception, and action steer the influence we bring. In doing so, we lay the foundation for a future where the balance between intention and impact harmonizes beautifully, inspiring empathy and genuine transformation.
  Benjamin, Walter. The Work of Art in the Age of Its Technological Reproducibility, and Other Writings on Media. 2008, https://doi.org/10.2307/j.ctv1nzfgns.
  Broch, Hermann. Geist and Zeitgeist: The Spirit in an Unspiritual Age. Counterpoint, 2002.
  “Definition of Kitsch.” Merriam-Webster Dictionary, 11 Aug. 2023, www.merriam-webster.com/dictionary/kitsch.
  Horkheimer, Max, and Theodor W. Adorno. Dialectic of Enlightenment: Philosophical Fragments. Stanford UP, 2002.
  Hutnyk, John. “Photogenic Poverty: Souvenirs and Infantilism.” Journal of Visual Culture, SAGE Publishing, Apr. 2004, https://doi.org/10.1177/1470412904042266.
  Kulka, Tomáš. Kitsch and Art. Pennsylvania State University Press, 1996.
  Price, Derrick. “Photographing The Poor and the Working Classes.” Framework: The Journal of Cinema and Media, no. 22/23, 1983, pp. 20–25. JSTOR, http://www.jstor.org/stable/44109885. Accessed 15 Aug. 2023.
  Scruton, Roger. The Aesthetic Understanding: Essays in the Philosophy of Art and Culture. Carthage Reprint, 1998.
  Viray, J.R., et al. “Visualizing Community: Images of Poverty in a Philippine Rural Community.” The Mabini Review, Volume IX, 2020.