The essays gathered in The Great Kitschification are an aesthetic diagnosis, surgically precise and intellectually generous, of true art versus the simulation of art called kitsch.
Suzanne Visser ties together the sensibilities of artists who could never be mistaken for kitsch to extract from their work something elemental: the stubborn trace of a human at risk.
They are the ground of Suzanne's claim: that art is not reducible to output, but emerges from a condition of attention no machine can replicate.
Visser shows how easily an aesthetic of abundance-instant variation, infinite remix-can flood the eye while starving the soul. What is lost, she argues, is not originality per se, but orientation: the slow attunement that links gesture to meaning and maker to world.
These essays invite, with uncommon clarity, a form of looking that resists the quick reward. The defense of authenticity here is not moralistic. It is procedural. Visser asks: How was this made? By whom? Under what constraints? These questions are not barriers to appreciation, but its preconditions.
Why does this matter now? Because we stand at a moment when the apparatus of imitation is accelerating faster than our ability to discern what is being lost. Visser's book argues for human specificity. For the value of friction. For the slowness of bodies and hands, and the imperfect echo of memory in material. What is offered here is not a doctrine, but a form of resistance-not anti-AI, but pro-art.
Suzanne Visser (1957), a legal scholar, began her writing career in the Netherlands. She was published by several reputable publishing houses, including Atlas, Leopold, and Bert Bakker. Her novel De Vismoorden; The Fish Murders, was translated into French, German, and Spanish. Clear Mind Press has now published this successful book in English. Jonathan Smith did the translation. Visser has lived in Central Australia since 2000. She now writes in English. Visser is a versatile and productive writer of fiction and non-fiction.
