The first time I saw an HDR photograph was a few years ago when I happened upon some while searching for images of hydroelectric plants on Flickr. I had not seen anything quite like them before: there was a "hyper-real" quality to the images. The colors sang loudly, the contrast was bold, it looked tack sharp and there was detail everywhere. What a visual feast!
I had a similar experience the second time I saw an HDR photo. By the hundredth time, however, I was once again back at the Christmas chocolate orgy, stained and stuffed, and suddenly making a mad dash for the toilet. While there are fine examples of HDR photographs just like there are fine chocolates, the bad stuff is just so omnipresent and glaring.
To back up for a moment, the goal of HDR is to allow an image with a large dynamic range (difference between the darkest part and the brightest part) to exceed the usual limitations a camera has with such scenes and more closely approximate the way the eye sees them, thereby eliminating the blown highlights and burnt shadows in a photo of a scene where the eye could clearly discern these. The technique is normally accomplished by taking several photos (tripod recommended) at different exposures, and then using software to merge them together. As long as the technique is used in moderation by a photographer with a good eye, these can be incredibly effective. Google it if you want to learn more.
Technique and its misuse for artistic purposes is an old and broad subject. To keep close to the current topic one need only think about the misuse of lens tilt by artists like Olivo Barbieri to create images of fake miniatures, which has become quite a photographic fad - even inspiring products such as the Lensbaby. Unlike the fake miniature phenomenon, which began with the critical agenda of artists and later became the cool trick for anyone with an expensive lens or knowledge of photoshop, the HDR phenomenon seems largely to have come out of a popular aesthetic. To my knowledge no artists are critically engaged with it to create, for instance, that marriage of Thomas Kinkade and industrial decay. Instead the cool picture dominates the scene, and while some of the pictures are indeed pretty cool, they would be way cooler (and much richer) if they had some critical depth. Until this happens we are stuck with gorging ourselves on gritty sickly sweet pictures, and periodically sprinting for the bathroom.