The Work of Art in the Age of Mechanical Reproduction Essay
"The Piece of work of Art on the Age of Mechanical Reproduction" by Walter Benjamin was published in 1936, the inter war flow. "Having experienced Fascism and the fascist utilise of media in Frg" [from Media & Cultural Studies Keyworks ed. by Durham and Kellner] Benjamin speaks to the transformation of the Marxian superstructure which he observed "has taken more than a half century to manifest in all areas of culture the change in the conditions of production". Reflecting on the function of art in the 20th century, he explores a theory of art and the "useful conception of revolutionary demands in the politics of art." [Preface] Since first reading this essay fifteen years ago, I've always been struck past its prescience and continual resonance in the digital historic period, so please forgive the length of this provocation across the recommended 2-three paragraph blog mail.
Benjamin asserts that the work of art has always been reproducible, but is quick to indicate out that mechanical reproduction, i.e., Marxian Backer mechanistic reproduction, through photography and film, represents something new. Benjamin discusses the profound repercussions that reproduction of works of art through photography, and the 'fine art of the motion-picture show' have had on art in its traditional form. [Section I] Given this context, what are your thoughts on Benjamin'south argument that "even the virtually perfect reproduction of a piece of work of art is lacking in ane element: its presence in time and space, its unique existence at the place where information technology happens to exist," or in Benjamin-ian terms, its "aura". [Section 2] Benjamin farther clarifies and defines the term "aura" of the work of art as "that which withers in the age of mechanical reproduction". Do you agree or disagree?
For this provocation, I'll use an instance from art: does Leonardo da Vinci's Mona Lisa finish to be the Mona Lisa if nosotros remove her from the rooms in which Leonardo painted and her patron intended her or the Louvre where she has resided for many centuries and withal resides today? For instance, more specifically, an enlarged and interactive Mona Lisa is currently on display in the windows of mode conglomerate LVMH at 5th Ave. and 57th Street and she even winks. She is featured in a drove of luxury leather products designed past artist Jeff Koons entitled "MASTERS" that retails for approx. $585.00 – $four,000.00. Here's a recent photograph of the display:
Mona Lisa is likewise currently on display at my local mall via a jacket pattern:
Do you retrieve such reproduction erodes, or conversely, enhances the Benjamin-ian aura of this work of fine art?
Benjamin attributes social bases for the "contemporary decay of the aura" and that these "rest on two circumstances, both of which are related to the increasing significance of the masses in gimmicky life." [Section 3] What are your thoughts on this?
While the contemporary cult of the Mona Lisa carries on in our modern fashion earth today, Benjamin states that "originally, the contextual integration of art in tradition institute its expression in the cult" and he clarifies, "in other words, the unique value of the 'accurate' work of art has its footing in ritual, the location of its original employ value" and he proceeds with "an all-important insight: for the first time in world history, mechanical reproduction emancipates the piece of work of art from its parasitical dependence on ritual." Benjamin then points out a paradox that "to an ever greater degree the piece of work of fine art reproduced becomes the work of art designed for reproducibility." Cautioning, he qualifies this with: "But the instant that the benchmark of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of existence based on ritual, it begins to exist based on another practice – politics." [Department IV] Do you lot retrieve the mail-millennial function of art is one of ritual, politics or both? Tin can you cite examples of works of art to illustrate your point of view?
The Internet, and our utilise of it, are for us, in my opinion based upon Benjamin, the ultimate mechanical reproduction of art and exhibition infinite (another important concept to Benjamin). Interim equally the mass which "is a matrix from which all traditional beliefs toward works of art bug today in a new class" [Section XV] the Internet'south inherent mechanical reproduction is the ultimate emancipation of art, and I'd add, also its paradoxical enslavement of art to the new rituals of clicking, copying, pasting, scanning, uploading, downloading, swiping, posting, re-posting, tweeting, re-tweeting, liking, favorite-ing and deleting.
While it is easy for me to grasp the degradation of the Benjamin-ian aura in the work of fine art, because all 1 has to do is photocopy the Mona Lisa from an art book or copy it from a website and see the loss of resolution and aesthetic quality with each generation, one must ask rhetorically how Benjamin foresaw this without the benefit of Xerox, Photoshop, the World Wide Web, apps such as Instagram and filters. Do yous detect "The Piece of work of Art in the Historic period of Mechanical Reproduction" as forward thinking every bit I do? Does it hold upwards in the digital age?
I cannot overlook that this provocation is assigned and intended for the readings for our Sept. eleven class, and it brings to mind some remarks fabricated past the writer of "Prozac Nation" Elizabeth Wurtzel. They struck me then and still do now, equally reminiscent of the Epilogue in which Benjamin theorizes that state of war is the ultimate work of art. Wurtzel was asked about the events of Sept. 11, 2001 in February 2002 during an interview to promote her book More, Now, Again by the Toronto World and Mail in the context of her residency close to the World Merchandise Centre, and she commented equally follows: 'I had non the slightest emotional reaction. I idea, this is a really strange fine art project…it was a virtually amazing sight in terms of sheer elegance. It roughshod like water. It just slid, like a turtleneck going over someone'southward head.' (Her comments set off a shock wave and likely acquired her movie for "Prozac Nation" made by Miramax non to be released.) For me, these comments brought to mind words of Benjamin I take difficulty typing and relaying that "state of war is beautiful" and that "through gas warfare the aureola is abolished in a new manner." Writing in his fourth dimension and place, Benjamin quotes Fascism "Fiat ars – pereat mundus" (translation: let art exist created, though the globe perish) which was the Fascist spin on "l'fine art pour fifty'fine art" (art for art's sake) and concludes by conjecturing "state of war to supply the artistic gratification of a sense of perception that has been changed past technology." [Epilogue] Do you detect this to be the logical and probable mail service-Marxian evolution?
Related Video Clip: Does this video of LVMH'southward Titian window (detail from the painting of Mars, Venus and Cupid) decay its aura or enhance it?
Related Resource:
"Jeff Koons'southward New Line" by Vanessa Friedman, The New York Times, April 11, 2017
"The Louis Vuitton ten Jeff Koons Bags May Be My To the lowest degree Favorite Designer Collab Ever" past Amanda Mull on purseblog, April 13, 2017
"Release Me" by John Harris, The Guardian, July 17, 2004
"Mona Lisa & an Iguana on fifth" by Carolyn A. McDonough, on CultureArtMedia, September ane, 2017
Source: https://itpcore1fall2017.commons.gc.cuny.edu/2017/09/07/the-work-of-art-in-the-age-of-mechanical-reproduction-by-walter-benjamin/