The Work of Art in the Age of Mechanical Reproduction
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Wolran Kim
January 2014
A work of art is an aesthetic physical item or artistic creation. The meaning and the method of delivery and appreciation for a work of art are widely changed today through the advancement of technology, such as the computer, Internet, photography, film, printing, etc. A work of art was created in connection between the artist, the work, and the appreciator before mechanical technology. But after technology, the secondary mediator of technology intervenes between the work of art and the artist, and between the artist and the public.
As a result, the classical artistic work and the way of appreciation are entirely different from the olden times. Walter Benjamin already foresaw this tendency in his essay, The Work of Art in the Age of Mechanical Reproduction, in 1935. He predicted that mechanical reproduction would change the domain of art, and philosophically analyzed the aesthetic value and the social impact of the public. His polemic discusses the emergence of new works of art and its significance through the development of photography and film. This artistic work in the age of technology also leads to the politicizing of art through Fascism and Communism.
According to Benjamin’s discussion, “In principle a work of art has always been reproducible. Man-made artifacts could always be imitated by men” (1235). Through the development of printing, photography, and film, they do not only reproduce, but they make a huge change in their impact upon the public. Even the perfect reproduction of a work of art has a lack of presence in time and space, and this unique existence of authenticity, aura, is destroyed in the process of mechanical reproduction.
“The technique of reproduction detaches the reproduced object from the domain of tradition” (1236). This destruction of the aura also makes progress a work of art. The technology of photography and film led to the popularization and democratization of art by transferring vested rights of a small number to the public value of exhibition. “An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight” (1237). As an example in a photographic negative, the meaning of “authentic” print disappears, and the total function of the art is reversed. The uniqueness of the original is lost in the age of reproduction and reproduction is laid out of the domain of the original.
“Mechanical reproduction of art changes the reaction of the masses toward art” (1237). The reactionary attitude between a Picasso painting and a Chaplin movie and between an epic poem and a movie are different, and these intimate fusions of visual and emotional enjoyment control each other in the public. The characteristics of the film represent the environment beyond the present through mechanical equipment. Focusing on hidden details in the film, such as close-ups, slow motion, and enlargements of snapshots, reveals entirely new structural formations of the subject. “Evidently a different nature opens itself to the camera than opens to the naked eye” (1239). Mass reproduction of artistic works is not only associated with the process of mass production, it is also related to the public and their attitude.
Benjamin also discusses the public attitude toward mechanical reproduction becoming a basis and foundation of politicizing art. Every work of art has political propensity. “Fascism sees its salvation in giving these masses not their right, but instead a chance to express themselves” (1239). The development of film equipment is used for Fascism. Reproduction of the work of art changes the relationship between the work of art and the public; thereby Fascism materializes as a political belief through the public attitude toward reproducing artistic works. The film technology has been accomplished by capitalists, and these results are used as tools of keeping vested rights.
“The logical result of Fascism is the introduction of aesthetics into political life” (1239). The purpose of Fascism is ruling the world, and its process is war. War is the only way to lead a mass movement toward their goal. “Imperialistic war is a rebellion of technology” (1240). Fascism uses film technology to justify their authority, glorify war (such as Marinetti’s manifesto), and agitate the public. This connection between politicizing art and Communism is a reasonable historical consequence.
Benjamin gives attention to the popularity of the art developed by mechanical reproduction. Collaboration of the work of art and technology creates a new value of art, and this new criterion of an aesthetic notion gives inspiration to the age of the 21st century. He shows how mechanical reproduction changes the existing work of art and renders the politicizing of art. Art transfers to the public culture. Analysis of contemporary art, popular culture, and aesthetics began in the 1930’s by Walter Benjamin, and he shows how modern technology subverts the traditional value of art.
======================================================
Wolran Kim
January 2014
A work of art is an aesthetic physical item or artistic creation. The meaning and the method of delivery and appreciation for a work of art are widely changed today through the advancement of technology, such as the computer, Internet, photography, film, printing, etc. A work of art was created in connection between the artist, the work, and the appreciator before mechanical technology. But after technology, the secondary mediator of technology intervenes between the work of art and the artist, and between the artist and the public.
As a result, the classical artistic work and the way of appreciation are entirely different from the olden times. Walter Benjamin already foresaw this tendency in his essay, The Work of Art in the Age of Mechanical Reproduction, in 1935. He predicted that mechanical reproduction would change the domain of art, and philosophically analyzed the aesthetic value and the social impact of the public. His polemic discusses the emergence of new works of art and its significance through the development of photography and film. This artistic work in the age of technology also leads to the politicizing of art through Fascism and Communism.
According to Benjamin’s discussion, “In principle a work of art has always been reproducible. Man-made artifacts could always be imitated by men” (1235). Through the development of printing, photography, and film, they do not only reproduce, but they make a huge change in their impact upon the public. Even the perfect reproduction of a work of art has a lack of presence in time and space, and this unique existence of authenticity, aura, is destroyed in the process of mechanical reproduction.
“The technique of reproduction detaches the reproduced object from the domain of tradition” (1236). This destruction of the aura also makes progress a work of art. The technology of photography and film led to the popularization and democratization of art by transferring vested rights of a small number to the public value of exhibition. “An analysis of art in the age of mechanical reproduction must do justice to these relationships, for they lead us to an all-important insight” (1237). As an example in a photographic negative, the meaning of “authentic” print disappears, and the total function of the art is reversed. The uniqueness of the original is lost in the age of reproduction and reproduction is laid out of the domain of the original.
“Mechanical reproduction of art changes the reaction of the masses toward art” (1237). The reactionary attitude between a Picasso painting and a Chaplin movie and between an epic poem and a movie are different, and these intimate fusions of visual and emotional enjoyment control each other in the public. The characteristics of the film represent the environment beyond the present through mechanical equipment. Focusing on hidden details in the film, such as close-ups, slow motion, and enlargements of snapshots, reveals entirely new structural formations of the subject. “Evidently a different nature opens itself to the camera than opens to the naked eye” (1239). Mass reproduction of artistic works is not only associated with the process of mass production, it is also related to the public and their attitude.
Benjamin also discusses the public attitude toward mechanical reproduction becoming a basis and foundation of politicizing art. Every work of art has political propensity. “Fascism sees its salvation in giving these masses not their right, but instead a chance to express themselves” (1239). The development of film equipment is used for Fascism. Reproduction of the work of art changes the relationship between the work of art and the public; thereby Fascism materializes as a political belief through the public attitude toward reproducing artistic works. The film technology has been accomplished by capitalists, and these results are used as tools of keeping vested rights.
“The logical result of Fascism is the introduction of aesthetics into political life” (1239). The purpose of Fascism is ruling the world, and its process is war. War is the only way to lead a mass movement toward their goal. “Imperialistic war is a rebellion of technology” (1240). Fascism uses film technology to justify their authority, glorify war (such as Marinetti’s manifesto), and agitate the public. This connection between politicizing art and Communism is a reasonable historical consequence.
Benjamin gives attention to the popularity of the art developed by mechanical reproduction. Collaboration of the work of art and technology creates a new value of art, and this new criterion of an aesthetic notion gives inspiration to the age of the 21st century. He shows how mechanical reproduction changes the existing work of art and renders the politicizing of art. Art transfers to the public culture. Analysis of contemporary art, popular culture, and aesthetics began in the 1930’s by Walter Benjamin, and he shows how modern technology subverts the traditional value of art.