The Work of Art In The Age of ... (?)

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This presentation looks at the maybe over used essay by Walter Benjamin, "The Work of Art in The Age of Mechanical Reproduction" and looks at its relevance to digital arts practice.

Technologie Art & Photos Divertissement et humour

Walter Benjamin and The Work of Art in the Age of… (Mechanical Reproduction?)

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In: Illuminations, edited by Hannah Arendt, translated by Harry Zohn, from the 1935 essay New York: Schocken Books, 1969 The Work of Art in the Age of Mechanical Reproduction WALTER BENJAMIN “Our fine arts were developed, their types and uses were established, in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours. But the amazing growth of our techniques, the adaptability and precision they have attained, the ideas and habits they are creating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts there is a physical component which can no longer be considered or treated as it used to be, which cannot remain unaffected by our modern knowledge and power. For the last twenty years neither matter nor space nor time has been what it was from time immemorial. We must expect great innovations to transform the entire technique of the arts, thereby affecting artistic invention itself and perhaps even bringing about an amazing change in our very notion of art.”* Paul Valéry, PIÈCES SUR L’ART “Le Conquete de l’ubiquité,” Paris. PREFACE When Marx undertook his critique of the capitalistic mode of production, this mode was in its infancy. Marx directed his efforts in such a way as to give them prognostic value. He went back to the basic conditions underlying capitalistic production and through his presentation showed what could be expected of capitalism in the future. The result was that one could expect it not only to exploit the proletariat with increasing intensity, but ultimately to create conditions which would make it possible to abolish capitalism itself. The transformation of the superstructure, which takes place far more slowly than that of the substructure, has taken more than half a century to manifest in all areas of culture the change in the conditions of production. Only today can it be indicated what form this has taken. Certain prognostic requirements should be met by these statements. However, theses about the art of the proletariat after its assumption of power or about the art of a classless society would have less * Quoted from Paul Valéry, Aesthetics, “The Conquest of Ubiquity,” translated by Ralph Manheim, p. 225. Pantheon Books, Bollingen Series, New York, 1964. 2 bearing on these demands than theses about the developmental tendencies of art under present conditions of production. Their dialectic is no less noticeable in the superstructure than in the economy. It would therefore be wrong to underestimate the value of such theses as a weapon. They brush aside a number of outmoded concepts, such as creativity and genius, eternal value and mystery—concepts whose uncontrolled (and at present almost uncontrollable) application would lead to a processing of data in the Fascist sens ...

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Perhaps the most solid background to the creation of abstract art can be dated back to the modernism abstraction which occurred during the early 20th Century. At the time, abstract art coded modernism because of its nature to deviate from the mainstream developed and established forms of art. During the 1960s there was more emergence of abstract expressionism and this subsequently led to its boom in comparison to the contemporary painting of a hard edge design. Color field paintings as well as certain sculptures of abstract nature also came into the picture and were mainly pioneered by critics like Greenberg (Press). Elements like Manet attracted tremendous contributions at the time to portray the various nuances of pictures and paintings during that period of time. - See more at: http://www.customwritingservice.org/blog/art-history-20th-century-modern-art/

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set up to divide. The rIng hIS solIdanty WIth the proletariat _ that rs who earlier seemed scarcely to concern . modish photography whereby poverty is ng to New as a literary fd it hal; made the struggle againsT IOlItIcalImportance of the movement . was of revolutionary reflexes, insofar objects amusement which found their The transformation of the ?ecIde mto an object of contemplative a .c?nsumer article, is the defining CrItIC has explained this, using the Ith the workers'. movement this left-wing non. [: .. ] TheIr function is to produce, b.ut from the literary standpoint, I1Ie not producers but agents. )ftheIr poverty, a banquet of yawning In an uncozy situation.' ,lay of Its It thereby shirked the to how poor. he is and how poor Ie begmnu,tg. For that IS what is involved. the 'poet like Plato, but it will assign him lay In new masterpieces the long-since . To a renewal in terms of such :>ffascIsm. [...] [The work of] the author 5 of pres.ent-day production will never be e same tIme, on the means of production and ab?ve.their character as works, orgamzatIonal usefulness be confined tendency alone is not enough. The >II.tlOns are not what matters, but the kind t IS true that opinions matter greatly, but useful out of those who have them. The :>t demonstrate the attitude with which it .er ca.n only demonstrate in his particular :ncy IS the. necessary, never the sufficien t Nork. ThIS further requires a directing , And to?ay this is to be demanded .ers teaches no one. What matters which is able first to induce other n apparatus at their disposal. ners It IS able to turn into producers, that , [...] 33 The Work of Art in the Age of Mechanical Reproduction Walter Benjamin I In principle a work of art has always been reproducible. Man-made artifacts could always be imitated by men. Replicas were made by pupils in practice of their craft, by masters for diffusing their works, and, finally, by third parties in the pursuit of gain. Mechanical reproduction of a work of art, however, represents something new. Historically, it advanced intermittently and in leaps at long intervals, but with accelerated intensity. The Greeks knew only two procedures of technically reproducing works of art: founding and stamping. Bronzes, terra cottas and coins were the only art works which they could produce in quantity. All others were unique and could not be mechanically reproduced. With the woodcut graphic art became mechanically reproducible for the first time, long before script became reproducible by print. The enormous changes which printing, the mechanical reproduction of writing, has brought about in literature are a familiar story. However, within the phenomenon which we are here examining from the perspective of world history, print is merely a special, though particularly important, case. During the Middle Ages engraving and etching were added to the wood ...

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New Media in Art Second edition 267 i l lustrations, 124 in color � Thames&. Hudson world of art To Nikos Stangos, in memoriam Acknowledgments I wish to thank numerous colleagues who have shared their breadth of knowledge with me over several years, including Chrissie lies, Christine van Assche, Lori Zippay, Galen Joseph Hunter, Berta Sichel, John Hanhardt, Magda Sa won, Dominique Nahas, Barbara London and so many artists, to name a few, Vito Acconci, Carolee Schneemann, Martha Rosier, Michal Rovner, Douglas Gordon, Gary Hill, Thomas Hirschhorn, Grahame Weinbren. Special thanks to my editors at the New York Times, Annette Grant, and Art in America, Betsy Baker; to Electronic Arts Intermix, to Julia MacKenzie and the staff at Thames & Hudson, especially editor Andrew Brown. Thanks as well to AI Sabatini, Bill Castellino, and Lily. 1-3. (title page) Pipilotti Rist, three stills from I'm not the Girl Who Misses Much, 1 986. © 1999 and 2005 Thames & Hudson Ltd , London All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, e lectronic or mechanical, including photocopy, recording or any other information storage and retrieval system, without prior permission in writing from the publisher. First published in 1999 in paperback in the United States of America by Thames & Hudson Inc., 500 Fifth Avenue, New York, New York 10110 thamesandhudsonusa.com Second edition 2005 Library of Congress Catalog Card Number 2003108927 I S B N -13: 978-0 -500-20378-1 I S B N-10: 0 -500-20378-4 The first edition of this book was published under the title New Media in Late 20th-Century Art. Designed by John Morgan Typeset by Omnific Printed and bound in Singapore by C.S. Graphics 4. Richard Prince, My Best, 1996. Words and paint have appeared on canvases since the early part of the twentieth century, but what is not i m mediately apparent in this painting by Richard Prince is that the bundles of intertwining lines took shape i n his computer and were then silk-screened onto the canvas. Introduction One of the characteristic perceptions of twentieth-century art was its persistent tendency to question the long tradition of painting as the privileged medium of representation. Early in the century Braque's and Picasso's determination to incorporate everyday material in their paintings, such as newsprint, tablecloth fringe, or rope, was expressive of their struggle to extend the content of the canvas beyond paint. This 'struggle with the canvas' pointed the way for scores of twentieth-century artists, from the Russians Malevich and Tatlin, to Pollock at mid-century, to a painter such as Richard Prince (b. 1949) whose abstractions take shape in a computer before they are painted onto the canvas. Abstraction, Surrealism, and Conceptualism, to name but a few twentieth-century forms, all participated in a pr ...

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