The Work of Art in the Age of Mechanical Reproduction Walter Bejamin “...art has always been reproducible.” (321) Benjamin states this in his first sentence. Then begins to explain a process on how art began to be reproduced; the pupils (I assume artists) copy the masters, then a third party may want their own, which will entail another reproduction of the art. The greeks used stamping, terra cotta, coins and bronzing.Which seem more unique than script because was the next to reproduced; keeping copies of records. The lithography was created for this instance. Then jumping ahead a few decades the photograph. He states that photography feed the hand of the most important artistic function. Next he discusses when art is reproduced is losing its uniqueness,along with its value of ownership to the artist. Its not just the one single piece of art. It may now be two thousandth reproduction of art. He talks about how there are two cults; art originated from the religious services (where there wasn’t much reproduction) and the second was a art was beauty from the Renaissance. I am not sure what he meant. Then he says with the rise of socialism became photography. After this he talks about two more cults: exhibition and value. I guess I feel the value cult is when art is treasure and can’t be reproduced without photography, such as statues or church stain glass windows. Then exhibition art is when you can travel with the art, bring into galleries and museums. The two excerpts that I found interesting were: “.. greater decrease in art significance, the sharper distinction between criticism and enjoyment of the art.” (??) “..individual reactions are predetermined by the mass audience response.”
In Plato’s Cave Susan Sontag Sontag begins with”photographed images do not seem to be statements about the world so much as pieces of it, mini pieces of reality that anyone can get or relate to (4). She discusses in detail how photography can be evidence (proof), tool of power, memorialization, tourism, art, stories for the past, present, or future. She states many times that a photograph is a piece of time/reality that is captured. Its not exactly what your seeing, and it fills mental blocks. She also talks about looking through the lens is you have the choose to intervene or not. Such as if you “shooting” images that are interesting, but morally wrong, or can’t stop, even if someone is in danger, just because you want to get the “one shot.” She said thats the observation station. (She talked about vacation in that aspect, you might always be looking for that iconic image on vacation but be missing the beauty right in front of you.) With this, horrific and tragic images that are seen more and more become unreal to the viewer, like desensitized. She ends talking about how with the aesthetic consumption, now everyone is addicted.
The Social Definition of Photography Pierre Bourdeu He talks about how photography serves as a social function, which is generally associated with. Which goes into the portrait and how uncomfortable it can be for the subject. The person to person confrontation is lost. Also, he states that the photograph records reality, but its precise and fidelity can not be question. Because the photograph is used as evidence in so many ways in our society today. But the part of society (the ones not as knowledgeable in photography) do begin to question the imagery. He also talks about popular photography in the social use. How its like a “everyone can make like kinda of image.” But on of the most interesting lines I found, “any work reflects the personality of its creator.” This just made me look at my work and my class mates. It made sense.
"Like guns and cars, cameras are fantasy-machines whose use is addictive" (14)
In our present world, or "the cave" we are being desensitized by imagery. "'Concerned' photography has done at least as much to deaden conscience as to arouse it." (21) Almost everyone nowadays owns or uses a camera. This is in part due to the fact that modern cameras are becoming easier and easier to use. Manufacturers advertise their cameras based on their complex auto settings and ease of use. This has caused an overabundance of photography and imagery throughout our society. "There is an aggression implicit in every use of the camera"(7). The "photographer" if only for that instant they press the shutter-release feels a sense of control that is rarely found elsewhere. They might even feel as though they fully control their own little photographic world in which they command time, light, and pose. This kind of control can become addictive, and since getting that feeling is made easier by new technology, even more people will be able to experience it. "...photography is not practiced by most people as an art. It is mainly a social rite, a defense against anxiety, and a tool of power." (8)
The idea that photographs can be taken as statements of fact, or something close to fact, is a tough one to grasp. "Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire." (4) I don't fully agree with that statement, especially in these modern days of digital photography and photoshop manipulation. Through the use of these new technologies, almost anything can be created and made to seem real. How will these advances affect our trusting of photographs in the future? Will they still be used as evidence and proof in court hearings and so forth? Already, without the use of other manipulation, a photograph is an interpretation made of a scene by the photographer, not a factual showing of the scene since, "...the camera's rendering of reality must always hide more than it discloses" (23). Basically, what the photographer chooses to show you is what you get to see, but you have to also think, what else is he hiding?
Art in the Age of Mechanical Reproduction -- Walter Benjamin
“The presence of the original is the prerequisite to the concept of authenticity.” (322) Why is the original needed for validation? There are those who believe, such as Benjamin, that reproduction strips authenticity. That its “aura” is lost. Benjamin argues that uniqueness and permanence can only occur in observation with the unarmed eye, that these qualities are lost with reproduction. Strangely, reproduction for the purpose of tradition is somehow exempt in Benjamin’s eyes. He explains this when he says, “The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition.”(325) This seems completely contradictory to the rest of the article. Signs and statues that have high value within one culture can be seen as inappropriate and immoral within others.
In Plato’s Cave – Susan Sontag
“The omnipresence of cameras persuasively suggest that time consists of interesting events, events worth photographing.”(11) What denotes interesting events? Presidential elections? Perhaps the birth of your child? What is important to one person is obviously subjective, and open to speculation. Regardless, people take photographs to “prove” that something happened and therefore, would seem to agree with Sontag that “A photograph passes for incontrovertible proof that a given thing happened.”(5) Sontag then mentions that, regardless of limitations that may hinder certain photographers, she still believes that there is a more reliable sense of reality in photography than other mimetic objects. I’m hard pressed to agree with that statement. The debate of what is real within a photographic image is more in question now than in recent years, due to the advances of digital technology and relative ease of manipulation. It’s almost impossible to confirm reality within a photograph. However, I would have to agree with one of Sontag’s last points. “Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted.”(24) We see this confirmed every day—in our quest for proof of validity, we are often quick to say, “show me” as a substitute for “prove it.” Obviously, the debate will continue.
The Social Definition of Photography – Pierre Bourdieu
“…photography captures an aspect of reality which is only ever the result of an arbitrary selection…”(75) These words by Bourdieu, to me at least, are the most poignant and effective out of all three readings. What you decide to fill the frame with is the subjective reality you choose to show the world, and is not necessarily an accurate representation. What one person finds aesthetically pleasing may be insulting and grotesque to someone else. Another great question posed by Bourdieu, “Can an art without an artist still be an art?”(77) Many uninformed viewers question the artistic value of photography and claim that it isn’t art. Does mechanical reproduction deprive the value of the work that a photographer puts in? In my opinion, the value of photography as an art form only increases with reproduction. Anything that is worth reproducing must have had some merit initially and as we know from psychology, the highest form of flattery is mimicry. These reproductions of works only further the impact of the originals.
Stamping and bronzing for coin-making becomes woodcuts and lithography. Lithography quickly progresses into photography, which then progresses into motion pictures and sound films. With progress comes other changes as well. Through the advent of mechanical reproduction, it has become easier and easier to "reproduce" a scene. As it has becomes "easier" to capture these scenes, less respect is being paid to each particular medium. Benjamin's article Art in the Age of Mechanical Reproduction bases itself firmly in these beliefs. "...that which withers in the age of mechanical reproduction is the aura of the work of art" (323) This is basically saying that any work of art that can be easily reproduced... GASP... has no soul. I firmly disagree with that statement. As Matt Tucker points out in his exposition, if there is a want for that photograph to be reproduced more than once, there must be a reason for it, whether it be its visual qualities or it's "aura". Because of this I feel as though photography, if done well, has more of a soul than most other forms of art. Most of the "process points" you might get for other forms of art are pushed out the door, and only the artwork remains. "...to ask for the 'authentic' print makes no sense." (327) because they are all authentic prints.
Photography: Theory & Criticism will examine historic and contemporary philosophical, aesthetic, and epistemological topics addressing the evolution of theories germane to contemporary photographic discourse. As a class, we will address structuralism, post-structuralism, deconstruction, semiotics, and the taxonomy of visual representation from simulacrum to social classification analysis. Conceptual understanding and the successful application of the topics addressed throughout this course are designed to further develop your photographic lexicon. The application of thoughtful, theory-based ideas can be employed to promote visual solutions to challenges in the design, execution, and creation of your work. Theories and topics discussed in the readings will be introduced with supporting imagery for discussion and debate. Active discussion and participation are core requirements of this course.
COURSE OBJECTIVES:
This course is designed to introduce critical theory and foster the understanding of multiple expectations/interpretations and potential message(s) contained within the photographic image. By deconstructing the conceptual design, formal elements, and the ever-evolving cultural architecture requisite to a contemporary visual language, we will develop the required skill sets to actively seek qualified meaning beyond an image’s superficial mimetic qualities. The ideas, theories, philosophies, and positions expressed by the assigned authors are subject to sensitive trends within ethnographical movements. Through multiple writing exercises, interviewing artists and critics, and attending gallery/museum exhibitions, we will define and articulate points of long-term personal aesthetic/conceptual interest.
TEACHING ASISTANT:
FRANCES JAKUBEK
The teaching assistant will provide structural support for all class discussion topics, assist with logistical preparation, and participate in the on-going critical analysis of readings, written reviews, and presentations. Ms. Jakubek’s position is to be informative and knowledgeable on all subject matter addressed in class, accessible for project-related conceptual development, and to respectfully challenge the integrity of your work in all of its manifestations.
This semester, Ms. Jakubek will be leading select critical discussions, as well as supporting lecture(s) on critical/theoretical essays in conjunction with on-going class curriculum.
If you have any questions for or regarding your teaching assistant, please feel free to contact me or Ms. Jakubek.
COURSE CONTENT:
Readings, presentations, papers, reviews, and class participation are the primary curriculum-based assignments. Additional research to qualify independent papers and projects will be contingent upon the identified subject matter, and at your discretion. Assignments:
Readings: This course will focus on the academic discourse of photography as a medium, ethnographic measure, and emotional outlet, and will address the power structure within political and social confines. The majority of our classes will be dedicated to response, support, and/or deconstruction of essays provided in class. It is critical that all assigned readings are completed prior to class to promote qualified discussions on identified subjects.
Research Paper & Presentation: One self-defined presentation will be required. This presentation must be forty-five minutes in length and accompanied by supporting media (PowerPoint, video, web, or alternative sources to support your thesis). Relevant reading(s) must be distributed one-week prior to your presentation to establish general interest/context. The presentation will enable you to explore a genre, aesthetic philosophy, artistic movement (visual/conceptual/other), introduce multiple perspectives on your selected text, and establish a dialogue on the topic introduced.
Class Participation: Due to the nature of this course, participation, discussion, and debate on all subject matter will be critical to the development of ideas. Interdisciplinary approaches are employed to encourage individualized understanding and unique interpretations of the philosophies addressed in/outside of class and will not be exclusively object-based.
It is expected that all reading, notes, points of debate, written responses, as well as personal evaluation(s), are completed prior to class without exception.
Paper(s): All papers and blog entries will be evaluated on the comprehension of subject matter, qualification of personal perspective, and the creative and thoughtful approaches to the presentation of your ideas.
Oh-yeah… Exhibitions, openings, and events are to be attended regularly independent from scheduled class trips and identified NEiA visiting lectures. View work critically and seek additional information from galleries, museums, and events whenever possible. Supporting material contributes to the advancement of ones understanding and experience of the work. You are encouraged to bring to class discoveries of new images, artists, or ideas. These topics will always be addressed in class or independently with the instructor.
Class Policies:
Any student who has special needs that may affect his or her performance in this class is asked to identify his/her needs to the instructor in private by the end of the first day of class.
Instructor Availability Outside of Class:
Messages may be left for the instructor on voice mail or via email. Office hours will be announced. All appointments may be scheduled at instructor/student convenience.
Other Class Policies:
You are expected to conduct yourselves in a professional manner demonstrating great respect for self, peers, and faculty. The classroom is an open environment for the sharing of thoughts, beliefs, and ideas as well as the acceptance/tolerance of perspectives that may conflict with your own. Intolerance, disrespect, or belligerent behavior will not be tolerated and faculty reserves the right to intervene at any point.
Attitude and presentation (of self and ideas) are critical aspects of what we do as professionals. Conduct yourself in a manner that reflects these principals.
Academic Support/Learning Disabilities:
Students with known disabilities should contact their instructors as well as the Student Services Office. Academic Support (tutoring) is provided to any student in need of tutoring. Students who feel they are able to assist with tutoring this course should also contact their instructor and/or the Academic Support Center.
4 comments:
Caitlyn Doolin
Week One
The Work of Art in the Age of Mechanical Reproduction
Walter Bejamin
“...art has always been reproducible.” (321) Benjamin states this in his first sentence. Then begins to explain a process on how art began to be reproduced; the pupils (I assume artists) copy the masters, then a third party may want their own, which will entail another reproduction of the art. The greeks used stamping, terra cotta, coins and bronzing.Which seem more unique than script because was the next to reproduced; keeping copies of records. The lithography was created for this instance. Then jumping ahead a few decades the photograph. He states that photography feed the hand of the most important artistic function.
Next he discusses when art is reproduced is losing its uniqueness,along with its value of ownership to the artist. Its not just the one single piece of art. It may now be two thousandth reproduction of art. He talks about how there are two cults; art originated from the religious services (where there wasn’t much reproduction) and the second was a art was beauty from the Renaissance. I am not sure what he meant. Then he says with the rise of socialism became photography. After this he talks about two more cults: exhibition and value. I guess I feel the value cult is when art is treasure and can’t be reproduced without photography, such as statues or church stain glass windows. Then exhibition art is when you can travel with the art, bring into galleries and museums.
The two excerpts that I found interesting were:
“.. greater decrease in art significance, the sharper distinction between criticism and enjoyment of the art.” (??)
“..individual reactions are predetermined by the mass audience response.”
In Plato’s Cave
Susan Sontag
Sontag begins with”photographed images do not seem to be statements about the world so much as pieces of it, mini pieces of reality that anyone can get or relate to (4). She discusses in detail how photography can be evidence (proof), tool of power, memorialization, tourism, art, stories for the past, present, or future. She states many times that a photograph is a piece of time/reality that is captured. Its not exactly what your seeing, and it fills mental blocks.
She also talks about looking through the lens is you have the choose to intervene or not. Such as if you “shooting” images that are interesting, but morally wrong, or can’t stop, even if someone is in danger, just because you want to get the “one shot.” She said thats the observation station. (She talked about vacation in that aspect, you might always be looking for that iconic image on vacation but be missing the beauty right in front of you.) With this, horrific and tragic images that are seen more and more become unreal to the viewer, like desensitized.
She ends talking about how with the aesthetic consumption, now everyone is addicted.
The Social Definition of Photography
Pierre Bourdeu
He talks about how photography serves as a social function, which is generally associated with. Which goes into the portrait and how uncomfortable it can be for the subject. The person to person confrontation is lost. Also, he states that the photograph records reality, but its precise and fidelity can not be question. Because the photograph is used as evidence in so many ways in our society today. But the part of society (the ones not as knowledgeable in photography) do begin to question the imagery.
He also talks about popular photography in the social use. How its like a “everyone can make like kinda of image.” But on of the most interesting lines I found, “any work reflects the personality of its creator.” This just made me look at my work and my class mates. It made sense.
In Plato's Cave by Susan Sontag
"Like guns and cars, cameras are fantasy-machines whose use is addictive" (14)
In our present world, or "the cave" we are being desensitized by imagery. "'Concerned' photography has done at least as much to deaden conscience as to arouse it." (21) Almost everyone nowadays owns or uses a camera. This is in part due to the fact that modern cameras are becoming easier and easier to use. Manufacturers advertise their cameras based on their complex auto settings and ease of use. This has caused an overabundance of photography and imagery throughout our society. "There is an aggression implicit in every use of the camera"(7). The "photographer" if only for that instant they press the shutter-release feels a sense of control that is rarely found elsewhere. They might even feel as though they fully control their own little photographic world in which they command time, light, and pose. This kind of control can become addictive, and since getting that feeling is made easier by new technology, even more people will be able to experience it. "...photography is not practiced by most people as an art. It is mainly a social rite, a defense against anxiety, and a tool of power." (8)
The idea that photographs can be taken as statements of fact, or something close to fact, is a tough one to grasp. "Photographed images do not seem to be statements about the world so much as pieces of it, miniatures of reality that anyone can make or acquire." (4) I don't fully agree with that statement, especially in these modern days of digital photography and photoshop manipulation. Through the use of these new technologies, almost anything can be created and made to seem real. How will these advances affect our trusting of photographs in the future? Will they still be used as evidence and proof in court hearings and so forth? Already, without the use of other manipulation, a photograph is an interpretation made of a scene by the photographer, not a factual showing of the scene since, "...the camera's rendering of reality must always hide more than it discloses" (23). Basically, what the photographer chooses to show you is what you get to see, but you have to also think, what else is he hiding?
Art in the Age of Mechanical Reproduction -- Walter Benjamin
“The presence of the original is the prerequisite to the concept of authenticity.” (322) Why is the original needed for validation? There are those who believe, such as Benjamin, that reproduction strips authenticity. That its “aura” is lost. Benjamin argues that uniqueness and permanence can only occur in observation with the unarmed eye, that these qualities are lost with reproduction.
Strangely, reproduction for the purpose of tradition is somehow exempt in Benjamin’s eyes. He explains this when he says, “The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition.”(325) This seems completely contradictory to the rest of the article. Signs and statues that have high value within one culture can be seen as inappropriate and immoral within others.
In Plato’s Cave – Susan Sontag
“The omnipresence of cameras persuasively suggest that time consists of interesting events, events worth photographing.”(11) What denotes interesting events? Presidential elections? Perhaps the birth of your child? What is important to one person is obviously subjective, and open to speculation. Regardless, people take photographs to “prove” that something happened and therefore, would seem to agree with Sontag that “A photograph passes for incontrovertible proof that a given thing happened.”(5)
Sontag then mentions that, regardless of limitations that may hinder certain photographers, she still believes that there is a more reliable sense of reality in photography than other mimetic objects. I’m hard pressed to agree with that statement. The debate of what is real within a photographic image is more in question now than in recent years, due to the advances of digital technology and relative ease of manipulation. It’s almost impossible to confirm reality within a photograph. However, I would have to agree with one of Sontag’s last points. “Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted.”(24) We see this confirmed every day—in our quest for proof of validity, we are often quick to say, “show me” as a substitute for “prove it.” Obviously, the debate will continue.
The Social Definition of Photography – Pierre Bourdieu
“…photography captures an aspect of reality which is only ever the result of an arbitrary selection…”(75) These words by Bourdieu, to me at least, are the most poignant and effective out of all three readings. What you decide to fill the frame with is the subjective reality you choose to show the world, and is not necessarily an accurate representation. What one person finds aesthetically pleasing may be insulting and grotesque to someone else.
Another great question posed by Bourdieu, “Can an art without an artist still be an art?”(77) Many uninformed viewers question the artistic value of photography and claim that it isn’t art. Does mechanical reproduction deprive the value of the work that a photographer puts in? In my opinion, the value of photography as an art form only increases with reproduction. Anything that is worth reproducing must have had some merit initially and as we know from psychology, the highest form of flattery is mimicry. These reproductions of works only further the impact of the originals.
Stamping and bronzing for coin-making becomes woodcuts and lithography. Lithography quickly progresses into photography, which then progresses into motion pictures and sound films. With progress comes other changes as well. Through the advent of mechanical reproduction, it has become easier and easier to "reproduce" a scene. As it has becomes "easier" to capture these scenes, less respect is being paid to each particular medium. Benjamin's article Art in the Age of Mechanical Reproduction bases itself firmly in these beliefs. "...that which withers in the age of mechanical reproduction is the aura of the work of art" (323) This is basically saying that any work of art that can be easily reproduced... GASP... has no soul. I firmly disagree with that statement. As Matt Tucker points out in his exposition, if there is a want for that photograph to be reproduced more than once, there must be a reason for it, whether it be its visual qualities or it's "aura". Because of this I feel as though photography, if done well, has more of a soul than most other forms of art. Most of the "process points" you might get for other forms of art are pushed out the door, and only the artwork remains. "...to ask for the 'authentic' print makes no sense." (327) because they are all authentic prints.
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