Art in the Age of Mechanical Reproduction

    As stated in Walter Benjamin’s “Work of Art in the Age of Mechanical Reproduction,” “In principle, a work of art has always been reproducible" (2): Apprentices replicate their masters’ work, and historically civilizations minted coins and woodcut. When photography and technology surpassed all other reproductive capabilities, it virtually took over the artistic process in creating art. The difference between a student replicating the work of their educator to learn and a machine reproducing work is intent. What causes controversy in replicating work is the underlying exploitation of said work(s), devaluation of the originality of the first, and decrease in it’s “cult value” by promoting exhibition capable traits. Benjamin’s publication goes over how reproducing artworks devalues the original artwork which then influences it’s “aura” but also acknowledges how there is no such thing as a perfect replication.

    When an artwork is reproduced, it changes it’s ‘aura,’ that is, “the unique phenomenon of a distance, however close it may be” (Benjamin 5). Artistically speaking, aura is the uniqueness of its process of production as well as the work itself and how it reflects in its viewers. Benjamin suggests that a work of art’s uniqueness is “inseparable from it’s tradition… the unique value of the authentic work of art has its basis in ritual, the location of its original use value.” However, he then further states that replication of art is no longer “based on ritual, it begins to be based on another practice— politics” (Benjamin 6).

    I interpret this as if the replication of art is acceptable when tied to some sort cultural/traditional relevance. Unfortunately, that isn’t necessarily the case anymore. Most artworks created have political undertones, social tracing, or capitalist implications. Take Van Gogh for example: Like many artists, he was misunderstood during his time alive. While he made what are now considered stunning visuals, at the time, they were typically disregarded altogether. In our contemporary world, there are museum exhibits, immersive experiences, and endless articles of merchandise decorated with Van Gogh works for sale literally everywhere. The function of the artwork shifted from message to mainly profit seeking.

'Almond Blossom,' Van Gogh, 1890. 29" x 36"

The aura of an original Van Gogh painting is going to have a different aura than a tote bag with some of his artwork on it, as well. It gives the holder of said bag a feeling of personalization. Paired with utilitarian features, it’s given a whole new set of value. This diminishes the original aura, and by replicating the original, it transforms it from a unique work to a template for production. As generalized, “reproduction detaches the reproduced object from the domain of tradition” (Benjamin 4).

Merchandise at the Van Gogh Museum shop

    Another debate over reproduction is the difference between paint, print, and photographic reproduction. I see them equally the same if done in terms of mass production. What draws my line between repetition and reproduction is, once again, aura. Once reproduced, it’s aura stands independently from the original. Therefore, if reproduced by hand i.e. paint, it takes much longer but still feels intimately personal. Print reproduction will get you the same product, but the feeling of artificiality is more than if each brush stroke were redone by hand. Photographic reproduction is so mechanized that it takes away any originality or creative resemblance when it’s as realistic as that.  

    It’s worth noting that even Walter Benjamin acknowledges that there is no such thing as a perfect reproduction. Regardless, once there is an over-saturation of replicates, it makes the original practically worthless.

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