In the world today, iconic images are reproduced in various ways serving different meanings in different contexts. However, it is argued by German critic Walter Benjamin that the reproduction of art will destroy the originality and authenticity of that particular piece. "The Work of Art in the Age of Mechanical Reproduction" is a notable essay written by Benjamin, which touches upon the technology of mass reproduction and its variety of effects on works of art, including paintings, photography and film. Throughout the essay, Benjamin's criticism about the modern mass remains moderately positive.
In the essay, Benjamin discusses about a change in perception and how the invention of technology, most notably photography and film, of the twentieth century contributes to this shift. He claims that ever since these technology were introduced, humans have a different viewpoint of the way they see work of art. For example, a photograph of the sky only gives us the experience of the photographer whereas a painting can be interpreted in many different ways depending on how the viewer wants to see it. He also mentions that mechanical reproduction, such as industrial goods, enables art to be reached by a wider audience and thus the value of the original becomes lesser. With this, he relates the value and originality as the aura of art, which is in turn diminishing because of the mechanical inventions.
While Benjamin describes a loss of aura within modern day artwork, this particular idea may not be a bad thing towards the mass consumption. Take, for example, the iconic image of Ernesto Che Guevera that is made popular throughout the twentieth century. Che was an Argentine Marxist revolutionary who became a Cuban hero and eventually died in the Bolivian jungle. Ever since his death in 1967, the photograph of Che reproduced itself on posters, clothing and banners. At first, it was a symbol of an united revolutionary ideal. However, as time passed and by the 1990s, the image transformed into a basic commercial image. The brand is meant for kids and adults alike to associate themselves in their clothing to look cool. Not only is the image found in clothing, but it appeared in music, posters, food, billboards, almost anything that can be marketed. Many people that wear Che on their T-shirts did not know who he was or what he even did. Although the symbol was retained in many movements and conflicts, none of them truly related to the Guevara's idea of Marxist revolution. But the question at hand is, how does the image of such an important political figure turn from an inspirational image of revolution to a hipster brand of modern style? This is exactly what Benjamin proclaimed in his essay- that mass reproduction is able to adjust or even destroy the original meaning of art.
As art is remade and passed on, hundreds and hundreds of copies spread out to different parts of the world. Through these travels, it is lost in translation because people across the globe will not interpret Che the same way that people native to Che, such as Argentinians or Cubans would. Despite such negative effects on the art piece, Benjamin denotes a more optimistic view of mass consumption. He mentions that the loss of aura has the potential of opening up an image. The fact that the image of Che can be used with various contexts keeps the general mass content, and whether or not the meaning is lost, it is the idea that a new concept connecting to the art can be used in a mixture of ways. Yet, the way that the image should be used can be beneficial or unfavorable depending on the group using it. However, this is the beauty of being able to mass produce art. People are able to use this image to their own liking and connect themselves with it the way they see fit.
In conclusion, Benjamin describes a positive and negative output of the mass reproduction of art. While he states that mass reproduction can destroy the authenticity and originality of an art, it can also alter it in a way that people can use. The fact that an image can be spread and used in many different contexts, it is a truly radical and remarkable achievement.
Works Cited
Chevolution. Dir. Luis Lopz, Trisha Ziff. Perf. Gerry Adams, Antonio Banderas, Gael Garcia Bernal. 2008. Documentary Film.
"The Work of Art in the Age of Mechanical Reproduction." http://www.marxists.org/reference/subject/philosophy/works/ge/benjamin.htm. Marxists.org, n.d. Web. 22 Jan. 2012.
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