When differentiating cult value and exhibition value mentioned by Walter Benjamin (1936: ) it is important to unpack each of these terms. Benjamin (1936: ) explains that art was originally seen as “magical”. Benjamin (1936: ) explains that cult value originates from an object of ceremony that holds a magical and spiritual power. Benjamin (1936: ) goes on to explain that today, cult value “would seem to demand that the work of art remain hidden”. In contrast to this idea of art remaining hidden in cult value, exhibition value contras this notion with mobility and being on public display (Benjamin, 1936: ). Benjamin (1936: ) goes on to explain that this value is based upon an image that is made for the purpose of being exhibited. The shift from cult value to an object of exhibition value affects how these objects are seen by the masses (Benjamin, 1936: ). …show more content…
Benjamin (1936: ) explains that this relationship results in the loss of “aura” of authenticity in reproduced
What makes an object religious? While imagery of the cross or the bright aura of the halo clearly and unquestionably indicate to the audience of the piece’s religious connection, an object can also obtain religious connotation through other means. In the case of the bronze statue Mother and Child by Charles Umlauf, it is connected to the divine through artist’s background, its medium, and most importantly, the stylistic resonance between the mother and Virgin Mary. Charles Umlauf’s sculptures range “in style from realistic and abstract expressionism to lyrical abstraction” (Charles). This is demonstrated in Mother and Child as the status solidifies the abstract concept of the bond between mother and child.
Yousef Alloughani Dr. Tatiana Sizonenko Art History May 17, 2016 Introduction Among the oldest forms of art are paintings. The earliest paintings date back to 300 B.C.E. where people at the time were accustomed to painting inside caves.
The Into the Light exhibit, located in the Thomas Center, displays a wide array of Virginia Louise Leak’s artwork. Although Leak was diagnosed with a mental illness, she was still able to produce a lifetime of art. I believe her illness is what makes her art so extraordinary and relays a deeper message than what it appears to be on the surface. To me, if you truly desire to understand a work of art you first have to learn about the artist; therefore, before I even began observing the paintings and etchings I carefully read all of the plaques that gave detailed information about Leak’s life, history, and her works of art. Not all of Leak’s painting and etchings are on display for the public, but the artwork that is available to the public is truly astonishing.
Furthermore, there was a high demand for small paintings, which contained irreligious subject matter. Landscapes are an example of subject matter, which was sought after, this
While reading “The Trouble with (the Term) Art,” written by Carolyn Dean in the summer of 2006, we are taken through an array of different scenarios that lead us to questions what art really is. Dean explores the idea that the word “art” is used far too often and too habitually, and that as we study the non-Western cultures we need to use much more discretion regarding what we call the different pieces of their culture. Throughout the essay, Dean supports her thesis that we too often categorize non-Western pieces as art by using different examples of how certain non-art pieces were deemed as art throughout the course of their history. Dean does this by using four key examples of how these ancient pieces are inappropriately called art to successfully support her thesis and avoid biases.
This connection adheres with the reader, whether it be conscious or not, and affects their day to day life, changing how readers view situations given to them ranging in
In both pictures we are able to identify Humanism, Individualism, and Secularism whether or not if it is a famous painting or
This statement underscores the role of art in carrying the weight of history
Response paper #1 Recently I took a tour of the James E. Lewis Museum of art located in Baltimore, MD. This museum is a part of Morgan State University fine arts building. As I walked into the museum I notice the beautiful entrance that consist of sculptures of very important people in history. In addition I was amazed by the infrastructure of the museum and the setup of the lighting in the museum.
Benjamin did not see technology as harmful to art as he believed that “a work of art has always been reproducible” (Benjamin 218). Since Benjamin saw that art was inherently reproducible, no matter the age, the presence of technology only ameliorated art as a whole. Despite Benjamin’s acceptance of the mechanical presence in art, his counterpart Adorno did not welcome the decaying presence of the aura as readily. Adorno’s essay, written two years later, was both a response and a critique of Benjamin’s piece.
During the 16th and 17th century areas that were forbidden before began to change. These were areas were humans were only entitled to know what God wanted to reveal, otherwise they were inaccessible or forbidden. The limits on the knowledge humans were able to possess became more accessible during the 16th and 17th centuries. The Reformation shows the decline of the Catholic Church and the rise of questioning authority leading to the Scientific Revolution. The Scientific Revolution showed that observations and conclusions became an acceptable source of knowledge and truth, where it had been less so in earlier times.
The urge to acquire and own art is a time-honoured one. From the grand patronage of Renaissance popes and princes (not to mention de Medici), to eighteenth-century British aristocrats, or the bulk buying of Europe’s cultural heritage by America’s J. Paul Getty, over the centuries art has been amassed for purposes of propaganda, prestige, intellectual enlightenment and sheer pleasure. Few activities run the gamut of human impulses more comprehensively than the acquisition of art. Yet, however lofty or ignoble the underlying motivation, the cultural significance of art collecting has always extended beyond individual desire.
Artists who have it should cherish it and share it with others, because not everyone has it. Sharing arts with others would bring prosperity to our society. Therefore, the art industry remains creatively due the gift motivation. Finally, from the Hyde’s
This process of recuperation happens in two ways: by converting subcultural signs into mass-produced objects (the commodity form) and by labelling and re-defining deviant behavior by dominant groups (the ideological form). The commodity form benefits from the relationship between the spectacular subcultures and the industries, which is based on ambiguity and the difficulty to distinguish between commercial exploitation and originality, since consumption is an indispensable part of spectacular subcultures and they feed on production and publicity. However, this commercialization and mass production of cultural symbols takes their meaning away from the subculture and makes it available for everyone.
Another thing that changed my mind was how willing some of these men were to sacrifice their lives for the artwork, like the disgraced British man sacrificing himself to try and save the Madonna. Afterward, Stokes is asked by President Truman if he thought the Madonna was worth his life, and he resolutely said that it was worth it, making a clear case for this line of reasoning. If one person is willing to risk their life for a piece of art, than obviously it is worth the value of their own life in that person’s eyes, like the First Lady saving original portraits of past Presidents from burning during the War of 1812. The examples listed paint a very clear picture that if a piece of artwork is worth risking a life over, than it can be worth a human