- Published: November 14, 2021
- Updated: November 14, 2021
- University / College: University of California, Irvine
- Language: English
- Downloads: 45
Christopher Steiner’s article entitled ‘ Authenticity, Repetition, and the Aesthetics of Seriality’ talks about the ‘ mechanical reproduction of art’ at the height of technological improvement and technical production nowadays.
He discusses Walter Benjamin’s essay entitled ‘ The Work of Art in the Age of Mechanical Reproduction’ in the issue that: first, mechanical reproduction is not just a new form of technical production but engenders “ an entirely newphilosophyof production in which the work of art is emancipated” (Steiner 88); and second, that the mechanical reproduction and consumption of art makes the object more accessible to wider population (88).
His argument, therefore, is that “ to justify the authenticity of tourist art one must begin from an entirely different starting point” (89), since tourist art should be viewed as a culturally valid, authentic art. He argues that mass-produced art carries an authenticity, which it shares with other mass-produced objects in the industry.
What I argue, however, is that mechanical reproduction of art does not carry anymore the authenticity and validity of what a true art should be—that it should be an expression of views, beliefs, andcultureof an individual or a number of individuals. Objects that undergo mass production are merely ‘ reproductions’ of the original item. The true ‘ art’ is in its originality.
This means that, although the reproduced object is an exact image of the original object, it is merely a mimic and is not an expression of the self. When it comes to being culturally valid, however, I agree that objects that undergo mass production are, indeed, culturally valid, since it reveals a certain aspect of culture that, though reproduced again and again, still holds the originality and the individuality that the culture and the people reflect.
Art is like what ahuman beingis: it is a reflection of culture and society, yet it cannot be an exact replication of the other—for there is none like it. Mass-produced objects of art contain authenticity and validity in terms of culture art, but not as an individual art.
Works Cited
Steiner, Christopher. “ Authenticity, Repetition, and the Aesthetics of Seriality: The Work of Tourist Art in the Age of Mechanical Reproduction.” [name of book]. Ed. [name of editor]. Place: publisher, year. 87-103.
