Walter Benjamin stated in the book, The Work of Art in the Age of Mechanical Reproduction. In the statement, Benjamin was responding to the effect of reproduction on the aura of an object. Through his work, Benjamin focused on the concept of modern art development and reproduction. Due to the urge to reproduce art, there are a lot of technological production activities needed (Benjamin, 2008). The process of mechanical production eventually deprives these artworks of their original feel and aura. Benjamin argued that the absence of traditional value makes production lie upon political power, affecting an object’s intended use and value (Benjamin, 2008). Additionally, the new media can quickly get altered by those in power, thereby promoting their ideologies. The ability of modern technology to reproduce copies like in the print media strips off the uniqueness of the original piece of art.
My understanding of the quote is that the reproduction of art reduces its aura. Since it is impossible to get hold of historical objects or original works of art, most people crave authenticity and originality by having a close look. The inaccessibility of closeness deprives the individuals of experiencing the object’s aura. Due to the inaccessibility of historical arts, individuals reproduce most objects and works of art. However, consistent reproduction decays the uniqueness of the work of art. For example, print media and newspapers are produced, and, in such cases, the original information gets lost. Translation of a given art may be altered, thereby passing the wrong information. The Marxist and Frankfurt schools of critical theory are discussed to elaborate on the various changes in mass production and consumption.
The Frankfurt school of thought was concerned about the increase in mass culture attributed to technological developments and reproducing cultural products. Some of the cultural products include art, music, film, and photos. It is easy to alter the original work during reproduction, thereby creating something different from the actual product (Benjamin, 2008). As mentioned in the quote, the reproduced picture differs from the image seen by the unarmed eye showing that it is easy to alter the original product during reproduction (Benjamin, 2008). As an individual could see a shadow of a mountain from a far distance, producing a replica of a traditional object may show some similarities but strip off the aura of the initial thing.
The Marxist view seeks to enable individuals to view capitalism and see its effects on them. Through reproduction, it is easy to use technology to assert dominance and oppress others. The ruling class efficiently uses media to represent their ideologies hence staying in control. As the quote shows that it is easy to change the realities of an object, the Marxist theory also helps shed light on the fact that news media and technology influence the economy and political situation of society.
This quote is essential to communication scholars in general as it elaborates on the ways products lose their aura during reproduction. By understanding the effects of reproduction, communication scholars find better ways of maintaining originality in the information they give or other art pieces. The theories learned in the module help analyze mass culture and consumption. Through these analyses, individuals get to know the effects of technology on works of art. By understanding the concept of reproduction, communication scholars can determine better ways of creating art and alternative methods of preserving historical products. Therefore, communication scholars and individuals need to learn and understand the theories discussed.
Reference
Benjamin, W. (2008). The work of art in the age of mechanical reproduction (reprint). Penguin Books Limited.
In this essay, our task is to present modern views on aesthetics and art. We are going to discuss various standpoints as to this issue. In particular, this paper will focus on such prominent art historians as Monroe Beardsley, Peg Zeglin Brand, Collingwood, Paul Mattick, Robert Solomon., Umberto Eco, and Suzanne Langer. In addition to that, we must form our conclusion, judging from what we have learned.
First, we are going to discuss the ideas of a famous Italian writer, philologist, and historian Umberto Eco. According to him, we live in the so-called “era of repetition. The author argues that to some extent present pop culture reminds mass production. Therefore, it cannot even be called art, because art has to be unique. Moreover, Umberto Eco states that present-day art is full of archetypical images. He takes as an example various detective novels, such characters as Sherlock Holmes or Hercule Poirot have become so orthodox, that every deviation from this tradition results in our bewilderment and perplexity (p. 343). It should be mentioned that the famous novel “The Name of the Rose” by Umberto Eco is a brilliant parody of such repetition in art.
He also mentions that such “serialized production” is often imposed on us under various disguises. The writer says that very often products of modern media culture are offered to us as something original, however, it is just another variation of the same scheme. In his view, the preference is always given to the traditional scheme, because otherwise, the product will not sell well. He defines the present-day culture of “post post-modernism”
In this essay, we are going to present another view as such notion as art and aesthetics. The ideas, expressed by Monroe Beardsley can be of great interest to us. First, the famous art historian states that works of art are always dynamic, although he avoids using such a term as “a work of art”. The philosopher substantiates his argument in the following way. First, he mentions that our perception of art always varies therefore everything that has artistic qualities, cannot be static. However, he also emphasizes the fact that every work of art, especially if we treat it as some physical object, can be either singular or multiple.
Regarding singular works of art, Monroe Beardsley mentions dance. He thinks that this kind of art has dual nature. On the one hand, it is some set of movements, which have to render a certain meaning, but on the other hand, every dance can be performed uniquely. His views as to the dual nature of art are very interesting, because, they throw new light on this issue (p. 242).
Peg Zeglin Brand represents a feminist approach to art in general and literature in particular. She believes that it is hardly possible to objectively evaluate a work of art, since every person is biased in his judgment, especially if we are speaking gender relationships. In addition to that, she believes that as a rule every work of art is “marked by ideology”, for example, gender roles stereotypes. Peg Brand believes that to interpret art, we should get rid of the deep-rooted archetypical schemes that we always try to follow (p. 494).
The author often refers to the famous representative of the feminist approach, Elaine Showalter. Peg Brand agrees with the statement, that the roles of women in many works of literature should be reconsidered, in particular in terms of their social status. The author believes that the roles of men should also be reviewed, within the context of stereotypical male behavior. Overall Peg Brand believes that literary critics should pay more attention to these issues. In her opinion, it will only improve the quality of literary interpretation and criticism.
Robert Solomon in his article dedicated to Kitsch, which is often viewed as a degeneration of the present-day culture, states that it also has a right to be called art. Despite the widely held opinion that kitsch is only imitation or even mockery of true art, the author argues that we should not disregard or reject it. Kitsch is often viewed as vulgarized art, usually with a popular or sentimental appeal. However, Robert Solomon states that it reflects the peculiarities of our modernistic or even post-modernistic consciousness. Additionally, he states that Kitsch allows us to better evaluate true art because the comparison has always been an expedient way to fo find out the truth.
Robert Solomon believes that the main purpose of Kitsch art (if such formulation is possible) is to move us, invoke our most intimate feelings. He says that we tend to dissociate ourselves from Kitsch because we cannot admit that such unsophisticated art can appeal to us, which is of course hypocrisy.
Robert Collingwoods work, which is called “The Poetic Expression of Emotions” proves that the process or writing (it does not only goes for) is very often predetermined by some unconscious stimuli. Moreover, the author states that a poet (or writer) does not always take into account the needs of the target audience if any. To some extent, his views and ideas represent a modernistic approach to literature and art. According to post-modernism, any work of art is viewed as a “stream of consciousness”, aimed only at expressing one’s most intimate emotions.
Representatives of such approach in literature believed that art must not be tailored according to the needs of the audience, because otherwise, it ceases to be art. It is impossible to accommodate every work of literature to the likes and dislikes of people. It can eventually turn into a product of mass production. However, Robert Collingwood says that an artist must be able to convey his meaning to the public. His main point is that art should not be adapted to the needs of the majority, because such adaptation will squeeze the life out of it.
In the article “Virtual Space”, Susan Langer analyzes how space is used in various kinds of art such as sculpture, painting, theatre, and literature. She argues that space has to affect various senses. Moreover, Susan Langer believes that virtual space must conjure up various feelings, or probably it would be better to say associations. The author gives several examples: the Temple of Poseidon, which creates the illusion of power and supremacy (122).
In her view, it is not always possible to associate space with the feeling that it arouses. She believes that it is often determined by our subconsciousness. In addition to that, such an association cannot be logically explained. We should mention that there are many things in art, that cannot be logically explained, and space is not an exception to this rule.
Paul Matticks article “Art and Taxes” analyzes the most peculiar features of post-modernistic art. The author believes that post-modernistic artist has many peculiar features, especially if we are speaking about his attitude towards the process of creation.
Paul Mattick stresses the idea that present-day art is always self-centered, which means that the present-day artist always tries to suit himself or herself, however, at the same time he or she attempts to find a customer who buys his or her product. We may observe a very curious conflict between art and mass production. The author believes that in the overwhelming majority of cases the preference is given to mass production. Commercialization of art can only have detrimental effects on the process of creation (p. 521).
He argues that in “pre-modern times” art was elitist, which means that it was accessible only to a very restricted group of people, whereas now it is often oversimplified to suit the needs of the majority, which eventually leads to degeneration. In his view, we are standing on the verge of a new era in art, but probably we fail to notice it. Post-modernism may eventually evolve into something new.
Thus, having analyzed the views of these art historians and writers, we may conclude that present-day art begins to acquire some new features, such as commercialization and serialization. We may say that the conflict between finance and art is also very noticeable nowadays.
Bibliography
“Aesthetics: A Reader in Philosophy of the Arts State”, Palgrave, 2007
Ian Ingram, Of Ash or Lead, 2007 (Ian Ingram 2014).Self-portrait description
Ian Ingram’s large-scale self-portraits catch the audience’s attention because of their psychoanalytic content because the artist tries to represent the connections between the spirit and body in his works. This work is unusual because in spite of using traditional graphite and charcoal for drawing, Ingram does not focus on the contrast of black and white colours, but he uses all the shades of the grey colour. The work states the idea that the “location of the soul was not necessarily in the body”, and the focus is not on the man trying to breathe above the water, but on the vivid flowers on the water surface (Ian Ingram 2014). Ingram’s work is interesting because it accentuates the contrast between life and death with references to the personal vision of transcendence.
While painting, Ellie Benuska concentrates on demonstrating her relationship with the universe and her personal interpretation of the world. Thus, the artist tries to convey the idea about the contrast between the personal world and the universe. Benuska’s works are discussed as intimate expressions with the help of which the author allows looking in her world (Ellie Benuska 2014). This large-scale self-portrait is impressive because the artist demonstrates two sides of her nature. One of the depicted women is frowning, and the other one seems to be indifferent. It is possible to state the portrait represents not only the artist’s double nature but also her reaction to the specific world situations, and this openness attracts the viewer.
Oliver Duckworth
Oliver Duckworth, Pop-Pop, 2011 (Oliver Duckworth, 2014).Photography description
Oliver Duckworth is one of the artists who pay much attention to foreshortening the human body while focusing on the objects of the external world and details. It is possible to state that Duckworth’s works are most influenced by his surroundings, and many photographs are taken in the streets (Oliver Duckworth 2014). Looking at Duckworth’s photograph, the viewer sees a child as the main character, but all the attention is paid to extremely large objects such as a ball and a cup in the child’s hands. The work reminds that the objects of the external world can be very important in the people’s lives, and they even can be put to the forefront in the photograph and life.
Josh Bowe’s philosophy is based on presenting vigour objects which can be discussed as figurative and even abstract. Bowe’s painting is often discussed as intuitive because the presented characters and objects are not correlated with reality, but they are perceived as unreal ones (Josh Bowe 2014). Bowe’s paintings where the subject is associated with depicting naked persons impress because of the use of unique gloomy colours. For instance, “Canopy” is associated with screaming because the face of the depicted woman attracts the viewer’s attention and provokes the negative associations. The gloomy effects are the results of the artist’s work with textures, colours, and contrasts.
Annika Romeyn is famous for her work with micro and macro objects. The artist represents real-life objects from an unusual perspective. Experimenting on the representation, Annika manipulates the viewer’s perception of the work. Thus, the series representing the autumn leaves is unique because leaves are presented from different angles. To accentuate luminosity of the decayed nature, the artist uses watercolour (Annika Romeyn Artist Profile 2014). Annika Romeyn’s works seem to be influenced by the objects of nature, but the aspects of representation allow thinking about the revised connections between the environment and human.
Flavio Apel’s photorealistic drawings are unique because they cause the viewer to think about the drawings as photographs. The focus on the details and strokes is extreme. It is even impossible to believe that such works as “Eye Drawing 1” from the eyes series are drawn with the help of the only pencil. Flavio Apel prefers to work with micro and macro representations in order to express his vision of the human world (Flavio Apel 2014). The work provokes a lot of positive emotions because of its specific precision. The artist seems to achieve his goal to impress the viewer.
Miguel Laino
Miguel Laino, Stepping across the edge of the in-between (Miguel Laino 2014).Painting description
Miguel Laino’s artworks are philosophical and symbolic. As a result, there are many variants to interpret the artist’s main idea reflected in the painting known as “Stepping across the edge of the in-between”. Researchers note that this Laino’s work reveals the idea of maturity (Miguel Laino 2014). However, it is also possible to discuss the painting as the representation of the person’s balancing at the edge between two different worlds or worldviews. This work makes the viewer think much about the role of the white figure represented in the painting and about the choice made by the man depicted in work.
Matthew Carter
Matthew Carter, Crossing, 2011 (Matthew Carter, 2014).Painting description
On the one hand, Matthew Carter depicts real-life objects and persons while experimenting on the position of the human body in space. On the other hand, Carter discusses a lot of philosophical questions in his works. The discussed work draws the viewer’s attention to the role of the crossing in the people’s life (Matthew Carter 2014). It seems that if two men cross the road, they can change their life significantly, and these changes cannot be good because of the author’s use of many grey tones. Thus, space seems to be dangerous and full of challenges.
Frieda van Voorst
Frieda van Voorst, Pasion (Frieda van Voorst 2014).Painting description
Frieda van Voorst’s style is unique because of the artist’s use of the text in her works. The artist’s philosophy depends on the idea that the world is full of signs, symbols, and literary messages which can be easily combined. This technique allows the creation of many abstract and figurative compositions made from texts and drawings (Frieda van Voorst 2014). The artist’s work is impressive because it demonstrates the harmony of integrating the watercolour drawings and textual messages.
Lucy C Gans
Lucy C Gans, Murder Suicide (Lucy C Gans 2014).Drawing description
The works by Lucy C Gans demonstrate how it is possible to combine images and texts in order to convey certain ideas. “Murder-Suicide” is one of the artist’s self-portraits which are made in her specific technique (Lucy C Gans 2014). The position of the depicted character makes the viewer discuss the topic of the artwork as control and power. Thus, the artist seems to try to control her life. Much attention should be paid to the words because the text also plays a crucial role in creating the idea.
Various historical periods can offer different interpretations of modernity. For instance, one can speak about the cultural movement led by academic institutions. In this case, modernity can be described as the emphasis on rationality, skepticism, and logic (Harrison, 1994, p. 209). Moreover, this concept implies the rejection of mysticism and dogmatism. In turn, romanticism and realism are aimed at showing that modernity can be viewed as the search for new topics or questions that have not been examined by the representatives of the previous cultural movements. For instance, one can speak about emotional struggle of a person or social vices. In turn, impressionism can be depicted as the quest for new artistic forms or styles.
To some degree, it involves the rejection of artistic cannons which were typical of the classical art. Finally, one should speak about the representatives of expressionism such as De Stijl movement. Their interpretation implies that modernity can be viewed as the search for utility and simplicity, rather than pure aestheticism (Golding, 1994, p. 129). These are the main details that can be distinguished.
The eighteenth century art can be represented by the painting The Death of Socrates by Jack-Louis David. This picture was created in 1787 and it represents the academic or classical art. Modernity is represented through the theme of this painting, namely the last moments of a Greek philosopher Socrates, who symbolizes such aspects of modernity skepticism and rationality.
In turn, the early nineteenth century can exemplified with Joseph Turner’s picture Eruption of Vesuvius painted in 1817. It should be noted that Romantic artists often focused on natural disasters as a method of reflecting the emotional state of a person (Facos, 2011, p. 81). Thus, in this case, the subject matter and its connotations are important for illustrating the main aspects of modernity. In particular, one should speak about the search for new themes or motifs.
In turn, one can look at Camille Pissarro’s painting Boulevard Montmartre which was created in 1897. While examining this work of art, one should speak about the innovative techniques used by the author. For instance, it is possible to mention the use of paste paints which enable the artist to create a unique palette (Dorra, 1994). In turn, one should keep in mind that the emphasis on the new artistic techniques is an important element of modernity. This issue was particularly relevant for artists like Camille Pissarro.
In turn, one can also speak about the picture Composition VII created by Theo van Doesburg in 1917. While analyzing this work of art, one should focus on the prevalence of straight lines, rectangular forms, and the use of very few colors. It should be noted that the representatives of De Stijl movement laid stress on utility and simplicity as the main components of modernity. Thus, one can argue that modernity manifests itself in the techniques used by the author. Overall, this approach to modernity was particularly prominent in the early twentieth century.
On the whole, this discussion indicate that the notion of modernity has several dimensions such as the rejection of dogmatism, the search of new themes and techniques, and even radical rejection of the previous artistic or cultural canons. In turn, the artistic works discussed in this paper show how the concept of modernity evolved during the span of several centuries. Moreover, they throw light on the main values of people who represented different cultural movements.
Reference List
Dorra, H. (1994). Symbolist Art Theories: A Critical Anthology. Berkeley, CA: University of California Press. Web.
Facos, M. (2011). An Introduction to Nineteenth-Century Art. New York, NY: Taylor & Francis. Web.
Golding, J. (1994). Visions of the Modern. Berkeley, CA: University of California Press. Web.
Harrison, P. (1994). The Disenchantment of Reason: The Problem of Socrates in Modernity. New York, NY: SUNY Press. Web.
As long as human beings subsist, the world of art has existed parallel with the man as a way of perceiving, cognizing and reflecting the reality. Moreover, with the flow of the time, art proved to be not only a means of representation of existing reality by way of retrospective view, but it started to act as a medium providing a deeper insight into the essence of being, as well as into the possible ways of further developments. At times, even not realizing it themselves, creators of art forms in their works manage to foresee the future — and in this, send a warning to the whole mankind admonishing of a pending danger and providing food for thought for generations onwards. Such is the ceramic sculpture Global Death and Destruction created by a prominent American sculptor and ceramist Robert Arneson in 1982-83 and exhibited within the Collection of Modern and Contemporary Art at Stanford University Cantor Arts Center.
The first impression produced by the sight of a six-foot-tall work is that one is observing the model of the universe. Just as in the ancient Hindus believed the Earth was supported by elephants standing on a tortoise, Arneson’s three-level world is based on a kind of a missile. “War Memorial” says the monument’s rectangular base, thus stimulating the viewer’s thought to the idea of war laying in the basis of all life. War is the beginning of everything, the start, the foundation, the instigation for further events, the engine of history — thus it is the focus of the sculptor’s attention as the starting point for developing a whole story therefrom.
Being in the mainstream of cultural trends of the time, Arneson reflects on the situation in the international political arena and produces a generalized image of war, its means and its consequences. On the second level of the construction one observes a kind of volcano-shaped mountain belching out a black sphere which on closer examination and discovery of continents and oceans contours turns out to be the globe — but not the way one is used to seeing it, all blue-yellow-and-green model of Mother Earth. It is of a frightening black hue, the one reminding of soot and fumes of heavily industrialized areas where mankind seems to have forgotten the true beauty and freshness of original nature; where all flesh, man and beast seem to have been dried out by the deadly breath of mass production exhausting the once fertile and flourishing grounds.
Not only is the globe ghastly black: upon further examination it becomes obvious that the cone of the mountain and the sphere of the globe together constitute a likeness of a mushroom cloud, the one that appears at a nuclear explosion. Seized by the feeling common to the generation of his time all over the world, Arneson in his sculpture personifies the fear of a nuclear war, which, once unleashed, would stretch its deadly embrace all over the world and strangle it without any hope for salvation. The usually humorous sculptor appears in Global Death and Destruction not with a satire, but with a tragic view on the process and results of war. Witnessing the trends of the time, the extremes of the cold war, the arms race, he envisages the feasible dangers of the most up-to-date and sophisticated weapons, and depicts them as inevitable, born by war and bearing destruction.
Proceeding from the frightful base of a missile, via the ghost of a nuclear explosion, the sculpture is crowned by a no less macabre top: a man’s head, torn away from the body. The anguish of war, the convulsions of pain, the excruciating conscience of guilt for what had been done by man’s evil inventions to his own once green planet — all this reflects in the distorted face topping the pyramid of Global Death and Destruction. The mutilations of the skull, like those observed on the previous level with the globe, signify a considerable deviation from the ideal standard initially designed and stipulated by nature. Disproportion and asymmetry on the top level of the sculpture create misbalance and disharmony, conveying an impression of instability and irregularity as compared to the proportional and regular base and middle level of the construction. This, in its turn, brings about ideas of how precarious the position of man himself is in this world in contrast to the stable and imminent existence of the things created by him: war, and as a means of it, nuclear weapon.
In the distorted face on top one can discern the idea of suffering mankind — and, however surprising and unexpected the revelation may be, there emerges a parallel between Arneson’s sculpture and the symbolic image of Christian Golgotha, with a skull on top and an inscription on the hill. In this respect, there can be revealed a message sent by the sculptor: God could have suffered for mankind and saved it in His almightiness, but man himself is not capable of such deeds and he will only suffer eternally coming to self-destruction. Here the idea of apocalyptical inevitability comes to the fore, conveying the overall feeling of doom impending over mankind who in its ceaseless yearn for power and omnipotence produces creations that actually turn out against man himself, and thus makes a rod for its own back.
The multiple ideas and meanings designed in Global Death and Destruction are rendered by multiple means of sculptural expression: form, color, material blend into a single entity producing an overwhelming effect. The observer’s eye is captivated by the seemingly strict and classical geometrical forms of rectangle, triangle and circle, underlying the disproportionate and decentralized shape of the skull on top which destroys all the previous balance and harmony of basic primary forms. The color accents are set insightfully, accentuating each separate element of the construction in natural, yet catchy palette, with symbolism of colors represented in the black “pollution” of the earth and the deathly paleness of the skull. The ultimate choice of clay as a constructive material proves to be the more successful as firstly it is the material of which first Man was originally made of — and therefore the basis of all living and the ideal medium of reflecting the world in sculpture; and secondly, its roughness allows creating a feeling of brokenness, distortedness and destruction, as the eye is mesmerized by the unhinged lines of the construction.
Global Death and Destruction appears among the other exhibits of the gallery as a manifest against war — a topic which was burning both for the time of creation, and for modern world. Despite multiple international efforts, the threat of nuclear war has not been withdrawn and mankind is evidencing the results of its own military cruelty in various points of hostility. With his antiwar creations, Arneson proved to be the herald of peace as a vital issue for contemporary society — and as it appears, the topic never expires even several decades after he created his sculptures. Considering this, the choice of Global Death and Destruction and its position as one of the central works in the gallery is justified, as man in his endless pride and arrogance should be continuously reminded of the grave destructive consequences that emerge as a result of human activity on Mother Earth.
Works Cited
Arneson, Robert. Global Death and Destruction. Cantor Arts Center at Stanford University. Stanford, CA.
Sanford, John. “Stanford Acquires Sculpture by Robert Arneson”. Stanford University News Release. 2002. Web.
One of the favorite artworks observed at the Museum of Modern Art (MoMA) is Vincent van Gogh’s, The Starry Night painting. The painting portrays nature in a unique manner. It is an oil on canvas painting that projects a star-filled night sky with a moon. Van Gogh’s artistic inclinations depict the objects in the painting are swirling or in turbulent waves. Moreover, the artist chose to use concentric circles and lines painted with yellow and white colors as well as green colors scattered throughout to illuminate the night sky (MoMA). Also, the painting’s key feature is the presence of the impasto texture, which is created using a loaded brush. The village and the Bell Tower appear to be in harmony with the night sky as they are painted using the same tone as the sky. The Cypress tree is also a significant element in the painting as van Gogh projects it as a rising flame from the ground to the night sky. Such elements in the painting create an emotional and mental awakening in the audience.
While MoMA features many artists from the past and modern times, a few of them stand out. Berenice Abbott is one of my favorite artists, as she is renowned for her extensive work on built landscape photography. In particular, she popularized architecture and urban design photography with her popular New York City photographs of the 1930s. Besides Berenice Abbott, Vito Acconci also stands out as a great artist. Acconci was popular with landscape architectural photography (MoMA). However, unlike many other featured artists on MoMA, Acconci was an all-around creator as he had other interests in poetry, and video and dance performance. Given their similarity in architectural photography, Acconci and Abbott are my favorite featured artists on MoMA.
Fredric Bruly Bouabre is another favorite artist found on the website. Bouabre focused on transmitting knowledge about what is known in the universe in his paintings. He majorly codified this knowledge from different sources, usually spiritual belief systems, folklore, popular culture and philosophy (MoMA). His works were simple, consisting of colored pencils, ballpoint pens and pencils as well rectangular cardboard. Majorly, he focused on drawing everyday items and scenes he labeled as the Alphabet Bete. He created his unique way of painting, providing a new perspective on the idea of art. His works projected that paintings do not have to be done on canvas using paintbrushes. Rather than that, he chose to use simple instruments to become an artist.
Visiting MoMA also expanded my horizons and perspective on how art is viewed. In most cases, art can be taken at face value where a person is only interested in the authenticity of the art and its aesthetic elements. However, MoMA was an eye-opener to other horizons as I was able to place myself in the shoes of the artists and imagine what they intended to portray to the audience. For instance, MoMA features Claude Monet’s works and demonstrates how she was intent on not only giving the audience aesthetic paintwork but also effectively capturing the impressions in a given scene. As a result, one is able to see and observe the paintwork superficially and explore it through the eyes of the artists and what they felt at the time of its making. Therefore, by studying artwork more keenly, a unique story behind its development is revealed.
While visiting the website, the most unexpected thing was that there were audio and video attached to different paintworks. For instance, on the website, one could always go on a tour and search for any artists they would prefer to look up their words. As long as that artist is featured by MoMA, their works will be attached and a brief description of the artists and their style is described to enable those who visit the website to have a clear picture of what kind of work the artists did. While that is expected, the website has gone the extra mile of attaching audio videos from the internet about the artists and their work. Such videos and audios are not limited to the artist themselves, but to other people giving their opinion on them. Such an unexpected feature was pleasantly surprising as one could learn as much from a website visit as one could learn from a physical museum tour.
The exploration of the MoMA website allows one to experience a great deal of insight concerning art. The website provides information on various forms of art, such as architectural art and photography. It illuminates on both modern and historical artists’ works enabling one to have all the research data they need on the website. Learning that a comic book such as Ellen Lindner’s Teen Art Adventures is also part of art was an eye-opener. In essence, the MoMa allows one to see art not just from one angle – that of canvas paintings and sculptures alone – but perceive it with an open mind.
Museums are important institutions that help preserve culture through the exhibition and storage of different works of art. Most of the objects found in such facilities tend to have unique social and cultural significance. The concepts of provenance and collection management are critical whenever acquiring and storing different artifacts in different facilities. This report presents a replica of Michael Jackson’s glove as a suitable item that the Museum of Contemporary Art Australia could consider for display. It describes the cultural importance of the piece of work and how it resonates with the institution’s wider objectives and mission statement. The paper also outlines the most appropriate procedures for managing, cataloguing, and storing the glove to increase its lifespan.
Object Description
The selected object that forms the best candidate for acquisition is a replica of Michael Jackson’s glove. This piece of art is spectacular and tries to offer a glimpse of the musician’s life and how he employed revolutionary strategies to entertain his fans. The identified replica is in possession of one of my friends, who inherited it from his uncle. According to the owner’s narration, Michael Jackson’s team had designed several replicas of the famous glove that the king of pop music wore while on stage (Kehe, 2011). Only a small number of such objects managed to land in the hands of citizens during his concert in 1997 (Kehe, 2011). The fact that the specific object is accessible means that it could be valuable and capable of helping more visitors learn more about Jackson as a great musician.
In the Australian society, many gloves exist among members of different communities. Unfortunately, most of these items were mass produced with the aim of mimicking Jackson’s performances while on stage. These numerous gloves cannot be acceptable for display in any given museum since they shed little or inadequate information to the viewer (Kehe, 2011). The specific glove originated from Michael Jackson’s organizers of the 1997 concert in Australia. This fact explains why more people would be willing to associate with it and acquire additional insights about American pop culture.
The specific item that qualifies to be displayed in an Australian museum is designed for the right hand. The viewer would acknowledge that it is made using white spandex. The designer goes further to cover it using Swarovski crystals. These artistic approaches make it admirable and capable of inspiring the targeted viewer. Many people would argue that Michael’s original glove remained an iconic element of his career and wardrobe. Fans who adored his dance styles and performances would find great meaning from this single work of art. Experts would also indicate that the glove would continue to portray Michael Jackson as a great musician whose life was shrouded in doubt and mystery (Kehe, 2011). It is evident that some of the questions pertaining his personal experiences and goals might never find accurate answers.
The selected object fulfills all the key requirements for effective cataloguing in any given museum. For instance, the item would be described as a replica of Michael Jackson’s crafted glove for the right hand. In terms of material, the object is woven from white spandex and covered using Swarovski beads or lochrosen crystals (Kehe, 2011). The method of production is custom design. The masterpiece is attributable to a designer named Bill Whitten (Kehe, 2011). It was commissioned or made specifically for Michael Jackson. This glove would be identified as a memorabilia designed and produced in around 1983. This was the time when Jackson wore it for the first time during his liver performance of the famous song, Billy Jean. In 2000, the glove sold at an auction for around 350,000 US dollars. The current owner of this masterpiece remains anonymous. However, replicas like the present one are displayed in a number of museums in different countries. These aspects are informative and offer adequate information surrounding the glove. It, therefore, meets the criteria for a museum cataloguing system.
The fact that the item under analysis came from Michael Jackson means that its provenance is unquestionable. The glove originated from the American society around the 1980s. During this period, the country was experiencing numerous social and economic transformations. The era triggered various developments that led to a new wave of pop music. Specifically, more artists started emphasizing graffiti, fashion, and break dance (Kehe, 2011). These trends triggered the emergence of a cultural movement revolving around hip-hop music.
The analysis of the specific glove could help more people learn more about this cultural period and how Michael Jackson was among its pioneers. Therefore, the direct connection between this object and Michael Jackson makes it acceptable for cataloguing (Kehe, 2011). Currently, only a few gloves have been presented in the market. The identified item could fetch more than 100,000 US dollars should it be availed for auction. With the owners of most of these gloves remaining anonymous, it becomes possible to associate it with Michael Jackson and the wider American culture.
Chosen Museum
The identified museum capable of accepting and displaying the presented work of art is the Museum of Contemporary Art Australia (MCA). Over the years, this institution has been exhibiting a number of items that showcase compositions of many international and Australian musicians. For example, the facility presented the “Art/Music: Rock, Pop, Techno” exhibition between March 21 and June 24 2001 (Kehe, 2011). The curators were keen to portray the great achievements of different artists whose works entertained followers and fans across the globe. The displayed music and objects helped viewer engage with techno, pop, and rock music. The organization has held numerous exhibitions since then in support of different music genres and items.
Based on these attributes, it is evident that MCA stands a chance to accept and benefit from this object. This decision is necessary since the glove is significant and admirable. For instance, Mason (2002) observes that the work of art is in tandem with the facility’s mission to exhibit famous objects and music that are directly linked to pop culture. Despite being an Australian institution, the MCA includes works from other international celebrities whose productions and compositions remain timeless. Any form of exhibition targeting American pop musicians, such as Michael Jackson, would be more meaningful and inspirational to the viewers if the selected glove was on display (Brown, 2008). From this analysis, it is evident that the glove is capable of helping the facility attract more visitors interested in learning more about American culture.
The MCA has prioritized works of art, songs, and albums supporting the Australian music culture. Whenever there are exhibitions, it goes further to include famous items from renowned celebrities from other parts of the world. These goals show conclusively that the selected glove is appropriate for this museum. It is also in tandem with its collecting goals and priorities. The decision to accept and catalogue it would make future exhibitions more admirable and attract increasing visitors (Australian Government, 2009). Additionally, the object will make it possible for MCA to offer high-quality experiences and shed more light on the attributes surrounding pop culture and how it originated in the United States.
The cultural significance of the selected object cannot be underestimated since it guides the viewer to learn more of Michael Jackson as a great musician and performer. In 1997, Jackson visited Australia, where he had a concert a successful concert at Sydney Cricket Ground in Sydney. This event was part of his famous HIStory world tour. Based on this background information, it is agreeable that the selected replica of Michael Jackson’s glove could describe the life of the article (Kehe, 2011). From the cultural perspective, analysts would also learn more about the nature of American pop culture and how it merged different forces from other parts of the globe. It is evident that such a spectacular work of art that helps shed more light about the life of Jackson, the culture he associated with, and his subsequent achievements.
The idea of accepting this glove as part of MCA’s exhibition could help more visitors of the selected heritage site get a glimpse of Michael Jackson. They can learn more about his ambitions and he remained devoted to entertain. The move to curate the piece could also help attribute value to his concert in Australia and how it attracted thousands of fans (Smith, Lawrence, Muir, & Smith, 2019). The work would go further to communicate a sense of hope while encouraging more people to pursue their goals diligently. The individuals would also rely on the masterpiece to understand how the musician struggled with a skin condition named vitiligo (Kehe, 2011). Nonetheless, he remained resolute and ambitious in an effort to achieve most of his goals as a pop music artist.
Condition Report and Collection Management
The concept of collection management helps curators to identify exhibits that require adequate care and maintenance to minimize chances of deterioration. The nature of the selected item reveals that it is stable and might not have areas that require additional attention of conservators (Smith, Lawrence, Muir, & Smith, 2019). However, these professionals would need to implement proper mechanisms to minimize chances of deterioration and ensure that the piece of equipment is available to future generations (Frey & Steiner, 2011). Such efforts need to be pursued continuously to deliver the much needed results. The involvement of all key stakeholders would be appropriate to safeguard the intended masterpiece.
The first approach to promote proper collection management for this object is to catalogue it effectively based on the information presented above. After documenting the piece properly, the involved conservationists will select the safe environment. The professionals would also ensure that the specific internal environment at the museum is maintained effectively. The involved individuals should ensure that the layout for the glove is properly configured and less crowded. The use of proper labels would reduce chances of physical handling, thereby prolonging its lifespan (Smith, Lawrence, Muir, & Smith, 2019). The museum needs to consider the levels of temperature and ensure that they remain appropriate and stable. The use of monitoring systems would ensure that the threat of theft is reduced significantly. These attributes would also be appropriate for all the other items exhibited at MCA.
When handling is necessary, the conservationists would need to consider approaches that would prolong their use and appeal. The white spandex could deteriorate over time, leaving the crystals detached from the glove. The consideration of the best environment and proper handling techniques would help increase the glove’s lifespan (NSW Heritage Office, 2001). The concept of collection care will make it possible for the professionals involved in handling the glove to promote its perseveration and ensure that it does not suffer unnecessary or unexpected damage. Such an outcome could affect its acceptability or make it less appealing to the targeted visitors.
Conclusion
The selected artifact for this discussion helps the viewer learn more about American pop culture and how Michael Jackson helped spread it across the globe. His famous tour and performance in Australia could explain why more people would be interested in the studied glove. The move by MCA to acquire and exhibit this piece of art would help more people appreciate Michael Jackson’s achievements. They would also get a clear understanding of the global pop music culture of the late 20th century and how it impacted the global community. Proper collection management procedures would be appropriate to ensure that this work of art meets the needs of future generations.
Brown, S. (2008). Mute or mutable? Archaeological significance, research and cultural heritage management in Australia. Australian Archaeology, 67(1), 19-30. doi:10.1080/03122417.2008.11681876
Frey, B. S., & Steiner, L. (2011). World heritage list: Does it make sense? International Journal of Cultural Policy, 17(5), 555-573. doi:10.1080/10286632.2010.541906
Mason, R. (2002). Assessing values in conservation planning: Methodological issues and choices. In Marta de la Torre (Ed.), Assessing the Values of Cultural Heritage, pp. 5-30. Los Angeles, CA: The Getty Conservation Institute.
Smith, A., Lawrence, S., Muir, A., & Smith, J. (2019). Is it really that important? A Rapid Assessment System for historical archaeology collections. Australasian Historical Archeology, 37, 18-25.
A human body has been one of the major themes in art ever since it first appeared. Cave art, the paintings on the rocks, depicted ancient people and their bodies in motion. Many centuries have passed, and the perception and use of the human body in art have changed, evolved, and expanded in different directions. Today, the works of modern and contemporary art tend to reject the fixed norms and rules that used to direct classic art. This is the case because the modern understanding of the meaning and purpose of art clash with any attempts to provide a definition to this phenomenon. Practically, as defined by Merriam-Webster dictionary, art as a concept is tightly connected to the notion of skill and knowledge (“Art” par. 2). However, the contemporary perception of art does not rely on any outstanding set of skills as much as on a unique way of self-expression and communication.
Since art exists without boundaries, its contents can involve absolutely everything. Moreover, the themes and objects used by artists have become limitless; in particular, there are no longer any fixed topics or rules as to how different themes should, can, or cannot be presented. As one of the most common themes in art, a human body is now explored in a wide variety of ways and perspectives. Previously, a human body in art used to be portrayed in a range of ways based on the cultural perceptions and values (“Human Form in Art” par. 10). In the contemporary Western art, the dominant approach is extremely individualistic; and thus, the depiction of a human body varies according to the unique visions of the individual artists.
To be more precise, in art, the human body can serve as a subject, object, or a part of a performance (“Artist Rooms: Theme: The Body” par. 1). As an object, a body can be used as a material to create art; in this role, the body works as a receiver of the meaning that is provided for it by the mind. As a subject, the body is viewed as an agent that already contains certain meaning; the use of the body in a work of art is intended to expand on the meaning that has already been there and communicate it in unique and unconventional manner. Finally, the art of performance includes the human body in its motion; in this role, the body is viewed from a variety of angles and perspectives and in the combination with what is happening to it in the process of the creation of the work of art. In performance, the body is presented as a complex and changing substance; neither the result of the performance nor any particular aspects of the process are considered as definite manifestations of this art. Instead, the actual process and changes that happen to the body are the work of art.
Three different works of the contemporary art can be used as examples and illustrations of the ways the body can be used and perceived from the artistic point of view. The first example is 160 cm Line Tattooed on Four People created by Santiago Sierra in 2000. This work of art represents a video of four women receiving a tattooed line on their backs (Sierra). The video is black and white and has no sound. It is possible to think that since the bodies are being drawn on, they serve as the canvas in this work of art. However, the video presents the entire process of the four people gathering, waiting for the tattoo artist, receiving their tattoos, getting dressed, and leaving. In that way, this art is a performance, and the line on the bodies of four people is not the manifestation or it but the process of it being tattooed. The meaning of this art includes the potential events that were not included in the video such as the people deciding to have the line tattooed and become a part of this work, the simplicity of the line, its continuation throughout the four bodies of different thinking, acting, and meaningful bodies.
The second work of art selected for this paper is Plank Piece I and II that was created by Charles Ray in 1973. As it is seen from the title, the work contains two pieces both of which are pictures of a body supported by what appears to be a wooden plank (“Charles Ray. Plank Piece I and II” par. 1). In the pictures, the body seems to be weightless and powerless; it demonstrates the lack of initiative or any kind of character or motion, the person’s face is disguised. It looks like the body and the plank supporting it are juxtaposed as two different types of materials. In that way, it is possible to conclude that in this work, the body is used as an object. It is passive, soft, and bent, while the plank is straight, hard, and is an obvious basis for the construction. It is captivating how the artist managed to remove personality from the body and employ it just as an object, a material used to create a construction. Knowing the complexity and the assumed intuitive symbolism of a human body, it is a very difficult task to present it in an image where it is stripped of the entire multitude of meanings.
Finally, the third work of art is known as Shoot; it was created by Chris Burden in 1971. The idea of this work of art is characterized as outrageous because it represented the artist being shot in his arm by his friend using a rifle in front of the viewers (“Chris Burden” par. 4). The thought behind this work was to provide the audience with a real-life image of a person being shot and experience the feelings and emotions that accompany this action. First of all, this work of art is, clearly, a performance designed as a multilayered action, each phase of which carried a particular meaning. Secondly, the body used in this work was employed as a symbol standing for itself. In contrast with Plank Piece I and II, Shoot was based on the meaning of the human body as a representation of a living person. In that way, the damage caused to the body during the performance could only be appreciated from the perspective of the body’s value.
To sum up, compared to the earlier periods in art, the contemporary art is known for its boundlessness and the unlimited number of points of view on the themes explored. The human body is one of the most common themes that can be used as an object, a subject of art or as a part of the performance. In the contemporary art, the body is diverse not only in its shape but also in its meaning. In addition, the perspectives that are employed to look at the body and understand it are not dictated by any fixed norms and rules; instead, they are created by each individual artist for their specific purposes and intentions. The human body can serve as a source of a multitude of unique and unconventional ideas in the contemporary art –the approach to art that uses the most habitual objects and situations to provide them with new meanings.
It is well-known that art can heal the human mind, soul, and body. However, during these challenging times, it is much more difficult for people to visit their favorite museums and galleries to enjoy the works of art presented there. Thankfully, modern technologies allow us to share museums’ exhibits and opportunities online – and our National Museum of Modern and Contemporary Art located in Korea is not an exception. While not everyone enjoys Korean culture, almost everyone can find something engaging and amazing in our numerous collections and exhibitions. The museum’s official website allows its visitors to join an online tour showing our best artworks.
One reason why one can value our digital museum is that we offer an audio guide that will share interesting information and insights about several exhibitions. This guide is available in both audio and text formats, making it extremely convenient for various visitors. For example, one of my favorite exhibitions is “My Your Memory” – it explores the essence and impacts of memory that belongs to the whole society and functions as a method of communication. The first artwork shown in this exhibition is called “Sleep” and was created by Andy Warhol. This is a 5-hour black-and-while film in which you can see a person sleeping – this process is a significant part of memorizing. I am certain that this exhibition will not leave you indifferent and will additionally educate you about the most important aspects of memory.
Finally, virtual tours of our museum’s most impressive halls and collections are available free of charge to everyone. For those who would like to view works of art with experienced guides, we offer long (about 30 minutes) videos in which each work in a particular exhibition is commented on by one of our experts. For instance, you may visit the “Lee Kun-hee Collection: Masterpieces of Korean Art” exhibition by watching a video available on our website. Overall, our National Museum of Modern and Contemporary Art is a premiere museum. It must be visited by all people interested in art because we offer numerous digital opportunities and truly want to spread the value and wonder of Korean art and culture.
The sphere of architecture and design has always had various movements and styles popular during different periods. The three period designs that will be discussed in this essay are American Art Deco, Frank Lloyd Wright, and Mid-century Modern, which were particularly in demand in the twentieth century. These styles had a tremendous impact on modern American and global architecture and design, penetrating many aspects of contemporary life.
American Art Deco
Art Deco was a popular design and architecture movement worldwide, and it acquired new distinct features when it started to spread in America. This style was initially presented at an exhibition in Paris in 1925, where more than 15,000 artists presented their works produced using this design (Art Deco). It later gained popularity globally in in the 1930s and 1940s (Art Deco). Art Deco, which was the shortened version for arts décoratifs, was characterized by symmetry, angularity, and vivid colors (Art Deco). It was able to influence all areas of human existence, from buildings and trains to furniture and jewelry. Artists started developing this style at the end of the nineteenth century when many realized that architecture and design of that time became outdated and not visually pleasing. The two prominent artists and architects who played a significant role in generating the Art Deco movement were Eugene Grasset and Hector Grimard, who received immense support from the French government (Art Deco). Art Deco incorporated the elements of cubism and fauvism, making the final products, constructed using this style, look luxurious and modern.
Art Deco became so widespread and in demand because even though it made buildings and things appear deluxe, it utilized relatively inexpensive materials. Art Deco was not costly; hence, it has long been perceived as the “Cinderella” among many designers (Art Deco). Still, this approach allowed all classes to have access to seemingly opulent products and enjoy modern buildings in their neighborhoods (Art Deco). The implementation of lines indicated progress, balance, and speed of development of the contemporary culture. It was criticized by more traditional and conservative artists, but most viewed this style as a new opportunity for expression. Therefore, this style continues to be present in the decoration and design of buildings, interiors, transportation, and accessories.
When this style was initially introduced in the United States, it not only became favored by American architects, who developed additional features for it. In the 1920s, the U.S. did not want to engage in international exhibitions like the one held in Paris in 1925 because it wanted its architects to make Art Deco uniquely American (Art Deco). Indeed, its uniqueness was especially noticeable in newly constructed skyscrapers, becoming the symbol of the growing power of the American nation during the two world wars (Art Deco). This style allowed politicians to channel stability and growth through such constructions as the Empire State Building, Golden Gate Bridge, Chrysler Building, and Rockefeller Center (Art Deco). American Art Deco highlighted technological advancement in the U.S. as well as the distinctive trait of the American nation of finding beauty and positivity in the routine.
Frank Lloyd Wright
An American designer and architect, Frank Lloyd Wright, made a substantial contribution to the advancement of the architecture of the twentieth century. Wright developed so-called “organic architecture,” which was known to incorporate natural settings, newly invented materials, and blurred design (The 20th-Century Architecture of Frank Lloyd Wright). Furthermore, this style included spatial manipulations and geometric abstractions, resembling elements of nature. It started to spread globally during the first half of the past century not only due to its beautiful style but also because of the fact that Wright’s buildings were comfortable for living.
Since this style was inspired by various cultures and design movements, it quickly gained popularity worldwide. In fact, Wright’s approach was acclaimed by the public; thus, many buildings constructed using this design have remained nearly unchanged since the past century (The 20th-Century Architecture of Frank Lloyd Wright). His works were recognized as a national treasure since they represented the authentic views and desires of Americans who wanted to connect with nature through art.
For the U.S. government, buildings designed by Wright represented an opportunity to demonstrate Americans’ substantial influence and contribution to global architecture. Hence, all constructions are legally protected, and their management is done by the Frank Lloyd Wright World Heritage Council (The 20th-Century Architecture of Frank Lloyd Wright). The Council strives to preserve the original design and materials utilized for Wright’s works to maintain the spirit and emotions the architect experienced when generating these art pieces.
Mid-Century Modern
The Mid-century Modern design remains popular due to its sole combination of organic materials, clear lines, and retro style. It became popular in the 1950s-1980s, particularly among German designers who immigrated to the United States after World War II (What are the Common Features of Mid-Century Modern Design?). In fact, perfect geometry and minimal style seem to be borrowed from the disciplined and conservative German culture. Designers mainly worked on making furniture for office buildings, where various amenities were in demand due to the increasing number of clerks. The primary materials utilized for Mid-century Modern products were teakwood, rosewood, and oak since these trees were durable and easy to manipulate. To give the furniture a modern look, designers used glass, plastic, vinyl, metal, and even marble for decoration (What are the Common Features of Mid-Century Modern Design?). Notably, this style combined seemingly incompatible features like strict lines and smooth curves as well as versatile colors and minimalism.
Contemporary society became interested in Mid-century Modern design not only for its appearance but also due to the fact that furniture was light for transportation and comfortable in daily life. The elevated amenities made using mid-century modern design allowed to visually increase the light and space in small apartments (Epifano). Additionally, it could be easily combined with other styles (Epifano). Thus, it became trendy among the working middle class living in metropolitan areas.
Although black and white Americans lived in Modernist homes and apartments, this design was frequently utilized by the media and the government to promote racial segregation at that time. Since the latter was legal before the Civil Rights Act, newspapers often used the Mid-century Modern style to represent white families’ harmonious lives (Wilson 3). Only affluent black families, who were equivalent to white middle-income people, could afford to live in such houses, showing that this design was employed as a silent segregator in terms of race and wealth (Wilson 5). It appears that Mid-century Modern designers unintentionally built houses that symbolized the whiteness and discrimination of that period.
Conclusion
In summary, three unique designs were popular in the United States in the past century: Art Deco, Mid-century Modern, and Frank Lloyd Wright’s style. They possess common features of clear lines, diverse colors, and a wide range of materials used. However, the three had a diverse impact on American society. Art Deco popularized progress and technological advancement, Wright’s style inspired people to connect with nature, and Mid-century Modern was used by the media for the propaganda of racial segregation during the time when it was legislatively supported.
