Walter Benjamin, “The Work of Art in the Age of Mechanical Reproduction”

“The Work of Art in the Age of Mechanical Reproduction”

Walter Benjamin 1936

I will go through his 40page essay chronologically and sum the most important factors up.

Walter Benjamin starts of by explaining art history, its development due to new technologies like coinage, print, lithography etc. He gives a basic overview of how art was influenced by each step and therefore how it was before mechanical reproduction.

He goes on explaining how the modern technology and mass production have influenced art. He describes this as “loss of aura”. He believes that a piece of art especially lived and affected us because it was unique and therefore gave us the feeling of a “here and now”. This uniqueness vanished completely.

Then he talks about what where the word aura in terms of art means and where it comes from. The special feeling an art piece had came from the rituals, the cult- especially in religious ways- performed on them before they actually became a piece of art.

He acknowledges that this aura began to disappear before mechanical reproduction but he blames especially photography to have destroyed it. The perfect duplication and visual representation possibilities-which sometimes not even our eyes could capture - started to question the originality and physical uniqueness of for example a painting. The aura, which consists of the here and now and the uniqueness was therefore completely taken away. A good example here is the difference if you go to a concert or if you only listen to the Vinyl in your home. It changed not only the perception of art, but also the whole concept of what art is. To him, photography was the first step to a politicized art.

In the next part of the essay he talks about how the “new art” focused rather on its display value and how it compensated the loss of the aura through being an attraction, pulling people towards itself.

As an example he discusses the limitations and chances the new media, especially film and photography, have. Film works through the shock effect. In difference to a play on a stage, the scenes and environments change so quickly that the observer is nearly pulled into the film (or art). Whereas before art meant being manually created, devotion, silence, concentration, contemplation and work, it now means mechanical production, shock, distraction, easy consumption and being dragged towards it. Through that he also explains why and how new medias could attract human beings that easily and effectively, it dictates us how we perceive it.

By all these characteristics of art, even the relation between the artist and the viewer distinguishes a little. It is only the function of creating the art which differs the artist from the observer. The effect it will have is calculated before, something which is only possible through the new technology. For example, a painter creates a natural distance and the feeling that the art piece is untouchable, far away from another world, a camera however wants to do the opposite it wants to overwhelm us with the reality, which has a more immediate impact on us as observer.

He finishes the essay with the statement that mechanical reproduction not only changed art in its physical appearance, but also what art is and even more our expectations what it should do. The optical-subconscious reception grows stronger and that the loss of individuality in art is now contemplated by the intense effect on masses. Art is therefore enjoyed rather instructive- there is not much imagination- and critical, as the value of uniqueness has no influence anymore on how we perceive the piece.

Written by: Octavia Mettenheimer

How luxury commercialized art

Louis Vuitton decided to cooperate with a contemporary artist called Olafur Eliasson.

In 381 stores, the artwork called ‘Eye See You’ was installed according to his specifications. In this essay, the author is talking about how cultural products are being made to serve commercial interests using this partnership as an example.

Art used to link with the divine. The author wrote, “art has traditionally been called into the service of human social interaction with the divine or incomprehensible.”

But art has become mixed with our commercial capitalist culture, stifling artists’ creative subjectivity. As the author said “Subjectivity is linked to authorship, and when authorship becomes a brand name with little to no emotional resonance, as it does here, the work feels empty no matter how spectacular its form.”

Likewise Eliasson’s work has been reduced to a mere advertising tool for Louis Vuitton.

In fact, the very form of the artwork makes it impossible to engage with it.

The artwork consists of a circular arrangement of lights with the appearance of a human eye. But the lights are too bright to look at directly and the location, in the shop window of a busy New York street, causes further problems. It is awkward to stop to look at the work in detail because of the constant stream of traffic and passersby. Furthermore, under certain lighting the shop window merely reflects the viewers’ images back on themselves.

As a result, it is impossible for the viewers to connect with the artwork and thereby impossible for the viewers to make any meaningful critical judgments.

The author explains the path that art has taken since the rise of avant-garde in the nineteenth century. Before the avant-garde, art depicted images of the divine.

But avant-garde artists believed that the beauty of art could arise from the artists’ unique subjectivity. Art no longer served a socio-political purpose, but rather was produced in the name of art for arts’ sake. The withdrawal of high art from its social role led to a separation, as described by Clement Greenburg, into avant-garde (high art) and kitsch, which involved the production of commercialized images that borrowed from the idea of art. However, the author argues, what we called art nowadays has become commercialized to the extent that collectors will pay millions for work by Damien Hirst or Tracey Emin before it has even been made. In other words, artists have turned themselves into brand names. Therefore it is not surprising to see an artist like Eliasson collaborating with a fashion brand like Louis Vuitton.

But this also reveals an attempt by Louise Viutton to raise the status of their fashion goods to that of high art. It is worth noting that they formed this alliance with the artist Eliasson at a time when they were shifting their methods of production from hand-made to an assembly-line, calling into question the high prices charged for their luxury goods.

Louis Vuitton is using Eliasson’s art as an advertisement to sell handbags, but the author sees this as dangerous for art. Art is a much higher form than mass-culture, such as advertisements, and so people have an expectation to be inspired by art that gives art a so-called “aura”. Work such as Eliasson’s exploits this expectation. The aura is not contained within the work, rather the viewer, believing it to be art, imposes an aura upon it themselves.

The author writes that “beauty, self-criticism, careful looking, contemplation, inspiration in oneself and others, and a feeling of social connection are all human qualities fostered by art”. However, if we accept commercial art, there is no longer any guarantee that this value would be found in any art object. She argues that we must not confuse mass-culture with art, because we risk losing art itself.

By Yelim hong

Flex Jet with Abercrombie & Kent

The FlexJet motto: Our journey to exceed expectations is non-stop

We recently discussed the current issue in luxury travel with private jet ownership and emissions. FlexJet, introduced in 1995, is a company the offers fractional jet ownership, sharing planes and travel with other exclusive owners. Abercrombie & Kent, founded in 1962 for safari travel, is a leader in luxury travel plans and group voyages to over 100 destinations. The new alliance will give benefits to existing clients in both companies and create new standards for luxury travel.

Above

Thanks Irina for sharing this luxury sustainable magazine called Above, view it here

Chanel - Colette

Here are some photos of this fashion week pop up collaboration, thanks Djinane :)

Illustrator Soledad will be customizing bags, more at the Chanel blog

Current Issues in Luxury

Not so cool: Once the ultimate luxury and sign of true success, the private jet is becoming a taboo of waste. Private jets, also called "general aviation" instead of commercial, contribute 2% of greenhouse gases and are seen as environmentally unsound, especially when they carry only one or two passengers. A recent article describes declining sales since 2008 and asks if small jets may be dying.

Top concerns in the luxury industry:

1. Counterfeits & Copyright Infringement

2. Globalization & BRICK

3. Humanity & worker respect

4. Environment & sustainability

5. Technology, internet & digital capabilities

6. Creative directions, editions & collaborations

7. Economic viability, leadership

1. Counterfeits & Copyright Infringement

We are starting with counterfeits because we covered this last week. We concentrated on the black market sales of counterfeit goods and the government control of the illegal activity.

There is an additional aspect of inspired and copied designs which are not illegal counterfeits but are copyright infringement. Below a legal battle between Burberry and US retailer T.J. Maxx simply concerned the sale of "similar" plaids. Imitations effect the overall uniqueness of a luxury good.

2. Globalization & BRICK

The force of globalization is a coming together of economic, cultural, political and technological systems around the world. Luxury always aims for the global consumer, to be the best among all nations.

There are 3 main aspects:

-globalization of production: parts developed in many locations to produce one product

-globalization of markets: products from many places available in one marketplace

-globalization of the economy: transnational alliances such as the G-20 & IMF control the world economy

Brazil, Russia, India and China have aligned forces as BRIC which in some analyses also includes South Korea as the strongest emerging markets for the 21st century.

Brazilian luxury department store Daslu is a prime example of BRICK strength. The store includes not only the best luxury products from around the world but offers luxury services such as children's day care and psychiatrists.

Globalization means selling to more informed global consumers. McKinsey reports show that consumers now look at following:

-The hunt for value

-The desire for the exceptional

-The search for meaning (added value)

-The online migration

-Openness to emerging markets

3. Humanity & worker respect

Humanity and worker respect declined with the disappearance of artisan guilds and unions. Now most workers must defend their own rights. Globalization has encouraged companies to be more considerate of their outsourced labour but luxury brands are still problematic as the report on Ralph Lauren, below right indicates.

4. Environment & sustainability

The green trend has been especially influential in luxury tourism where environment is especially important. Below left the Taj Exotica Maldives and right the Club Med Almadies Senegal both use sustainable materials and have low impact daily operations.

5. Technology, internet & digital capabilities

Technology is the prime site for strategic luxury growth. Social media is still a grey area for commodification but mobile devices are the top target for expansion. Below Luxury Society's Digital Agenda provides luxury technology stats for 2010.

Below luxury brands' website availability in other nations. Hermes and Jimmy Choo have the greatest global presence while YSL and Marc Jacobs the least.

6. Creative directions, editions & collaborations

Like any era, luxury companies must maintain creative vitality. The creation of limited editions has increased entry level luxury along with lower priced labels and collaborations like H&M. While the variety expands the luxury market, some argue it weakens label exclusivity and strength. In the next decade, luxury directors must think of ways for creative growth without compromising integrity and value.

7. Economic viability, leadership

The economic downturn in 2007 challenged the luxury industry. In order to stay alive, some small companies sold to larger corporations for security and direction. By contrast, Taittinger, returned to family ownership and small scale integrity and authenticity in production. See a profile here.

Addtional examples of small scale production are Lesage embroidery for Chanel above, and Christian Louboutin below, who limits his red bottomed shoe production and the store size.

Finally, part of economic leadership is noblesse oblige. Luxury companies with huge profit margins can benefit by giving back. Below Louis Vuitton hosts the Espace Culturel for global artists and it also economically funds educational art programs.

Copyright Infringement

Here are some images of an article on knockoffs in Australia. Read the full story here.

How Luxury Lost It's Luster: New Luxury

by Diana Christe

Nowadays, luxury seems to be everywhere we go. In every big, small and far off city, luxury is overwhelming our daily lives- whether its being advertised on the walls or being sold in your nearest mall- even hotels and cars are bearing designer labels. Buying and selling luxury has become less of a unique experience and more of a business competition around the world with less and less attention to detail.

Where has the real luxury gone? Does it still exist? without including the word "mass".

In most large brands such as Louis Vuitton, the experience of buying a product is identical no matter which city you're in. It has lost uniquness and if a customer spends more than fifteen minutes selecting a shoe, the sales assistants get frustrated. There are very few luxury brands who have maintained the special treatment that is associated with luxury. However, Loubutin is one of them.

The difference between Louboutin and LV is that Louboutin is still owned by its founder, who has very little interest in the business aspect of the company. All his attention is focused on designing a beautiful pair of shoes. In fact when asked about the sales of a year, he has no idea and he refuses to put up advertisements or sell his company.

Another brand who have maintained the meaning of luxury is Daslu in Sao Paolo Brazil. Every customer is treated like royalty, but more importantly, like a friend. They have helpers guide you through the store and help you choose the best outfit for you. In Daslu there is everything from a chapel to get married, from the best fashion brands, to even car retailers. Its the experience of a lifetime, and thats what luxury should be.

“LUXE REDUX” Jeanie Casison

by // DA

The financial crisis has impacted the world leaving us with “do more for less.” For many people luxury is about authenticity, practicality and sustainability not about having the latest status symbol. There’s a new sensibility to value. Value became the “in” thing. Shifts in priorities and lifestyle preferences have occurred.

Exclusive merchandise brands and travel experiences still have a place in corporate incentive programs though luxury has a new luster. People want meaningful luxury, products that make experiences different in their lives.

Corporate social responsibility is part of this new sensibility. Anything that wraps a humanitarian or philanthropic element is quite appealing now. It became about finding the core values and contributing to society, the emotional elements of doing good work.

As a response to the recession people who would indulged in designer goods and brands at a price that was their luxury all of a sudden decided it was irresponsible to want diamond when the world markets were collapsing. Companies in designer luxury goods started to offer new items at a more reasonable price – mini collections.

Due to the attitude change, Cartier, still doing well today though that’s because its not about a diamond-encrusted watch but a performance watch. With people staying home relaxing with friends and family, electronics has become a high redeeming category in merchandise.

“Luxury is constantly being redefined. Now people are very much hungry to know why great things or services cost what they cost – a sense of connoisseurship. People want value, the unique.” Luxury is more about creating an emotional connection today.

I came across this a month or so ago, it an american company called "thursday bag" so you may have already seen them, i only just thought to post them. they are canvas tote bags, with what i belive is a digital print of the iconic birkin bag

they are being sued by hermes, but i thought it was just interesting, and actually quite funny.


posted by Hari Greenough