Walter Benjamin

In “The Work of Art in the Age of Mechanical Reproduction”, Walter Benjamin relates the notions of art, tradition, ritual, and aura. Benjamin focuses on the unique relationship between art and tradition, and how this correlation enhances a work’s aura. The concept of aura was previously introduced to Dr. Cummings class in relation to Baudelaire’s “The Painter of Modern Life”. Baudelaire utilized the term aura to describe the aesthetics of a decade’s culture, specifically focusing on fashion to demonstrate his theories. The term aura, in association with “The Painter of Modern Life”, embodies movement and reoccurrence. By referring to a culture or decade in relation to an aura, the culture is not confined to specific beginning and ending dates; instead, it is granted the ability to reemerge from history and appear in the present.
Baudelaire chose to illustrate his opinions using fashion; Walter Benjamin applies the concept of an aura to art. He believes that only the original (authentic) work of art retains an aura because of its specific history. In the second section of Benjamin’s article he discusses the difference between authentic art and replicas. “The authenticity of a thing is the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced” (Benjamin, 21). Benjamin’s preference for authentic pieces is directly related to their individual and unique history. Like Baudelaire, Benjamin is associating a cultural aspect, art, with the ability to move through time and retain history; therefore, associating the work with an aura.
This unique association guides Benjamin’s argument against mechanical reproduction. Benjamin relates history to tradition and ritual. His theory is that the unique history of art allows it to be imbedded in tradition (Benjamin, 22). A replica of art is missing history; it does not encompass the works unique existence. “For the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual” (Benjamin, 23). Walter Benjamin believes that art should never be completely separated from its original ritual function, from its history. However, by mass producing art for exhibition value, our culture is rejecting its history of tradition and therefore its aura.
Personally, I understood Benjamin’s main point to be that replicas of art and the film industry have changed human perception of art. Art was historically created to be functional. In the time of the Greeks, even replicas served a function. By reproducing a piece, a pupil was learning technique from it. The replication process was used as teaching utensils. Art had ritual value and was appreciated for that value. Authentic works of art consist of more detail, use, and meaning than could ever be correctly imitated. No matter the physical accuracy, a replica will always lack in historic value, and therefore the aura, or traditional art. Before, art was celebrated for its cult value. The cult value is the actual existence. Human perception has shifted to focus and value more on the exhibition of art, the process of viewing it. Film best depicts the exhibition value. A films primary purpose is it to be viewed. Though some may argue the performance or plot of a film gives the film industry artistic merit, Benjamin would disagree. The film industry needs not to respect the performance as a whole because the camera and screen present it. A stage actor can adjust to the audience to optimize the audience’s contact with the piece; a film actor does not have this opportunity. Because of this phenomenon, the cult values of the art cannot be exposed. Overall, because of mass production of art, art itself has lost its aura, and therefore its value.

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