Walter Benjamin Reading

When a work of art is reproduced, it looses its uniqueness, however, each time any person views it, their perspective is shifted slightly each time. Therefore, no matter if the work is an original or a reproduction, it is always unique each time it is viewed. If multiple persons view the work, no two will perceive it the say way, or even if just one person looks at the work multiple times, their thoughts and perception will change each time.

I disagree that the act of reproducing a work, or photographing something done in the studio is not art. I believe that the process of creating art in itself IS a work of art. Saying that it is not a work of art is almost like saying a performance is not a work of art, and I'm sure I can find many people who can agree with me on that one. It's like the quote, "actions speak louder than words"; every action is a defining moment, and if we so choose, by acting we can define art.

The Aura

The Walter Benjamin reading defines the "aura" as "a strange tissue of space and time: the unique apparition of a distance, however near it may be." (104). In other words, the aura is the legend behind the artwork; it involves the context in which the art exists. To better understand, imagine an artwork that has rested at a single site for centuries. It has become part of the local culture. Stories and myths have formed around the work, giving it character. This accumulation of cultural context creates the aura. Benjamin argues that the aura is only awarded to original works. Replicas, however successful in their recreation, will never attain the "unique apparition." I agree that an original work should always be awarded more reverence, but Benjamin throws photography into the "replication" category. At the time of this text's publication, photography was completely film based; a darkroom was required to create any sort of print using a negative. I suppose Benjamin considers photography a replication because the negative is technically the original. (He is correct in this sense.) But, to say that photography cannot have an aura is simply incorrect. There are countless photos that command admiration as an artwork and fit Benjamin's definition of the aura.

Here are a few examples.

The Work of Art

All artwork, be it sculpture or painting, has an 'aura'. Aura is what an original artwork has such as the mystery behind its meaning and/or making.

Ex: The 'Mona Lisa' is a very famous painting. Everyone imagines what it would be like to actually see it in person. It is a beautiful piece which many to expect to be quite large when in actuality it is quite small. There are other things about the 'Mona Lisa' as well as other works that help to explain 'aura'. This is just one example.

As there are originals, there are also replicas. When an artwork is replicated, it still maintains the aura of the original. When someone does not know that the replica is a replica, it holds just as strong an aura. However, once someone discovers that the replica is a replica, most definitely not the original, the aura fades. The replica still holds a mystery, but it is not as strong as the mystery held by the original.

Benjamin argues that photography, and even printmaking to an extent, does not have an aura at all. The reason for this is that it is not made by human hands. This can be argued as false since it is indeed by human hands that the image is shot. The photographer must look for the image and make sure everything is in focus and so on. Once the image is taken, the photographer may leave the image be or edit it either in PhotoShop or the dark room. Either way, human hands are at work, even if it is through a machine.

Autoethnography

Walter Benjamin's various autobiographical writings focus on a sense of self that is thoroughly grounded in experience and observation. As Susan Buck-Morss states, "Benjamin perceived his own life emblematically, as an allegory for social reality, and sensed keenly that no individual could live a resolved or affirmative existence in a social world that was neither."

This, to me, means that an autoethnography is when someone writes an autobiography with or without the intent of using their own life to explain a deeper meaning. Such as Walter Benjamin maybe using his own life as an allegory for social reality. As Wikipedia states: "Ethnography (from Greek ἔθνος ethnos = folk/people and γράφω grapho = to write) is a qualitative method aimed to learn and understand cultural phenomena which reflect the knowledge and system of meanings guiding the life of a cultural group." Thus, an AUTOethnography must be when a person uses their own life to write an ethnography in the hopes of better understanding their own life or the life of the people around them.

This is what I mainly got from the reading. Although, after looking up the definition (again from Wikipedia: http://en.wikipedia.org/wiki/Autoethnography) it seems that whereas an autobiography is when the writer is retelling their life story, an autoethnography is when a writer explains their EXPERIENCE with life. Ethnography focuses on the beliefs and practices of others while autoethnography focuses on the writer's subjective experience. Hmm... This is beginning to make sense but still be a little confusing...

Any thoughts? I feel I'm rambling.

Autoethnography: Journeys of the Self Reading

After reading this article, I was still confused on what exactly autoethnography meant. According to Wikipedia (no other dictionary had a definition), the word "autoethnography" means "a from of autobiographical personal narrative that explores the writer's experience of life". This definition seems repetitive saying "autobiographical" and "personal" because an autobiography is already a firsthand account about someone's life. My interpretation is that an autoethnography is basically an autobiography analyzing an aspect or theme of life that has resonated with the writer.

I believe that Catherine Russell is trying to say that in "A Berlin Chronicle", Walter Benjamin is successful in creating an autoethnography because there is a reoccurring theme of memory. Russell continues to explain that Benjamin offers a few segmented memories, but he does it with in depth detail.

I think everyone at this point in their lives can relate to the idea of memory because that is how we remember the past. Even though we may not remember all of it, the most powerful events stay with us and we are able to recount those for years to come. This directly relates to the idea of storytelling because it shows how important it is for humans. Not of all of us will go on to write an autoethnography, but our stories will continue through time through the power of memory and speech.

Dallas Museum of Art

I recently went to the DMA for a project in my painting class. This was my first time going to the museum and I probably would have never gone if it was not for a school project. The DMA has a has an incredible amount of art ranging from all time periods and cultures, such as European painting and sculpture, Arts of Africa, Asia, and the Pacific, Arts of the Americas, and Contemporary Art. The American decorative arts has one of the most important holdings of American silver in the world. Anyway, while I was there, I looked for any form of video art or video installation. All I could find were some televisions in the interactive room (where children can make arts and crafts, etc.) displaying different images of art, landscapes, and architecture. I think those televisions can be used by people to show their work or promote something.

Overall, the DMA is worth visiting because anyone can definitely find something that sparks their interest. With a student ID, it costs $5. And every Thursday night between 5:00 p.m. and 9:00 p.m., admission is free for students and educators with a school ID.

I will actually be returning to the DMA when the Jean Paul Gaultier exhibit opens. The fashion is supposed to be absolutely breathtaking. The exhibit will display pieces he made for Madonna and Kylie Minogue. Here is the link to the exhibit on the DMA website.

http://www.dallasmuseumofart.org/View/Gaultier/index.htm

Maya Deren Films

The Witches Cradle
Part 1


Part 2


Meshes of the Afternoon


A Study in Choreography for Camera
http://www.ubu.com/film/deren_study-in-choreography.html

Ritual in Transfigured Time


The Private Life of a Cat


Meditation on Violence


Medusa
Could not find.

Ensemble for Somnambulists


The Very Eye of Night


Season of Strangers
Could not find.

Divine Horsemen: The Living Gods of Haiti