They may be creating art in
the age of mechanical reproduction, but none of the works, not even the 102 original of Warhol's «Shadows» (1978) two of which are on display, Wade's (Untitled) X's and U's (2006 & 2008) or Wool's «Minor Mishaps» (2001) are exactly the same.
Jerry Saltz gave praise to the show and summarised it better than anyone else: «Wool's paintings of blocky letters, words, and phrases; abstract graphic fields filled with erasures; and boxy geometries implausibly synthesize the gesturalism of mid-century Modernism — now out of style, semi-forbidden — with cooler art from
the age of mechanical reproduction.
Walter Benjamin wrote of «the work of art in
an age of mechanical reproduction.»
In «
an age of mechanical reproduction,» a work's exhibition value could complete the job it had begun under capitalism.
Radically revising the meaning of art, and our sense of what painting could be, he took the idea of art in
the age of mechanical reproduction to its logical extreme — permanently breaching the wall dividing art and commerce.
Not exact matches
She transforms a photo slide into an oil painting and in the
reproduction both
of the media are challenged, the original as well as the copy
of the original, to refer to Walter Benjamin's book «The Work
of Art in the
Age of Mechanical Reproduction» (1936).
Guyton questions the value
of artistic skill in
age when Abstract Art is proliferated by
mechanical reproduction.