The techniques of printing and lithography have long since removed the direct relationship between the original product of the author - his manuscript - and his public. Now, the same goes for the music transmitted to amateurs by the media. The visual arts testify to the same evolution, with large-scale printed reproduction. In 1936, reflecting on the consequences of photography, cinema and mass reproduction processes on art, the philosopher Walter Benjamin believes that this reproducibility makes the work lose its "aura", this almost sacred radiance from which benefits an authentic work of art. In its place are developing forms of mass cultural consumption. Art is then affected right down to its conception by the means of its dissemination.
To organize our reflection, we will look at different works: a Nazi propaganda poster warning against espionage, a photograph taken in Marcel Duchamp's studio in 1918 presenting the Shadows of the readymade, and finally Shadows, a work by Andy Warhol constituted of one hundred and two screen-printed canvases dating from 1978. Through the study of this corpus, a problem emerges: does the reproducibility of the work of art transform it into an object of consumption, and more broadly into a useful object? We will try to answer this question by analyzing the dematerialization of art, seemingly irreproducible, by invoking the notion of shadow common to the three documents analyzed. Then we will see how the notions of utility and functionality are closely linked to the exhibition value of the work. a Nazi propaganda poster warning against espionage, a photograph taken in Marcel Duchamp's studio in 1918 showing the Shadows of the readymade, and finally Shadows, a work by Andy Warhol made up of one hundred and two screen-printed canvases dating from 1978. Through the study of this corpus, a problem emerges: does the reproducibility of the work of art transform it into an object of consumption, and more broadly into a useful object? We will try to answer this question by analyzing the dematerialization of art, seemingly irreproducible, by invoking the notion of shadow common to the three documents analyzed. Then we will see how the notions of utility and functionality are closely linked to the exhibition value of the work. a Nazi propaganda poster warning against espionage, a photograph taken in Marcel Duchamp's studio in 1918 showing the Shadows of the readymade, and finally Shadows, a work by Andy Warhol made up of one hundred and two screen-printed canvases dating from 1978. Through the study of this corpus, a problem emerges: does the reproducibility of the work of art transform it into an object of consumption, and more broadly into a useful object? We will try to answer this question by analyzing the dematerialization of art, seemingly irreproducible, by invoking the notion of shadow common to the three documents analyzed. Then we will see how the notions of utility and functionality are closely linked to the exhibition value of the work. a photograph taken in Marcel Duchamp's studio in 1918 presenting the Shadows of the readymade, and finally Shadows, a work by Andy Warhol made up of one hundred and two screen-printed canvases dating from 1978. Through the study of this corpus, a problematic emerges: does the reproducibility of the work of art transform it into an object of consumption, and more broadly into a useful object? We will try to answer this question by analyzing the dematerialization of art, seemingly irreproducible, by invoking the notion of shadow common to the three documents analyzed. Then we will see how the notions of utility and functionality are closely linked to the exhibition value of the work. a photograph taken in Marcel Duchamp's studio in 1918 presenting the Shadows of the readymade, and finally Shadows, a work by Andy Warhol made up of one hundred and two screen-printed canvases dating from 1978. Through the study of this corpus, a problematic emerges: does the reproducibility of the work of art transform it into an object of consumption, and more broadly into a useful object? We will try to answer this question by analyzing the dematerialization of art, seemingly irreproducible, by invoking the notion of shadow common to the three documents analyzed. Then we will see how the notions of utility and functionality are closely linked to the exhibition value of the work. work of Andy Warhol made up of one hundred and two screen-printed canvases dating from 1978. Through the study of this corpus, a problem emerges: does the reproducibility of the work of art transform it into an object of consumption, and more broadly into a useful object? We will try to answer this question by analyzing the dematerialization of art, seemingly irreproducible, by invoking the notion of shadow common to the three documents analyzed. Then we will see how the notions of utility and functionality are closely linked to the exhibition value of the work. work of Andy Warhol made up of one hundred and two screen-printed canvases dating from 1978. Through the study of this corpus, a problem emerges: does the reproducibility of the work of art transform it into an object of consumption, and more broadly into a useful object? We will try to answer this question by analyzing the dematerialization of art, seemingly irreproducible, by invoking the notion of shadow common to the three documents analyzed. Then we will see how the notions of utility and functionality are closely linked to the exhibition value of the work. apparently irreproducible, by invoking the notion of shadow common to the three documents analyzed. Then we will see how the notions of utility and functionality are closely linked to the exhibition value of the work. apparently irreproducible, by invoking the notion of shadow common to the three documents analyzed. Then we will see how the notions of utility and functionality are closely linked to the exhibition value of the work. seen in Etudier © Gerard Van Weyenbergh - vwart.com
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