"The Starry Night"
I am a huge fan of Vincent van Gogh. Vincent van Gogh's masterpiece "The Starry Night" was created in 1889 and is a genuine, original work of art that truly reflects the artist's vision and skill. It represents a unique and personal expression of van Gogh's thoughts and emotions, showcasing his distinctive style and creativity.
Vincent van Gogh's "The Starry Night" is a prime example of Walter Benjamin's concept of aura, which refers to the unique presence and authenticity inherent in an original work of art. The painting, with its bold colours, swirling forms, and distinctive style, embodies the artist's vision and is an iconic and original work. Its authority is derived from its direct connection to the artist, being a product of his personal experiences and artistic choices. The painting's authenticity is a testament to its originality, as it remains unaltered and unmanipulated by external forces, thereby preserving the artist's vision and historical context. This authenticity has contributed to the piece's enduring significance in the art world, showcasing the artist's indelible mark on art.
Contemporary Digital Media Creation's Aura
There are different views on whether mass media can be considered as having an aura or not. Walter Benjamin proposed the concept of the aura, which refers to the unique quality of traditional art that diminishes in the age of mechanical reproduction. However, with the advent of digital media, the idea of the aura may be approached differently. Digital artists can leave their unique digital signatures on their work, which contributes to the authenticity of the piece. The authenticity of digital art is tied to the artist's process, intent, and originality. By infusing their creations with personal experiences, emotions, and unique perspectives, digital artists can create pieces that possess a sense of authenticity. Even though digital art lacks the material uniqueness of traditional art, the experience of interacting with a digital piece can still be unique and carry a sense of authenticity. In conclusion, while the concept of the aura may need adaptation in contemporary digital media, certain digital creations possess unique qualities, authenticity, and a distinctive presence that resonate with aspects of Benjamin's original ideas.
Modernism
Modernism in art and media emerged in the late 19th and early 20th centuries as a response to the Industrial Revolution's profound societal changes, aiming to reflect the modern experience in art and media. Modernism was a period marked by a departure from traditional norms, and a focus on innovation, individual expression, and progress.
Even though we are living in the postmodernism period, some modernism's principles continue to shape artistic, architectural, and intellectual endeavours in contemporary culture. For instance, modernist architects used steel and glass in skyscrapers and glass facades, focusing on clean lines and functional design. Today, many urban landscapes feature these buildings, reflecting the modernist emphasis on functionality and a departure from traditional ornamentation. Or in contemporary interactive art installations incorporate modernist principles, blending visuals, sound, and audience interaction. These immersive experiences engage viewers on a sensory and intellectual level, breaking traditional boundaries and involving the audience in the artistic process. These installations often echo the experimental spirit of modernism.
Anti-modernism
Recent intellectual life has seen a shift in the consensus that modernity has been a disaster, with conservatives now identifying with post-modernist positions like poststructuralism or postmodernism (King, Curtis and Thompson, 1991). Modernism values innovation and transformation in art, literature, architecture, and social organization, while anti-modernists advocate for the preservation of traditional values and beliefs. They believe that technological advancements are better, stability during rapid change and the erosion of community bonds and spiritual connections are reasons for opposing modernity.
References:
King, R.H., Curtis, G.M. and Thompson, J.J. (1991) ‘Anti-Modernists All!’, The Mississippi Quarterly. Edited by M.E. Bradford, R.M. Weaver, and G. Core, 44(2), pp. 193–201.
