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5 effects the industrial revolution had on art
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The term ‘Mass Production’ refers to the process of creating large numbers of similar products with efficiency. It is disputable that the process of mass production is argued to take away the initial value and rarity of an artwork. However, mass production in art may take objects that are normally seen as mundane and transform our perceptions and give them new value and meaning. This notion is highlighted through the works of Andy Warhol, who worked with regular, everyday items to give them a new, exclusive look though his practice. Kathe Kollwitz disregarded the convention of mass production decreasing the value of art and massed produced her works with the intention to make them accessible to the working class of Germany during World War II. Ai Weiei has also utilised mass production to create ‘Sunflower Seeds’ …show more content…
Many artists have found great success by utilising mass production to assist their works, but whilst mass production does create copious amounts of similar looking works, there are also disadvantages that comes with this process. The value of an artist’s work may decrease the more that the work is duplicated and may lose meaning through the masses; this notion is similar to the process of hyper inflation - as money can lose value, so can the rarity of an artwork.Although, this ‘loss of value’ may be intended, as seen through Kathe Kollwitz practice and the distribution of her lithographs and various prints. However, some artists may not be affected by this loss of value. For example, the ‘Mona Lisa’ is one of the world’s most recognisable and distinguished artworks. But even though the Mona Lisa has been replicated and recreated through parodies and has been appropriated countless times, the original painting by Leonardo da Vinci still remains to be one of the most sought after
Products of the culture economy take on the appearance of artwork but are in fact dependant on industry and economy, meaning that they are subjected to the interests of money and power and producing a profit “The whole world is passed through the filter of the culture industry” . To Adorno the production of art and consumerism is driven and shaped by the logic of capitalist rationality, meaning consumer products are created on the basis of whatever will sell best.
Known for being the father of Pop Art, and a giant in pop culture, Warhol dominated the art scene from the late fifties up until his untimely death in 1987. However Warhol’s influence spread further then the art world, he also was a major player in the LGBT, avant-garde and experimental cinema movements. Born in 1928 in Pittsburgh, Pennsylvania to Slovakian immigrant parents, Warhol came from humble beginnings. Becoming widely known for debuting the concept of ‘pop art’ in 1962. Warhol’s reach grew further when he started experimenting with film, becoming a major player in the LGBT, avant-garde and experimental cinema movements. Warhol’s artist studio, known famously as ‘The Factory’ became a hub for experimentation, and a go-to point for celebrities, musicians and trans folk. During this time, Warhol came out as an openly gay man, challenging the status quo of the day, a time when being homosexual was illegal. While also producing highly experiential films such as ‘Blow Job’ (1964) and ‘Sleep’ (1964) which were highly political and provocative, at the time. As art critic Dave Hickey asserts, “Art has political consequences, which is to say, it reorganized society and creates constituencies of people around it” (Hickey, 2007), Andy Warhol’s art and lived experience created a political constituency which can be best recognised in the function of the “Silver Factory” on
In this paper I aim to analyze Becker's and Moretti's approaches when they make sociological studies of art. Their approaches have in fact opposite characteristics. Becker is more interested in the creation of the art works that are created in different art worlds. Becker's approach is related to the supply side of the art worlds. He analyzes the networks, ties and relationships that helps or directly contributes to the art works. However, Moretti's approach is quantitative and he analyzes how the consumers of the art works affect the created works. Those fluctuations of the demand affect the styles, genres and so on. He says that quantitative data helps us to analyze the forces that drives the art works to change. However, if I were to start
According to Tocqueville in aristocratic times the purpose of creating the arts was to produce the best artwork spending a great amount of time on it perfecting it and selling it for a high price. However, in today’s society the way to get rich is to sell your artwork for a cheaper price by manufacturing more quantity but with cheaper materials less in value, reproducing the artwork quicker and cheaper. Today all ranks of people can afford to buy a replicated artwork, which can easily be mistaken for the real thing. They are so highly perfected it is hard to tell apart what is original and what is not. They are many artistes today however; the quality of the production has
It corresponded to the emulation, which emerged among the lower classes of the postindustrial era, to pretend to have a good taste of art like the upper class. After the Industrial Revolution, the underprivileged, who had previously produced things to fulfill their own daily needs, turned into the working class of the urbans, producing things whose value in daily usage they would never see . This shift from crafting to manufacturing, from formulating to fabricating, and from creative to repetitive triggered a new need among these people. Although they did not have the time or education to enjoy and appreciate fine arts when they were in the countryside, the lower classes felt a new inclination towards art in the factory towns where they had the opportunity to observe that taste in art provided social status. Their desire to own works of art was precluded by their incomes which were no match for the high prices of the art market. With the aid of the mass production technologies and the manufacturing-commercial culture that followed, it became possible to produce multiple copies of artistic works and reduce the prices. This situation not only expanded the scope of art market but also provided the lower class with what they desired –or at least what they thought they desired: affordable art
Though most works of art have some underlying, deeper meaning attached to them, our first impression of their significance comes through our initial visual interpretation. When we first view a painting or a statue or other piece of art, we notice first the visual details – its size, its medium, its color, and its condition, for example – before we begin to ponder its greater significance. Indeed, these visual clues are just as important as any other interpretation or meaning of a work, for they allow us to understand just what that deeper meaning is. The expression on a statue’s face tells us the emotion and message that the artist is trying to convey. Its color, too, can provide clues: darker or lighter colors can play a role in how we judge a piece of art. The type of lines used in a piece can send different messages. A sculpture, for example, may have been carved with hard, rough lines or it may have been carved with smoother, more flowing lines that portray a kind of gentleness.
In existential thought it is often questioned who decides what is right and what is wrong. Our everyday beliefs based on the assumption that not everything we are told may be true. This questioning has given light to the subjective perspective. This means that there is a lack of a singular view that is entirely devoid of predetermined values. These predetermined values are instilled upon society by various sources such as family to the media. On a societal level this has given rise to the philosophy of social hype. The idea of hype lies in society as the valuation of something purely off someone or some group of people valuing it. Hype has become one of the main driving forces behind what society considers to be good art and how successful artists can become while being the main component that leads to a wide spread belief, followed by its integration into subjective views. Its presence in the art world propagates trends, fads, and limits what we find to be good art. Our subjective outlook on art is powered by society’s feedback upon itself. The art world, high and low, is exploited by this social construction. Even when objective critique is the goal subjective remnants can still seep through and influence an opinion. Subjective thought in the art world has been self perpetuated through regulated museums, idolization of the author, and general social construction because of hype.
With the rise of industrialization, globalization, and mass production, the manufacturing productivity has been dramatically increased and accordingly the availability of consumer goods. And with the rise of the mass media, various products have been targeted on broad groups of consumers. Consumerism, which is propelled by a system of mass production and high levels of consumption, has been one of the themes in art works from twentieth century till now.
Benjamin stressed the Marxist democratization of art through digital reproduction, a media which allows for de-emphasizing the original work of art. Throughout the history of arts, particularly visual arts, we have revered the individual paintings created by artists, locating them in exclusive galleries and museums which are subject to the tastes and privilege of the upper class philanthropic elite. The value of a work is based in part by which wealthy patrons have owned or commissioned it, and the history of a canvas often becomes more important than the actual formal representation on it.
Artists are people who express their feelings and emotions on something they have created. They work there lives on these imaginative pieces, some for a living some just out of the pure enjoyment. Those who make a living on selling their art have to work very hard at making their selves known, for some there art never becomes know they work immensely but to no avail. These artists, some of which could keep up with those who are very famous, have their art fall into an abyss where there art is never heard of or even seen. In today’s world artist have many of ways of putting their selves out there and becoming known in the art industry. Social media and just the internet alone have helped “starving artist” become very well known in the art world.
Just as other works that reflect art, pieces in the category of fine arts serve the important message of passing certain messages or portraying a special feeling towards a particular person, function or activity. At times due to the nature of a particular work, it can become so valuable that its viewers cannot place a price on it. It is not the nature or texture of an art that qualifies it, but the appreciation by those who look at it (Lewis & Lewis, 2008).
When analyzing artwork, in any form, there are often times social contexts in which can be interpreted. Not always does the history behind the painting need to be revealed to fully understand the concept of the artwork, yet it is helpful in determining if the artwork is truthful in its representation. Although in analyzing artwork it is likely that there are drawbacks to considering the social context. To illustrate this point, I'm going to use the visual arts as my medium of choice. Understanding the social context can be an important tool. An advantage of knowing the history of the painting or sculpture can really enrich our knowledge, being in the 21st century, about some of the social periods from previous times. It can demonstrate how traditions were carried out, how they had an impact on the different social classes. It's a visual teaching aid of a sort. Even in the time period of which the artwork was created can be used as a tool to show how the life was in different parts of the world. It was also used as a hammer in the realist movement to show the upper classes that life for the poor was horrible. The visual arts is the only medium in which the pictorial image creates a universal language in which anyone, regardless of nationality or social class can interpret. The text which is created by this language often creates a context which is left open to interpretation. Contexts are created by the artist, critics, judges, the public, essentially, any one who views the work and forms an opinion relating to it. The contexts stem from subject or content of an artwork, and are usually facts regarding the content. Yet, the contexts almost always have backgrounds themselves, therefore making the original contexts, texts. This will be more clearly illustrated later. The chain is seeming to be a never ending process. There are always more conditions to the previous ones. All context, therefore, is in itself, textual. This concept of all context in itself textual is a post-structuralist strategy. A man named Derrida is a man who has developed this idea that the post-structuralist concept of every statement made, can be interpreted in infinite ways, with each interpretation triggering a range of subjective associations. Every statement has an association, therefore it's a sort of domino effect.
The Pop Art Movement Pop art got its name from Lawrence Alloway, who was a British art critic in the 1950’s. The name “Pop Art” reflected on the “familiar imagery of the contemporary urban environment” (kleiner, 981). This art form is popular for its bold and simple looks plus its bright and vibrant colors. An example of this type of art is the oil painting done by Andy Warhol, “Marilyn Diptych” (Warhol, Marilyn Diptych) in 1962. The Pop art movement became known in the mid-1950s and continued as a main type of art form until the late 1960’s.
Benjamin argues that reproduction devalues art because it no longer has an aura. The aura of an art piece ties it to a specific location and time. He believes that only the original hold a history that cannot be reproduced: “In even the most perfect reproduction, one thing is lacking: the here and now of the work of art-its unique existence in a particular place. It is this unique existence-and nothing else-that bears the ... ...
Art theft is a crime that has been on the rise for the last half of this century. “According to law enforcement officials, art theft now ranks second only to drugs as the world’s most lucrative illegal activity.” (Journal of Commerce) Whether bought, created, or stolen, art has become something that is of great demand. “Art theft has flourished as never before. Just keeping up with the number of stolen objects and their total value is a big-time guessing game.” (Dudar) This is a problem that not only faces us as art owners and collectors, but museums and auction houses as well. Everyone possessing a piece of artwork is at risk of art theft. This artwork doesn’t have to be anything out of the ordinary to be a target. Along with famous paintings, sculptures, and other types of artwork, many insignificant or unrecognized pieces of artwork are being stolen too. “Most thefts appear to be the work of thieves without serious art education. Along with the good stuff, they are apt to sweep up junk – those sappy gift-shop paintings of kids with enormous eyes, for example, which no serious collector would covet.” (Lowenthal) On the other hand some of these thefts are being done by some of the best in the business. “Some thieves have turned out to be professionals who, following fashion, switched from robbing video stores to burgling art. Some are actually specialists in vehicle t...