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Windex, Marvin. 2014

UCSB at night

(I was unable to get good footage the night I filmed FT due to rain and clouds, and then had to give my friend her gopro back and was unable to re-shoot the towers)

A Diamond in the Rough

The Santa Barbara Art Museum is much more than expected. Being this city doesn’t even have a population of over 100,000 residents, and the museum building itself appears small and quaint, surrounded by massive retail shops and two story fine dining, I didn’t expect much from the institution. Surprisingly, this museum packs both high class art, and range into a space that would surprise any patron new to the museum.

Upon entering the museum, you are greeted by a friendly, smiling receptionist whose knowledge and familiarity with the art feels miles above her position. The first thing that strikes any visitor is the massive, classical foyer with ancient Greek statues and images surrounding a fountain structure. This hall feels more like a statue garden found in Paris than the opening to the quaint museum I thought it was going to be. These statues represent the classical and archaic works of the museum’s permanent collection, and as impressive as they are, they pale in comparison to the second story of the museum, and rich array of Eastern art housed.

The entire second story of the museum is dedicated to Eastern art ranging from ancient times, to modern pieces, as well as from Japan, Tibet, India and China. The flow the museum and curator creates circles the lower classical statues creating a cycle of art divided by both time and country. Japan is the first country represented. There are both painted scrolls, golden figures and even a samurai coat of armor. The paintings and artifacts are all accompanies with small explanations of the pieces, putting the work as a whole both in context of the history of art in the region, and practical and symbolic uses certain works possess. There was even an electronic interactive part to the exhibit, detailing two American photographers’ trips to Tibet and their study and works of the area. The photographs they took, as well as quotes, testimony, and timeline all put both the journey and art pieces collected from the journey into the show.

As incredible and comprehensive the permeant art of the museum was, what really struck my attention and impressed me the most was the temporary art exhibits they had. These exhibits were animal photographs in Art to Zoo, contemporary and modern glass sculptures as well as minimalist paintings in the modern art exhibit, but the main kicker were the French artists they had present in the last wing of the museum.

In this small museum, nestled between teen clothing stores and surf shops, were housed numerous works from impressionist masters such as Degas, Monet, Matisse, Renoir, and Van Gogh. Completely amazing, in this small, intimate space, and almost empty gallery room, hung finished paintings from artists many travel thousands of miles to see in Europe. This room, at the very southern end of the museum is the best kept secret in the county. With only myself and the ushers to share it, I was uninterrupted and alone with such famous images as Monet’s series of sunrises of the Thames, Degas’ ballerina series, and Van Gogh’s still lifes often only seen online or in books. The fact that these masterpieces and rare priceless paintings made it to this museum and no one even heard about seems almost humorous. Even outside the museum, where they fly flags advertising their art work currently inside, there was never a mention of these images. The friendly receptionist even stressed the importance of my visiting the animal exhibit, completely ignoring the fact that in just a few minutes, I would be face to face with images of artist so famous, children could recite their names.

Well I am here to blow the whistle, to tell everyone that these pieces of art are no longer across and continent and ocean, but rather across a stretch of road. In less than fifteen minutes and the price of a cup of coffee, any resident of Santa Barbara could also see for themselves the images that countless Hollywood films have robbed, critics have praised, and students studied. The at museum here is truly a wonder for its size, it holds some of the most influential and beautiful art pieces in the world, yet remains anonymous and stoic, amid the commercialism of State street.

eekehduh-blog

In Section 1 of “The Work of Art in the Age of Mechanical Reproduction,” by Walter Benjamin, talks about the impact of the recreating process in art. He begins by explaining how early man made artifacts were always imitated but never mechanically. Eventually, woodcut graphic art was introduced in...

art review rough draft

i don't know if you wanted it posted or not, but here is the ROUGH draft just in case

Scott Young

Writing 109v

Wuebben

12 November 2014

San Francisco’s Impressions with Impressionism

“Crowning achievement” comes to Golden Gate Park

Summer in San Francisco may be drawing to a close and with the fog rolling in, what better place to escape than Golden Gate Park’s Art Museum. The de Young museum now holds dozens of famous French impressionist paintings from the masters of light, illuminating the imagination and cultural palate of all who attend. During its most recent remodeling, the famous Parisian museum, the Museé d’Orsay, has lent only two American institutions, Nashville and San Francisco, its priceless and world class impressionist exhibit to be displayed during the construction. This means famed painters such as Manet, Monet, Renior, Degas and Cezanne will all be exhibited in San Francisco’s newest attraction.

San Francisco Fine Arts Director, John Buchanan calls this exhibit, the “crowning achievement” of his lifetime[1]. With words such as this, it is no wonder why lines have been extending throughout Golden Gate Park to get a glimpse of paintings most have only seen on computer screens, and others who traveled hundreds of miles or more to see them in France. This exhibit was along work in progress, but the hassle is now paying off for the show’s dazzle.

Edouard Manet’s The Fifer is the painting chosen to be the brand of the exhibit and appears on all marketing campaigns advertising this show. This is a strong choice by the museum, because this painting represents the entire exhibit as a whole, spanning a little outside of what would normally be described as impressionism. When viewing the image (Fig. 1) it is clear that the boy is not as glazed or refined as classical renaissance portraits, however, neither is he quickly, visibly painted as is common for impressionist images such as Monet and Renior. He is an inspiration of Diego Velazquez and the Spanish motivation is clear. This image encompasses the art of the era as a whole, not just the movement. Art of the late 1800s France was still heavily dictated by the French Salon, or gallery. Impressionists were not invited into this annual show for a lack of what was thought talent, and the mediocrity of their visible brush strokes, and light oriented compositions. However, the culture of the art world of that time was hard to escape, and Manet’s compromise was images such as The Fifer, creating a well-rounded display of the “Birth of Impressionism”.

The exhibit itself is massive, with nearly two dozen of the most priceless, and well knowing paintings known to the art world[2]. The show is held on the bottom floor of the De Young museum, separating it entirely from the permeant installations. This gives intimacy and an independent space which to get lost in the era. The show is titled, “The Birth of Impressionism”. This title becomes slight to the avante garde, part of all impressionism hates about the salon art, the classical scripts, the “licked finish”, which is apparent when the viewers are directed into the gallery and the first image on the wall is Adolphe-William Bouguereau's "Birth of Venus" (Fig.2), a huge Salon style classical nude and ornate frame, showing what high art was considered at the time. The titling of the show as birth of puts in on in the same category as the art movement as being born beautifully and accepted like the classical birth of Venuses depicted hundreds of times. The show then sends viewers through a planned path of artistic innovation and experimentation with paintings not organized by year or artist, but by style and technique.

The images I found most compelling in this series were those of degas, and specifically those on ballerinas. His painting, “The Ballet Class” (Fig. 3) is wild array of strokes, line color and real life, all so important to the movement. Impressionism in an eclectic combination of realism in regards to the subject matter, very easily seen in this master piece. The figures do not look posed or rigid, but fluid and full of momentary life. The quick nature of which these painters worked was all to capture momentary light, and create this sort of candid of their world. Their paintings were the first snapshots without cameras, the first snap chats, in today’s world.

The rapid manner at which these painting were made is only matched by the sheer volume of works completed by the artists of this movement. While often shows have one single or only a handful of famous pieces and artists which the show is based around, this exhibit boasts an embarrassment of riches with three by Cezanne, five from Degas, and four from Monet, including many others well known to a point where each image is the centerpiece itself, each could have their own room, surrounded by lesser known filler pieces. Instead, each image is in competition, vying for the attention of the patrons, because with competition this fierce, it is easy to assume a Monet is left unseen, or a Degas slips through the cracks while on the stroll down 1800s Paris, just underground in San Francisco’s Golden Gate Park.

Strolling and relaxation were a theme and favorite past time of old Paris. The idea of the flaneur and leisure filled walks is a motif present in the exhibits display of the artwork. Local art critic Kenneth Baker writes on this phenomenon drawing particular attention to the artist handling of subjects feet and position throughout the exhibit, “That pictorial thread winks out of the complex fabric of this show only by chance. But it suggests how much more this selection of mid- to late-19th century paintings from Paris holds than just the standard account of an avant-garde eclipsing a creatively bankrupt art establishment.”[3] The attention of feet and the exhibit arrangement itself all combine into a new world of 19th century Paris beneath 21st century San Francisco. The flow from room to room mimics the flaneur down the seine, with each image a chance to stop and observe, to eavesdrop on a moment frozen by the impressionists, perfectly, artistically capturing the light, moment, and subjects.

This showcase for many locals of the San Francisco bay area could be a once in a lifetime opportunity. The availability of paintings insured for over a billion dollars is not a common phrase in a traveling exhibit. Everyone should come to view these masterpieces in a setting as close as their back yard, and as well done as any Parisian museum could do. The hard work of art director John Buchanan will be admired by the thousands who come his museum and view the images; however it is the opportunity and memories of these images that will be his “crowning achievement”, the shot exhibit itself.

Figure 1

Edouard Manet

The Fifer

1866

Oil on Canvas

63 in x 38 in

Musee d’Orsay

Figure 2

Adolphe-William Bouguereau

Birth of Venus

1879

Oil on canvas

120 in x 86 in

Musee d’Orsay

Figure 3

Edgar Degas

The Ballet Class

1879

Oil on canvas

85 cm x 75 cm

Bibliography

Baker, Kenneth. “Art Review: ‘Impressionism’ at the de Young”. SFGate. May, 21, 2010. Accessed November 12, 2014.

Guthrie, Julian. “Masterpieces arrive in secret at the de Young”. SFGate. May 16, 2010. Accessed November 12, 2014

[1] Julian Guthrie, “Masterpieces arrive in secret at the de young”, SFGate, May 16, 2010, accessed November 12, 2014

[2] “The Birth of impressionism: masterpieces from the Musee d’Orsay”, Musee d’Orsay, 2006

[3] Kenneth Baker, “Art Review: ‘Impressionism’ at the de Young”, SFGate, May 21, 2010, accessed November 12, 2014

"The Saltwater World of Reynolds Beal"

Impressionism calls to mind famous artists such as Monet, Renoir, and Degas, all French man, however their movement and opinions on capturing light, moments, and life through vivid brushstrokes and pastel colors found its way to America and inspired a great, yet widely unknown seascape painter named Reynolds Beal. Born just after the Civil War, Beal grew up around ports and the ocean, having on critic say about him, “he lived in a saltwater world.” With this fascination with the life of both the ocean and those who brave it, the energy and intensity of many of his racing painting, as well as calm and serenity of others show his rounded view of all the ocean has to offer. Beacon Hill Fine Art, in New York City, held an exhibition in 1998 in their gallery which was the first dedicated to featuring this artist and his American subjects. Well known in his time, and often exhibiting in one man show at places such as The Cleveland Museum and US Naval Academy, this artist's painting have since been acquired by private collectors, Mr. and Mrs. Bressler who were first struck by Beal's, "talent of moving from one medium to another." Now back in the public, these gorgeous watercolors and drawings of pre-WWII American coastline is poised to yet again inspire viewers with romantic visions of the sea and the people who call in home.

Combining Image and Text

As an English major at UCSB, certain texts, authors and literary articles are assigned in multiple classes. A pattern emerges about the department and what they deem as important to the study and for graduation of this university with a degree about text. For instance, I am currently in my third class where Joseph Conrad’s novel, Heart of Darkness is assigned. I am also well read in all British poets such as Shakespeare, Keats, and Tennyson to such an extent where I could teach a course on the three. Finally, in my years here, I have also come across and read Scott McCloud on multiple occasions. However, during this turn in reading his graphic article, I came across something new, something in the way he relates image and text that I had not noticed or learned about before.

McCloud starts off his graphic article similarly to other chapters of his I have read. He uses a trivial anecdote or example that remains as the theme for the entire visual essay, the reader just doesn't know it yet. In this chapter, he begins with an elementary show and tell. He jumps off from this common and easily recognizable example into how the object, or image of the child, and his words combine in a way to describe and present his chosen item. With this in mind, he loops back around to this simple class project, and how it relates to “high art”, “comics” and “ourselves” in terms of language and display. The new aspect of his that I found fascinating was his introduction of the picture plane diagram. In this diagram, a single axis is shown from which communication extends. One direction he labels pictures, such as paintings or drawings to convey meaning, the other as words, which is like literature to show places or feelings. He starts out explain how the two were very close, “as seen, most of these early words stayed close by their parent pictures” showing hieroglyphs where symbols of things closely appeared as the object they were describing, much how a bird could be written as a “w” with the wings of the w also being wings of the bird. But, as time progressed the writing started to become more abstract, and venture away from the appearance of the object, and only represent the phonetical sound of the word. McCloud explains that in the 1800s this dichotomy reached the climax of its distance, and was forced to return back toward the apex of the diagram. Thus DADA collages came to be art, newspapers added sketches and eventually photographs and comics came to be the modern form it is.

The back track to a combination of image and text has always interested me. Due to my liberal arts degree I will be receiving, I have not yet figured out an exact profession I wish to pursue, but some that have sounded appealing thus far lie within the range of advertising and copywriting. These two careers thrive on the combination of image and text, and how the audience reacts to specific ones. In high school, my town help a sort of copy writing contest where it asked resident so of the town to create a new slogan for the Parks and Rec department. I ended up winning the competition with the slogan, “Put Some Play in your Day!” Not the most creative tagline, but it still won, and I thought of it as it could be paired with images on the catalogue cover or children’s rec sports such as soccer and tennis that my town offers. The poster below is a quick example of the type of the catalogue covers my town released after naming my tagline as the winner, but it still shows the combination this sort of slogan and text can have.

Moving forward with my possible career in this sort of field, McCloud’s diagram will be a helpful guide when deciding pairing text on how much words or images are needed. No wonder professors assign many of the same text, they know what is worth knowing, and what is worth repeating.

Art Statement

Adam Saves Art

Since the end of WWII, America has begun an upward spiral of mass consumption, consumerism, and instant gratification. Art too began to follow this cookie-cutter-like pattern where quantity and identical pieces became the norm in a country seized by mass production and a consumer herd mentality. With this flux and ready availability of such art, art critics, viewers, and patrons soon fell into a downward slide toward the normal and lazy in regards to art appreciation, and attention. No longer were artists heralded as visionaries, or questioned about their provocative, stimulating works. Rather they became crafts men, part of an assembly line where interchangeable landscapes and still lifes claimed to be museum grade art. Then the famous critic, known only as Adam, appeared. He blasted the modern art movement and returned viewers and artists alike back to an era of questioning curiosity and complexity of art. Under his pseudonym Adam, because he was the first man on earth to question this new era of art, he tore down the simple, and easy standards of current viewers and urged them to ask, why and how. To be not impressed because of skill, but “rightfully” impressed based on conscious decisions by the artist like “color, medium, scale and display”. He reminded the art world that every part of a piece of art is the way it is on purpose. The sky is a certain color of blue on purpose, the brushstrokes are visible on purpose, and even the frame the piece is housed in is on purpose. Adam used one of his favorite pieces of art, a painting he described as “a perfect 10”, Joan Miro’s “The Rooster” to draw upon his process of assessing art. He pointed out the Vincent van Gogh style sky, the exhausted expression of the rooster, and the uncomfortable, messy color scheme as specific why he liked the piece. He went beyond the obvious and finally dissected a painting in a way not yet done this century. But above all superficial details, he asked why, he researched meaning behind the piece, finding the rooster was the artist himself, trapped and exhausted, exiled from his home of Spain due to civil war. This sort of analysis, once lost, has been recovered by Adam, and all modern art theory, critiques and understanding owes him a debt yet unpaid. His name belongs in museums along the very art he brought back into the public eye. His articles and essays single handedly replaced pictures, with art. He is the unsung hero of the art world, and deserves his place in the sun along with the very artists he inspired. And that Rooster he loves so dearly.

Cathy Ellis Hits Close to Home

Most artists and use similar styles, mediums, subjects and compositions throughout their career, often times in the constraints of movements either they belong to or found. Pollock was known for his reputation in spatter paint, part of the abstract expressionist movement, Rodin for his sculptures of classical forms and motifs, and Degas for his impressionist ballet paintings. However, every so often an artist is able to break from their own mold and succeed in an entirely different genre of art, like Michelangelo and the Sistine Chapel, or Picasso with his cubism and blues period. Artists like these are the ones remembered as not mere masters of their craft, but creative and innovative in their profession. Last Thursday, a graduate of the UCSB MFA program, Cathy Ellis spoke in Embarcadero Hall to a crowd of over 100 students and teachers. She opened the lecture with the assertion that she got into art because she, “got addicted.” She stated she graduated with a liberal arts degree and got a job in philanthropy department, but soon tired of her career. She opened with images by photojournalists of the beginning of the Iraq war, and the romanticism of them. She then showed early sketches by herself copying the images of the local paper where she lived and received her news. She stressed the repetition of sketches to perfect her craft and showed the process at which each sketch improved the quality of her drawing.

This emphasis on repetition was a recurring theme in her exhibited work, and lecture. Her two favorite and overused subjects where that of a Delorean car and lawn chairs. At first, the two appeared as part of her first exhibition theme, a dreamy state where imaginative landscapes met with nonsensical imagery and devise, such as monster truck sailboats, or oceans in hotel lobbies. However, after viewing dozens of PowerPoint slides in her lecture, the vast majority still contained images of Delorean and lawn chairs. A young student at the end of the lecture even asked what her fascination with the objects was about, to which she described, “I don’t know, they’re just cool.” As the number of Deloreans and lawn chairs mounted, I slowly lost interest in her work, chalking it up to a craft, not artistic creativity.

She then presented her show The Dark Threw Patches Upon Me Also, a line from a poem by Walt Whitman. This title struck me as not only creatively obscure, but haunting. It reopened by interest in her work, with such a nuanced title, and then it delivered on that promise. She then dramatically shifted her work, as great artist to, to installation pieces upon gallery walls, sculptures and shadow, and even saw handles. Gone were the thick paints and solid colors. She replaced them with intense ghostly layerings, imaginative day dreams and space filled murals, using the contours of gallery walls and lights as much as her own paints and subjects. The ability for her to change what appeared to be another dull; one trick artist impressed me greatly, and made me take stock of her work again. The whole class also responded positively to the change of scenery she presented, with a unified bustle of sitting up straighter and focusing again on the images of her lecture.

Cathy Ellis shows promise and is an excellent alumni example of the UCSB MFA program. Her ability and willingness to adapt her work to new heights is a lesson for all aspiring artist about what is good, and what is overdone. Her website, www.cathyellis.org contains much of her portfolio in which a viewer is able to see the transformation of her work for themselves or in person in her many local central coast exhibitions, including on recently at Cal State Channel Islands. Cathy Ellis is an artist to keep an eye on because her next change in artistic media could be the one that puts her off the map of obscurity, and into the art scene of big cities like LA.

10 Gallon Statment

Through my work I attempt to examine the phenomenon of Rerun as a methaphorical interpretation of both Rembrant and swiming. What began as a personal journey of shitism has translated into images of gumbo and elbow that resonate with hawaiian people to question their own burgandyness. My mixed media theatre embody an idiosyncratic view of Pope Francis, yet the familiar imagery allows for a connection between Freddy Mercury, tires and fries. My work is in the private collection of Courteney Cox who said 'Yippe!, that's some real suave Art.' I am a recipient of a grant from Folsom Prison where I served time for stealing mugs and tie clips from the gift shop of The de Young. I have exhibited in group shows at In n Out and Fraenkel, though not at the same time. I currently spend my time between my bed and Berlin.

Analyzing Duchamp's "The Creative Act"

In Jennifer Liese's article, Toward A History (And Future) Of The Artist Statement she gives multiple opinions on both the positives and negatives of artist statements, by herself, critics and artists. While not all agree on the need of a statement, all do agree on the statement's importance once released to the public. She uses the word "manifesto" to add extra weight to the words of the statement, making into the a sort of artistic manual for the artist involved. While agree that the statement is crucial and insightful once released, I disagree that it is the final opinion or only reliable source of knowledge on the work itself. Once an artist releases a painting or sculpture or any form of art, it is then in the public domain, and like the statement, no longer belongs to just them and is allowed to be interpreted as the audience wishes. Marcel Duchamp put this very idea in his on statement writing, "All in all, the creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualification and thus adds his contribution to the creative act. This becomes even more obvious when posterity gives a final verdict and sometimes rehabilitates forgotten artists." This is his final paragraph of his statement titled "The Creative Act" and perfectly concludes his idea of art as a collaboration of the artist and and patron. The unity required in the relationship of artist and audience is perfectly described in Duchamp's statement, creating a positive environment for a sharing of ideas about his work. However, in the article, some artists and critics believe this statement was unnecessary and should not be included with his work. I don't agree with this, I enjoy using an artists thoughts on their own work as a jumping off point into my critique of it, and the fact that Duchamp agrees with this is valuable information. That is why i like the existence of the artist statement, and although it may should not be required in all situations, i don't believe it should be discouraged either.

Review on Bollywood Review

1. Best aspect is their comparison to propaganda. It is very observant of them.

2. They only focused on one image in detail when there were a lot of available pieces to mention or at least bring up, so we felt like the exhibit was summarized too much.

http://eekehduh.tumblr.com/

Our Review on Our Review

1. "Beltz’s new installation at UCSB adds depth and alternative interpretations to commonly negative objects and symbols. The provocative nature of this project is only harmed by its relatively small size, yet the weight it carries exceeds the gallery room leaving patrons wanting more."

We chose this final paragraph as a summation of our review for its clarity and description of the artist's work.

2. he hardest part was dissecting the pieces and finding meaning in them without the artist or his words present to guide us.

3. We didn't about all things on the list equally, we paid more attention to certain aspects, and barely mentioned others.

Eric Beltz's Cave of Treasures

Among the numerous construction sites, projects and delays plaguing UCSB, the Art, Design & Architecture building is a bright spot, having just been completed, a shocking occurrence on a campus full of cranes, hard hats and detours. This beautifully redone building is now home to Eric Beltz's new, site specific installation entitled The Cave of Treasures. Differing from his usual mediums of graphite drawings on paper, this collection includes murals and living sculptures all designed to question the audience's perception of well known symbols and objects like the swastika, Medusa and poison oak, because according to the curator of exhibitions, Elyse Gonzales, "there is always more to any story if one is willing to look." With this in mind, entering the museum, Beltz's installation greets the patron instantly with a solitary plant framed in the doorway. Beltz instantly uses irony to quickly adapt the patron to his main theme of the installation.

Plants, ever the symbol of fertility and life are called into question with the negative connotations of danger and uncertainty poison oak represents. The solitary plant on a pedestal with a swastika shaped design presents the symbols in solitary, innocent forms showing the audience there is in fact no danger in pure symbols. Our perception of these symbols and objects are true problems. He is removing the curtain and revealing truth, that all is not what it appears, and our imagination, not the poison oak, is our blunder.

Beltz removed himself from our group mentality of fear and misunderstandings of symbols like the swastika and Medusa's contain. He uses these charged images as ways to present a modern, current view of age old symbols of emblems of positivity, eternity, and fortune. Through isolation and grand pageantry, the audience is slowly made aware of the futility their fear represents. Additionally, the incorporation of a live poison oak plant, rather than an image or representation, Beltz "plays on the fear of exposure." This explains the shrouded wall sized mural entitled Medusa where her figure, set against a black background, is so hidden, the beauty of the plants distracts the viewer from their initial shock of the title.

In another piece in this project, eclectic combinations of birds, trees and scarecrows show the paranoia of a Dr. Suess drawing gone wrong. The chaos shown is misleading through the true purpose of the myth of Medusa is one of sympathy and protection. Though her form appears terrifying and menacing, her true colors are those of a tender mother that has been forced to appear in way that repulses the senses.

Beltz's new installation at UCSB adds depth and alternative interpretations to commonly negative objects and symbols. The provocative nature of this project is only harmed by its relatively small size, yet the weight it carries exceeds the gallery room leaving patrons wanting more.

Hashtag for Dummies: A Guide Through Social Media

When did this symbol # change from being called the pound sign to a hashtag? Circa 2010? Maybe a bit earlier, but the point is that name still confuses me, I am still used to it as the pound sign I hit on coded gates, not to connect with millions of people. It is embarrassing saying that, being my generation is the leader in the using this form of labeling in social media, but here’s my secret…I don’t have any social media. You heard me, no Facebook, no Instagram, no Twitter, nothing. This isn’t a hipster moral stance on technology, or being too “cool” for it all, I’ve just never needed to use it. Back in high school when Facebook first started getting popular, people would use it to make plans, host parties, or just chat. However, for me, my friends still called me, texted me, or even just talked to me in the halls. I never made a Facebook or anything like that because I never missed out on any social activity, gossip, or pop culture moment. Then I came to college and thought, here is where I’ll probably need to at least make a Facebook, to keep in touch with my old friends, yet here I am, in my third year and still no need or desire for any of it. It is just pointless for me when I only use the computer for word documents and email anyways, and am still social with my friends. Yet in cases such as the hashtag, I fall behind in knowledge with those who have been using social media most their adolescent lives. Maybe Walter Benjamin and I are similar. Both like the originals of things, art, conversation in person, the “aura”.

For this assignment I walked boldly into my living room and proclaimed to my roommates, “what is hash tagging and I got to see it now.” Once the laughter subsided I went on the strangest ten minute journey down media lane I have ever been. I saw for the first time what Twitter was, what people say on it, and what hashtags really are in context, and frankly, I’m glad I stayed away. The hashtag I chose to explore was one that sounded too ridiculous to be true, #slapyourself. The posts that followed ranged from somewhat clever such as “if your Snapchat story is 100 seconds, #slapyourself” to vulgarly homophobic, to downright pointless. My discovery of this new media world must be how Benjamin felt with the reproductions he saw in new technology he felt was ruining art. In Benjamin’s famous essay titled The Work of Art in the Age of Mechanical Reproduction he writes, “the mode of human sense perception changes with humanities entire mode of existence.” By this Benjamin is referring to common changes humanity experiences when introduced to new technology, or “fads”. The popularity of Facebook, Twitter, Instagram and other social media sites have altered humanities views on opinion in the public sphere and accelerated the attention certain things such as movies or clothes get. Therefore, similar to what Walter Benjamin observed in his life time with the destruction of the aura of original art pieces, so too do we witness the destruction of the aura with our opinions and responses to anything we deem worthy of a post.

Circling back to #slapyourself, this trending hashtag on twitter was used by people of every nation, age and gender. Posts were all similar in length, as Twitter posts are, yet varied in seriousness and subject matter of what is worth slapping oneself over. The broad array of subjects the posts contained showed there is no boundary that was unworthy of the hashtag, the only boundary was the author’s imagination, and willingness to dedicate the seconds it took to post their comment. Benjamin also writes in his essay, “the mass is a matrix from which all traditional behavior toward works of art issues today in a new form.” Benjamin recognized the nature of art was to shift, according to the masses that are why artistic movements form and are replaced, in a cyclical, eternal fashion. With this in mind, I am reminded that I am new to this form of communication, surely there are entertaining, professional and creative hashtag threads in social media, just as surely as there are ones worse than #slapyourself, the true test, as Benjamin found out, is finding the middle ground where originality isn’t sacrificed for quantity.

daniisweird

In Walter Benjamin’s essay The Work of Art in the Age of Mechanical Reproduction, he discusses how population and mechanical advancement led to the increased availability of different forms of art to the public. He defines the aura of an original piece of art as having an aura that makes it a...

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