Sally, Benjamin

The subject of mechanical reproduction of art is thought-provoking on many levels. My inclination was to expound on: "The uniqueness of a work of art is inseparable from its being imbedded in the fabric of tradition."(22) Also, the clear contrasts between the stage actor and screen actor as reactions to a live audience or the camera inspired me to blog so I will take a moment and do so now. I couldn't help but reflect on the movie directed by John Malkovich, The Dancer Upstairs , as being a good example of an actor and director creating a work of art through "many separate performances." (26) A profoundly disturbing and very human film that delves into mindless allegiance and politics, love of a father for his daughter and a stranger, the grace and lightness of ballet, and the militaristic and barbaric aspect of society, this film lingers and haunts in its beauty and its horror.

But alas, I choose to blog about the Chinese painter who, as legend tells it, "enters into his work of art." (32) As a personal example of the power and convenience of mechanically reproduced art, I brought into my home an Andrew Wyeth print titled The Master's Bedroom. It is inviting, personal, soothing, warm, mysterious, and humorous. My first exposure to it was years ago as I was walking in a crowded mall. At the most unexpected moments, I am still mesmerized by the subject of the painting - in a very real sense, I enter into the painting, as did the Chinese painter Benjamin references, and it refreshs my soul, brings a smile to my face, and makes me wonder. I describe this simple and “quiet” painting as being humorous for this reason. When I first saw it from afar, I had no idea that anything rested upon the bed. Once I discovered that a rather large dog, perhaps a yellow Labrador, was sound asleep, curled up on the bedspread, his black nose suddenly becoming very prominent, I truly laughed out loud. My reaction was, “Of course!” How many times has my own dog stolen a moment such as this...on his Master’s bed. But then, the questions started. Was this a stolen moment while the Master was away? Or was it simply a common occurrence? The subject (the dog), so artfully blended with the crocheted bedspread, didn’t yield a clue. But I can wonder and that alone is a sign of good art to me. Does it take me to a place beyond the painting?

The painting is one of simple lines, yet great in its detail. A crocheted bedspread on the bed depicts an intricate pattern giving texture that one “feels”. The walls are cool, probably intended to be plaster, with shadows that give depth to the painting. And the window has to be mentioned. What’s outside? For the viewer of this painting, we see nothing of any description outside the window. But, that’s part of the mystery. Perhaps the Master stands below, talking to a neighbor, a friend, or looking towards the pond or over the expanse of land, whatever his eye rests upon, for his beloved dog who sleeps soundly in the room above. Therein, lies the warmth.

So much was contained in Benjamin's essay, that it's difficult to remain silent on many topics raised in his essay. I will end with this: the camera's ability to enlarge and accentuate views and actions that previously were observable only by the naked eye. The use of a camera indeed transforms the "canvas" of the artist. Again, a film, The Jacket, illustrates this point. The close-up views of the actor's blood-shot and teary eyes (Adrien Brody)as he was contained in a metal drawer reserved for dead bodies in a mental institution, was beyond intense. It was uncomfortable, yet fascinating and served such a purpose in that film. As he dealt with his own claustrophobia and terror, the viewer was swept right along. The use of the camera in that film served to enlarge the image of the eye so far beyond what the naked eye could see (or imagine) that it became a story in itself. Walter Benjamin gave understandable explanations of art through the ages, spoke convincingly on the impact of the reproduction of art and the masses, and had concrete examples of the tools used in affecting the masses, i.e., the camera. His was a bold look at how the masses, and individuals, are affected by art - positively, negatively, and politically.