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p>  “for the first time in world history, mechanical reproduction emancipates the work of art from its parasitical dependence on ritual. . . . From a photographic negative, for example, one can make any number of prints; to ask for an 'authentic' print makes no sense. But the instant the criterion of authenticity ceases to be applicable to artistic production, the total function of art is reversed. Instead of being based on ritual, it begins to be based on another practice – politics”.

Benjamin's commentaries on the effects of reproduction inspired other writers, such as Lechte,

 “it is the process of reproduction as such which is revolutionary: the fact, for instance, that the photographic negative enables a veritable multiplication of 'originals'. With the photograph, therefore, the spectre of the simulacrum emerges, although Benjamin never names it as such. The photograph as simulacrum by-passes the simple difference between original and copy”

芭芭拉克鲁格的情境主义和社会的不可抗拒的拼贴画——Barbara Kruger's Situationism and the Irresistible Collage of Society

Barbara Kruger addresses the negative aspects of capitalist society as an artist, writer, curator, lecturer and graphic designer. Her art is displayed both inside and outside museums and in a range of different forms. Occasionally her prints are framed and hung on the walls of museums and galleries in the traditional fashion, but Kruger is endlessly inventive, and often writes text to be printed or projected directly on the walls or floors of a museum.

In Picturing 'Greatness', a photography exhibition curated by Kruger in 1987 for The Museum of Modern Art in New York, text was printed in large black type across a central partition. Kruger selected photographs for this exhibit from the museum's collection, and according to the words on the partition, the photographs were mostly of 'mostly famous artists” who happened to be predominantly white and male. The text on the partition claimed the works 'can show us how vocation is ambushed by cliché and snapped into stereotype by the camera, and how photography freezes moments, creates prominence and makes history'. Kruger's work continually questions the definition of art, artists and the ways in which “great art” should be exhibited. In this work, Kruger challenges the overwhelming dominance of male artists and draws attention to the female's apparent invisibility in western art history. Just like the Situationists under Guy Debord, she has altered the meaning of art by recontextualising it. Crucially, the visitor to Kruger's exhibition does not need to be familiar with the original photographs before seeing the show- even the uneducated viewer could read Kruger's text, look at the original images and come to their own conclusions about the meaning. Thus the work achieves a kind of unique political democracy.

Kruger has a background as a graphic designer, and as such creates effective bold images which are in many ways visually indistinguishable from advertisements, but rather than trying to sell a product, appeal directly to our social conscience. The subject of her text is always 'I,' 'me,' 'we,' or 'you', as though Kruger engages in conversation with the viewer. Her messages probe the assumptions of the capitalist status quo: 'You are seduced by the sex appeal of the inorganic,' 'When I hea本论文由英语论文网提供整理，提供论文代写，英语论文代写，代写论文，代写英语论文，代写留学生论文，代写英文论文，留学生论文代写相关核心关键词搜索。