Reproduction is the core concept that Walter Benjamin discusses in his writing.  Benjamin starts off his essay stating: “ In principle a work of art has always been reproducible.” Although this concept is an extremely important one, it is one that I have not concentrated on while creating and making art.  For me, I have only wanted to reproduce those works which I have made in mediums that are already made for or designed for reproduction.  Normally, if I know something has been done or produced before, I don’t want to reproduce it. But my philosophy heretofore has not taken into account the process of learning that is gained through reproduction.
Benjamin looks at the history of reproduction.  The Greeks had two technical reproducing techniques: founding and stamping.  With these two techniques one was able to produce mass quantities of bronzes, terra cottas, and coins. At this point in the history of the world, these were products and materials that were important to be able to make mass quantities of. Time moved forward and  art and technology advanced; techniques such as woodcutting and printing progressed; then lithography was surpassed by photography.  Photography is a medium that is exceptionally fast and easily reproducible. But then came the greatest advancement: sound and film. “Since the eye perceives more swiftly than the hand can draw, the process of pictorial reproduction was accelerated so enormously that it could keep pace with speech.”  In the 1900’s technical reproduction had come to a standard that allowed reproduction to readily occur and by so doing art’s impact on the public greatly increased.
What makes something real as applied to art? Benjamin states: “That even the most perfect reproduction of work of art is lacking in one element: its presence in time and space, its unique existence at the place where it happens to be.” Benjamin believes that the historical reference and history of a piece of art helps determine its authenticity.  Yet, often it is difficult to determine whether something is a reproduction or original. Reproduction has the possibility of not only tainting the original object, but also in isolating the object from its sense of tradition.
This brings up the important point of what reproduction does to the value of the art object.  Benjamin sees the value of art on two different planes: the cult value and the exhibition value of the work.  It is truly hard or impossible to put a monetary value on art; it comes down to what someone is willing to pay for the work itself. As part of his discussion of monetary value for art, Benjamin directs attention to the Dadaists who looked at art first for its usefulness and its thoughtfulness, and only then for its monetary value.
Benjamin also addresses the reproductive qualities of film.  He assesses that a film’s uniqueness is often seen by how the actor and actress represents him or herself within the film.  A film’s story can be duplicated over and over again, but the quality of the film is dependent upon the actors, the quality of the camera, film and fashion design. Benjamin admonishes that “The cult of a movie star, fostered by the money of the film industry, preserves not the unique aura of the person but the spell of the personality, the phony spell of commodity.”  Benjamin distinguishes that films can be seen by many people and can take its viewer to new places whereas a painting might be only be seen by a small audience.  Yet, Benjamin points out quantity does not mean quality and that each piece of art must be judged on its own merits.
“A man who concentrates before a work of art is absorbed by it.” This, I believe, is a true and singular meaning of art. Whether it is a painting, photograph, film, or print, the significant aspect is the message that is being given off by the piece of art and taken in by the viewer. It is not so much how it is or was made, but what it is saying or communicating to its audience.  In conclusion, works of art, even in an age of easy reproduction, still depend upon the quality of the message contained within the work.  Even if much learning can come from the reproductive process, the authenticity of and quality of the artwork still determines the message communicated to the audience.  A work of art remains a work of art in any age at any time.