This weeks readings truly gave me an insight into the materiality of art in the modern world. There are so many unique perspectives on materiality and its importance. This discussion becomes especially blurry when focusing on materiality of immaterial things. In this sense, I think it is best to look at materiality from Heidegger’s point of view: “material becomes associated with the abstractness of things” (https://lucian.uchicago.edu/blogs). Basically, the meaning of something no longer becomes associated with the material, but is more deeply connected to the thoughts and feelings provoked from the abstractness of the thing.
I found this to prove true when exploring the archives of George P. Johnson. While the materials conjure some meanings in the beholder’s eyes, it is the essence of the findings and the messages that they entail that truly gives the viewer an insight into George P. Johnson’s life. Many of the archives I examined were records that Johnson had kept of different magazines and newspapers that, I believed, held articles about his work or things related to his work. Though the materials that these records were written on are interesting to look at, the most important aspect of these findings is what was actually written down on the material. The records help to support previous discoveries about Johnson, in particular the discovery that he had an obsession with collecting things. He found these recordings to be incredibly valuable and worth keep track of and did not think anyone else would get the job done, so he did it himself.
Looking at a part of George P. Johnson’s life in Special Collections was a unique and eye opening experience. I never realized that looking at the actual artifact as opposed to the mockup of it would have as immense of an effect on the meaning of it that it did. It really helps you to imagine you are in his time period and experiencing his emotions when he chose to put together these records. Walter Benjamin’s take on modern art and its lack of “aura” can be related back to this essence of realness when examining archives from George P. Johnson’s life. What Benjamin means by this lack of “aura” is that art today is too often being replicated and reprinted to the point where it loses its essential aura. The feelings and emotions originally associated with the art become less powerful due to its reproduction and lack of uniqueness. The art is also no longer made out of its original material which could have alluded to its overall aura. Special Collections is a wonderful opportunity to explore the lives of important figures and find a true connection to their auras through their life’s work.
I agree with a lot of the points you made about materiality and the impact that an object’s essence has on a viewer’s overall experience with the said object. I especially enjoyed your interpretation of Heidegger’s definition of materiality, by which you mentioned that there is a certain kind of intimate connection when an object’s aura provokes a more profound meaningfulness for the viewer. I’ve found this to be very true in my experiences with the Johnson collection as well. The uniqueness and authenticity of each piece truly cannot be fully expressed through its digital replicas.