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"Abstract art essentially becomes decorative, its meanings left up to the subjective appraisal of the viewer"--I tend towards this opinion. Authorship, context and meaning are extremely relative concepts to me. I don't mean that it(some human creation) doesn't exist because I think about it, but it's importance is my own construct.
A couple of other points:
F for Fake, Welles picture about Clifford Irving and Elmyr d'Hory is a great examination of money and art, authorship and reality.
Your 'aura' quote from Benjamin reminds me of an interview I heard with Duchamp in which he asserts that no art should outlive it's creator, in fact, that it is 'dead' within a decade or two of it's creation.
Also, to kind of echo your Eliot point,I was upset to find that Hart Crane, one of my favorites, lifted wholesale from a tubercular young poet, Samuel Greenburg, in his poem, "Emblems of Conduct". What upset me is that Crane made no acknowledgement of his line-lifting, not that he mashed-up the original. Greenberg's work is a mess, while "Emblems" is a fine poem.
I'm not sure that I've heard the Duchamp quote, but I like your connection between his critique of the museum and Benjamin's observation that the mechanical reproducibility of art serves as a direct threat to the museum.
I do think there are some insightful readers (and readings) of abstract art, but it's clear from the film that the people who purchase Marla's art are projecting their own readings (and desires) into the art, that people's fantasies about art, genius, and childhood innocence are being sold back to them.
The Duchamp paraphrase comes from an album of interviews and readings called "The Creative Act" on the Sub-Rosa label. I downloaded it off emusic and recommend it, if you like that kind of thing.
The film is definitely worth tracking down. My initial review conveyed a lot of frustration with the film, but I think that's actually a sign of the ways in which it was tapping into these issues in fairly subtle ways.
If this little girl is hailed as today's Picasso, she'll earn huge sums when money means little to her. Quite likely, and much worse in the long run, she may need to live a long life as a brilliant artist who peaked at age four! Will her work at five warrant another documentary and attendant exhibition?
The mother is somewhat ambivalent about her role in placing her daughter in the public, asking whether Marla will want to have had these experiences (appearing on the Today show, having all of these art openings, etc) when she's 18.
But these ethical issues are important (and they are addressed in the film), and I probably shouldn't have underplayed them.
in the history