Abstract
This essay examines Walter Benjamin’s historical dialectic of cult value and exhibition value through the prism of the history of the photography of medieval sculpture. The technology of reproducible media can offer, on the one hand, images that claim historical authenticity in the presentation of medieval sculpture, and, on the other hand, a subjective point of view that emphasizes the presentness of that object over its historicity. By contextualizing the long history of the photography of medieval sculpture around Benjamin’s thesis, larger issues centering on reception and visuality emerge – issues that are current in recent discourses of art history and medieval studies.
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