José Clemente Orozco, “Manifestación.”
An original copy of this lithography can be viewed now at the British Museum exhibition, “Revolution on paper: Mexican Prints 1910-1960.”
Notice how the masses are represented without distinguishable features, their faces turned into gigantic mouths. “The mass is reproducibility that has fled its original,” has written Jan Mieszkowski about Benjamin’s famous essay on art in the age of mechanical reproduction. In this example form and ‘content’, the lithographic technique and the theme of the public demonstration, converge in a truly ‘Benjaminian’ way: the aesthetic, the technical, the technological and the political coinciding. 

José Clemente Orozco, “Manifestación.”

An original copy of this lithography can be viewed now at the British Museum exhibition, “Revolution on paper: Mexican Prints 1910-1960.”

Notice how the masses are represented without distinguishable features, their faces turned into gigantic mouths. “The mass is reproducibility that has fled its original,” has written Jan Mieszkowski about Benjamin’s famous essay on art in the age of mechanical reproduction. In this example form and ‘content’, the lithographic technique and the theme of the public demonstration, converge in a truly ‘Benjaminian’ way: the aesthetic, the technical, the technological and the political coinciding.