Final answer:
In Andy Warhal's Marilyn Diptych, the withering of the aura and the transformation of a sign into its own signifier are exemplified in the repetitive mechanical reproduction and iconization of Marilyn Monroe’s image, which becomes a floating signifier representative of consumer culture.
Step-by-step explanation:
An example of Benjamin's withering aura in Andy Warhol's Marilyn Diptych, 1962, can be seen in the mass reproduction of Marilyn Monroe's image. The aura, as suggested by Walter Benjamin, is the unique presence and authenticity of a work of art that is diminished when the work is mechanically reproduced. In Warhol's piece, not only is the aura of Monroe's image withered due to its replication, but the sign — her face — becomes its own signifier, independent of its original context. This is a representation of floating signifiers, where the image of Monroe in a pop art context becomes more significant as an icon of consumer culture than as a portrayal of the actual person.
Furthermore, Warhol's use of the diptych format juxtaposes the vibrantly colored Monroe against fading black and white images, suggesting themes of mortality and the fleeting nature of fame. The diptych serves as a visual commentary on the commodification of celebrities and the role of mass media in altering our perceptions.
Lastly, the choice of silk screening technique by Warhol, as opposed to hand painting, underscores the concept of conceptual art where the idea takes precedence over traditional material concerns. It echoes the notion that in a media-saturated world, even images that were once intimate and personal can become public commodities, endlessly reproducible and removed from the original context.