The study indicates that subjects have a characteristic response to paintings they are told are authentic, whether they are in fact viewing genuine Remrbandts or not. This fascinating data about our neural response to attributions of authenticity raises a difficult philosophical question—is our interest in authentic things justified, or do we merely possess an inherent bias in favor of the supposed Real McCoy?
As McNerny notes, one of our most common attitudes toward authentic objects is that we are unwilling to accept replacements for them. How do we determine when such resistance is appropriate and when it merely harbors a bias? As Dutton notes, however, whether or not something is authentic in the nominal sense depends on the context of assessment: while a Van Meegeren is not an authentic Vermeer, it is, of course, an authentic Van Meegeren.
The fact that a given Van Meegeren is an inauthentic Vermeer only has evaluative relevance if we are assessing the value of the painting as a Vermeer. Absent this context, noting that the Van Meegeren is an inauthentic Vemeer is akin to noting that a painted horse is an inauthentic zebra: it is true that they are different animals, but outside a specified evaluative context, it is unclear why this fact should matter.
In historical contexts, it cannot merely be the fact that an object embodies a particular history that blocks its substitutability: after all, everything has a particular history. There is consequently some sense in which all things are resistant to replacement, but it is not obvious that there is anything significant about that.
As straightforward as this point might seem, it is essential to how we should assess the value of authentic objects. Authenticity, Change and Loss in the Conservation of Time-Based Media Installations Pip Laurenson This paper focuses on three concepts central to the theory of conservation: authenticity, change and loss.
Damien Hirst born Andy Warhol — Cildo Meireles born Cindy Sherman born Rachel Whiteread born Antony Gormley born Sir Eduardo Paolozzi — Pablo Picasso — Kurt Schwitters — Peter Kennard Walter Benjamin For all the studies considering how we relate to artwork and artists that are producing fascinating results , there are others that are duds.
It also suggests that women and men evaluate art differently. But its evidence and findings feel thin. Moulard et al attempt to discover this with a survey. Their sample size is small: adults, of whom are undergraduate business students. All participants viewed the same two paintings, but the appended biographies of the artist varied, indicating different levels of genuineness from passionate to sellout, essentially.
Respondents were then asked to evaluate four categories: artist authenticity, their attitude toward the artist, their attitude toward the artwork, and behavior intentions regarding browsing and buying , by the use of multiple choice and an agree—disagree scale. Artist authenticity was predicted and found to affect attitude toward the artist. Given the difficulty in evaluating art i. In a practical sense, this suggests that the image of the artist must be treated and managed as a brand, since artwork is not merely being evaluated by its own merit e.
These are not exactly news. Surprisingly, however, this relationship was not supported. Essential to the artist as it is to the collector, the certificate should always come with its artwork as well - meaning that the second sign of a shady transaction should be the lack of a COA. Apart from providing proof of provenance, the certificate also stands as a sales receipt, and a sort of a contract between the buyer and the seller.
These represent a catalog, a comprehensive book that puts together all known artworks by an artist, covering either their entire oeuvre or focusing on a particular medium they extensively worked in. Writing a certificate of authenticity from scratch is something that artists usually do themselves, once they create a work and especially if they intent to sell it.
Following existing templates, they would make unique physical or digital documents. Of course, forging a certificate of authenticity is even simpler than faking an artwork, so this is yet another thing to be aware of, in particular when buying art online.
This should definitely not discourage you from shopping on the web, but a little more precaution than usual is in order. The digital world, however, promises a more secure way of producing genuine COAs, through decentralized databases provided by the blockchain technology.
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