I think it is very simple. In order to prove the authenticity of anything we need example from the same creator proved, as practically possible, authentic for comparative study. Boris Shoshensky
-- "Derek Allan" <[EMAIL PROTECTED]> wrote: RE: ' "The presence of the original is the prerequisite to the concept of authenticity," writes Walter Benjamin in The Work of Art in the Age of Mechanical Reproduction. ' Among the various gnomic statements by Benjamin, this is not a bad example. What does it mean? Any suggestions? DA On Tue, Jun 24, 2008 at 9:27 AM, Saul Ostrow <[EMAIL PROTECTED]> wrote: > AAH New Voices Postgraduate Symposium > University of Cambridge, Newnham College > 1st November 2008 > Art and Authenticity > Call for Papers > > Deadline: 1st September 2008 > > "The presence of the original is the prerequisite to the concept of > authenticity," writes Walter Benjamin in The Work of Art in the Age of > Mechanical Reproduction. Questions of authenticity dominate art history, > from verification of an artwork's claims to legitimacy, to rethinking, in > the wake of rapidly evolving information technologies, the very concept of > authenticity. This conference seeks to offers a platform for the > exploration of the ways in which authenticity can serve to validate and > verify, how it relates to historical truth, but also how faith in the power > of authentication makes manipulation and falsification dangerously easy. > > > New Voices postgraduate symposium, now in its sixth year, is organised by > the Student Members' Committee of the Association of Art Historians (AAH). > This one-day conference offers an opportunity for postgraduate students to > present their research in an informal, supportive and stimulating > atmosphere. We seek proposals for papers that examine the notion of > authenticity in all historical periods and critical perspectives, across > all mediums. Topics for discussion may include, but are not limited to: > > . Uniqueness and originality of artwork vs reproduction, multiples and copy > . Fakes and forgery: ethics and legality > . Connoisseurship, attribution, authentication and conservation > . Document and archive as evidence > . Photography's power to document and authenticate > . Questions of authorship and authenticity > . Appropriation: borrowing and stealing? > . New possibilities offered by the technologies to authenticate but also to > manipulate the image > > We welcome proposals of 250 words for 20 minute papers from postgraduate > students of all levels. Please send abstracts, including the full title of > the paper, your name, institutional affiliation and contact details to Olga > Smith ([EMAIL PROTECTED]) and Louise Hughes ([EMAIL PROTECTED]) by 1st > September 2008. > > -- Derek Allan http://www.home.netspeed.com.au/derek.allan/default.htm ____________________________________________________________ Internet Security Software - Click here. http://thirdpartyoffers.netzero.net/TGL2241/fc/Ioyw6i4s9vBhSfPXnUtLfFCjey51aA 5zGEFieIsruPDcEWGF9mGKSQ/
