But he seems to mean the original of the thing whose authenticity is in question. What does that mean? Is he just saying that we need to be sure that a work is by the artist who is said to have created it if we are going to call it authentic? But that is crashingly self-evident.
Or is he talking about an 'authentic' copy? Or what? DA On Thu, Jun 26, 2008 at 9:18 AM, [EMAIL PROTECTED] <[EMAIL PROTECTED]> wrote: > 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/ > > -- Derek Allan http://www.home.netspeed.com.au/derek.allan/default.htm
