It takes a few works under the belly,to put a DNA on it, that an
expert can detect.
mando
On Nov 8, 2008, at 1:42 PM, GEOFF CREALOCK wrote:
I imagine this is not a new issue. However, perhaps you'll sustain
my question:
Does aesthetics (as opposed to business) have a perspective on
fakes? I consider three possiblities: 1) an artist purposely copies
a valuable work in hopes of making lots of $; 2) an artist
purposely decides to paint like, say, Andy Warhol, without copying
a particular work; 3) an artist paints his/her perception without
any intention to copy a particular work or style.
My conclusion at the moment is that one might "like" a particular
object. One's "appreciation" of it might vary if one were informed
that it was a fake.
I assume that my case 3 above is somehow "better" than the first
two cases. I'm not clear why that should be so, without considering
the work itself (from an aesthetic, not business, perspective).
Geoff C
Or should I have written "lithographed' like Andy Warhol?
From: [EMAIL PROTECTED]
Reply-To: [email protected]
To: [email protected]
Subject: Re: Benjamin and aura(Blavatsky)
Date: Sat, 8 Nov 2008 15:57:34 EST
In a message dated 11/8/08 3:31:39 PM, [EMAIL PROTECTED] writes:
> One is a painter of stupendous gifts -- in particular an
engaging visual
> imagination so distinctively her own that it seems to me
everything she's
> ever
> done would only be produced by her.
>
I put that badly. A keen and focused "eye" might be ready to say
sincerely
of nearly any painting that "only this painter could have produced
it". Thus
are forgers detected.
A better idea of what I had in mind might be expressed this way.
Not only
does her work delight, but it feels so original it doesn't even
REMIND me of
anyone. Obviously Stella learned from, and was once influenced by,
earlier
artists, but wherever she "came from", she has cometed into a
stylistic "beyond" that
very few artists in any genre reach (while still remaining
cherishable).
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