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Journal articles on the topic 'Authenticité (art)'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Scott, David A. "Art and Authenticity." Studies in Conservation 59, no. 5 (2014): 350–54. http://dx.doi.org/10.1179/0039363014z.000000000173.

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Cahill, James, and Jerome Silbergeld. "Chinese Art and Authenticity." Bulletin of the American Academy of Arts and Sciences 55, no. 1 (2001): 17. http://dx.doi.org/10.2307/3824253.

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3

Fawcett, Trevor. "Art reproductions and authenticity." Art Libraries Journal 22, no. 2 (1997): 20–25. http://dx.doi.org/10.1017/s0307472200010385.

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Whatever their format, reproductions provide illusory experiences of art, but may count as ‘authentic’ if adequate to their purpose and the technical possibilities and expectations of their time. A reproduction seizes the original at one moment in its history, a fact that should be made clear in its captioning. Engraved and other graphic reproductions, being hand-made, were always subjective and idealising. The camera brought greater objectivity, but even modern colour photographs interpret and mislead. The digital image offers still greater potential for exact realisation of, and access to, w

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4

Adkins, Jessica. "Authenticity in Anatomy Art." Journal of Medical Humanities 40, no. 1 (2017): 117–38. http://dx.doi.org/10.1007/s10912-016-9431-3.

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5

Young, James O. "Art, authenticity and appropriation." Frontiers of Philosophy in China 1, no. 3 (2006): 455–76. http://dx.doi.org/10.1007/s11466-006-0019-2.

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Tarien Powell, Kersti. "John Banville: art and authenticity." Irish Studies Review 24, no. 2 (2016): 253–54. http://dx.doi.org/10.1080/09670882.2016.1149143.

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7

Hodgman, Matthew R. "Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre." Journal of Sociological Research 4, no. 2 (2013): 402. http://dx.doi.org/10.5296/jsr.v4i2.4503.

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<p>After its advent in the 1970s, the rap music genre was represented almost exclusively by male black artists who honestly and realistically embodied a poor urban image. Images of black urban poverty in music videos and rap lyrics were consistently used by black artists to emphasize and authenticate who they were and where they came from. With the upsurge of white rap acts starting in the early 90s and continuing through the early 21<sup>st</sup> century, the means by which rap authenticity is measured have been permanently renegotiated. Before the emergence of white rappers

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Garbol, Tomasz. "Karol Wojtyła a nowoczesność." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 357–70. http://dx.doi.org/10.18290/rh.2068s-24.

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This article shows the relationship between the works of Karol Wojtyła / John Paul II and the heritage of modernist thought and art. The signs of such a relationship are the privileging of the language of art, the possibility of the counter-morality of art, and the ethics of authenticity. These relationships have been selected so as to refute the statement that the works of Karol Wojtyła were independent of the influences of modern aesthetics. Not only have the literary works of Karol Wojtyła / John Paul II been taken into consideration in this article, but also his philosophical and theologic

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Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain t

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Malik, Muhammad Imran, Marcus Liwicki, Andreas Dengel, and Bryan Found. "Man vs. Machine." Journal of Forensic Document Examination 24 (December 31, 2014): 21–35. http://dx.doi.org/10.31974/jfde24-21-35.

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Signatures have been used as a means to authenticate documents for centuries. From the outset, the focus of forensic examinations was to both objectively and subjectively establish whether they were genuine (written by the specimen author) or simulated (written by an imposter/forger). With the emergence of new computing technologies, additional objective examination techniques designed to determine the authenticity of questioned signatures became available. Although the opinions of Forensic Handwriting Examiners (FHEs) remain the most popular method of signature authenticity determinations, co

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11

Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (2001): 185–216. http://dx.doi.org/10.1017/s0940739101771305.

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This article examines the issues surrounding the appropriation of indigenous culture, in particular art. It discusses the nature and context of Aboriginal and Torres Strait Islander art in Australia in order to establish why appropriation and reproduction are important issues. The article outlines some of the ways in which the Australian legal system has attempted to address the problem and looks at the recent introduction of the Label of Authenticity. At the same time, the article places these issues in the context of indigenous self-determination and examines the problematic use of such conc

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12

Molinari, Elena. "The Art of Fielding." Romanian Journal of Psychoanalysis 11, no. 2 (2018): 87–96. http://dx.doi.org/10.2478/rjp-2018-0020.

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Abstract Bion created different theoretical tools to observe emotional transformations during a therapeutic session. In the relational field, these tools are particularly useful to observe how emotions create representations as steps in the transformation of further emotional experiences. Describing the complex unfolding of this process, Bion used the word “truth” to highlight the tension towards the unknown, the absolute unachievable named “O”. The word ‘authenticity’ is close to the theoretical concept of ‘truth’, but it better describes and includes something pertaining to relational experi

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13

Andrzejewski, Adam. "Authenticity Manifested: Street Art and Artification." Rivista di estetica, no. 64 (April 1, 2017): 167–84. http://dx.doi.org/10.4000/estetica.2077.

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14

Ravenhill, Philip L., V. Y. Mudimbe, Henry John Drewal, and Sidney Littlefield Kasfir. "More on "African Art and Authenticity"." African Arts 25, no. 4 (1992): 18. http://dx.doi.org/10.2307/3336962.

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15

Nelson, Josh, and Adie Nelson. "Snark Hunting in Canadian Law: Art and Authenticity." Canadian Journal of Law and Society / Revue Canadienne Droit et Société 32, no. 03 (2017): 417–36. http://dx.doi.org/10.1017/cls.2017.23.

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Abstract This reflection on the social construction of authenticity analogizes the quest for artistic authenticity to snark hunting. To illustrate the instability of this term, it employs various Canadian examples, including the “Michelangelo” terracotta sculptures donated to the Museum of Vancouver, the “Igloo tag,” the importation of a sculpture by Edward Chukwuweike Madukaego, and the work of Bill Reid. It posits that proclamations of authenticity and fraudulence are ultimately utterances denoting and invoking power relations. It also reveals, through the use of specific examples, how negot

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16

Murray, S., and D. C. Murray. "ON ART AND CONTAMINATION: Performing Authenticity in Global Art Practices." Nka Journal of Contemporary African Art 2008, no. 22-23 (2008): 88–93. http://dx.doi.org/10.1215/10757163-22-23-1-88.

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17

McCrone, Walter C. "A Protocol for Authentication of Paintings." Microscopy Today 8, no. 5 (2000): 8–13. http://dx.doi.org/10.1017/s1551929500065172.

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Strictly speaking, it is impossible to authenticate any painting to the extent of naming the artist who produced that object. One can only increase the likelihood thereof. In one celebrated case I felt I had fully proved that Manets palette had indeed been used to paint a particular painting but a “scholar” on whose reaction the art world depends for final acceptance of authenticity only said “someone” could have borrowed Manets palette one fine day and painted that picture. In a second celebrated case I was able to prove, but not convince, the world that a particular painting (Shroud of Turin

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18

Kravchenko, V. P. "Authenticity of the Vladimir Melnik’s graphic art." Iskusstvo Evrazii [The Art of Eurasia], no. 3(18) (September 30, 2020): 23–35. http://dx.doi.org/10.46748/arteuras.2020.03.002.

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In small graphic works for book pages and stamps (mixed technique), the artist provides both typological and psychological descriptions, both thorough details and overall atmosphere. V. Melnik complies with the basic requirements for an illustrator of non-fiction, as evidenced in the accuracy of depiction, detailed portrayals, solid draftsmanship of the works. But the artist goes beyond the requirements, since he usually individualizes the appearances and animates the precisely reconstructed background landscapes (“Stefan the Great”, “Castles of Moldavia”). Given the fragmentation, the rhythm

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19

Welsch, Robert L. "Epilogue: The Authenticity of Constructed Art Worlds." Visual Anthropology 17, no. 3-4 (2004): 401–6. http://dx.doi.org/10.1080/08949460490468216.

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20

Sagoff, Mark. "Art and Authenticity: A Reply to Jaworski." Journal of Value Inquiry 48, no. 3 (2014): 503–15. http://dx.doi.org/10.1007/s10790-014-9428-y.

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21

Nagy-Sándor, Zsuzsa, and Pauwke Berkers. "Culture, Heritage, Art: Navigating Authenticities in Contemporary Hungarian Folk Singing." Cultural Sociology 12, no. 3 (2018): 400–417. http://dx.doi.org/10.1177/1749975518780770.

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In Hungary, the decline of traditional peasant culture and its heritage has prompted urban revivals, leading to the acceptance of traditional Hungarian folk singing as a performing arts genre. Drawing from a series of in-depth interviews, this study shows how contemporary Hungarian folk singers navigate (define, learn, police) different forms of authenticity within the field of folk music. While we find that objectified authenticity – heritagized classification systems – is the dominant form of symbolic capital, the broader symbolic economy of authenticity is complicated by competing definitio

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22

Santabárbara Morera, Carlota. "Where is the authenticity of the contemporary art?" Ge-conservacion 11 (July 2, 2017): 214–18. http://dx.doi.org/10.37558/gec.v11i0.482.

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In the contemporary art, the conservation of the original matter is not as important as the conservation of the authenticity of the work, because of this it is very important to know the artist and his work, to be able to conserve the most important values. In this process it is very important the documentation and the research. Therefore the criteria of restoration has changed, we can not conserve the patina of the contemporary art as a historic document, if this means the loss of the aesthetic value of the work. Nowadays the art is different, and therefore its conservation is different too.

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23

Hirsch, Leon V. "The Authenticity of Makonde Art: A Collector Replies." African Arts 26, no. 1 (1993): 10. http://dx.doi.org/10.2307/3337104.

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24

Simpkins, Wayne, and Mark Harrison. "The state of the art in authenticity testing." Trends in Food Science & Technology 6, no. 10 (1995): 321–28. http://dx.doi.org/10.1016/s0924-2244(00)89166-9.

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25

Salah, Bouregbi. "Art and Identity : Between Authenticity and Elusive Representation." مجلة الممارسات اللغوية, no. 24 (2014): 1–12. http://dx.doi.org/10.12816/0011341.

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26

Fleming, Stuart J., and Edward Hall. "Authenticity in Art: The Scientific Detection of Forgery." American Journal of Physics 54, no. 6 (1986): 572. http://dx.doi.org/10.1119/1.14545.

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27

Irvin, Sherri. "Authenticity, Misunderstanding, and Institutional Responsibility in Contemporary Art." British Journal of Aesthetics 59, no. 3 (2019): 273–88. http://dx.doi.org/10.1093/aesthj/ayz007.

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Abstract This paper addresses two questions about audience misunderstandings of contemporary art. First, what is the institution’s responsibility to prevent predictable misunderstandings about the nature of a contemporary artwork, and how should this responsibility be balanced against other considerations? Second, can an institution ever be justified in intentionally mounting an inauthentic display of an artwork, given that such displays are likely to mislead? I will argue that while the institution has a defeasible responsibility to mount authentic displays, this is not always sufficient to a

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28

McNaughton, Patrick R. "On "African Art and Authenticity" by Sidney Kasfir." African Arts 25, no. 3 (1992): 14. http://dx.doi.org/10.2307/3336987.

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29

Locher, Paul, Elizabeth Krupinski, and Alexandra Schaefer. "Art and authenticity: Behavioral and eye-movement analyses." Psychology of Aesthetics, Creativity, and the Arts 9, no. 4 (2015): 356–67. http://dx.doi.org/10.1037/aca0000026.

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30

Doluda, A. О., O. S. Puklich, T. S. Romanenko, and O. S. Drobysheva. "FORENSIC FINE ART RESEARCH OF PAINTINGS." Theory and Practice of Forensic Science and Criminalistics 18 (December 26, 2018): 534–42. http://dx.doi.org/10.32353/khrife.2018.62.

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The features of performing and the main directions of research on objects of forensic fine art examination, namely works of painting. It is noted that according to the performance technique, the painting is divided into oil, tempera, watercolor and encaustic painting (wax as a binder of paints). Proved the need to know the expert of the painting technology. It is important to distinguish the materials that served as the basis, since each of them has its own composition, structure and features, which tells on their properties, and this, in turn, affects the character and condition of all compon

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31

Liu, Can, and Xue Song Yang. "Application Study of Landscape Design Based on Visual Authenticity and Intellectual Authenticity." Advanced Materials Research 594-597 (November 2012): 2936–38. http://dx.doi.org/10.4028/www.scientific.net/amr.594-597.2936.

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Design works not only bring visual perception, but also are a thought-provoking process. Visual perception is a part of perception and the image generated by visual signals makes what the design works convey rich and complete. This paper can get the concepts of visual authenticity and intellectual authenticity from Art and Visual Perception written by Arnheim, elaborates the practical application of landscape design by doing research on the connotation of visual authenticity and intellectual authenticity and comparatively analyses the characteristics of visual authenticity and intellectual aut

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32

Harty, Kevin J. "Music in Films on the Middle Ages: Authenticity vs. Fantasy by John Haines." Arthuriana 25, no. 1 (2015): 173–75. http://dx.doi.org/10.1353/art.2015.0011.

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33

Shiner, Larry. ""Primitive Fakes," "Tourist Art," and the Ideology of Authenticity." Journal of Aesthetics and Art Criticism 52, no. 2 (1994): 225. http://dx.doi.org/10.2307/431169.

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34

Kasfir, Sidney Littlefield. "African Art and Authenticity: A Text with a Shadow." African Arts 25, no. 2 (1992): 40. http://dx.doi.org/10.2307/3337059.

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35

Pippin. "Authenticity in Painting: Remarks on Michael Fried's Art History." Critical Inquiry 31, no. 3 (2005): 575. http://dx.doi.org/10.2307/3651446.

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36

McNally, Rika Smith. "The Painted King: Art, Activism, and Authenticity in Hawai'i." Public Art Dialogue 4, no. 2 (2014): 268–69. http://dx.doi.org/10.1080/21502552.2014.936690.

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Pippin, Robert. "Authenticity in Painting: Remarks on Michael Fried’s Art History." Critical Inquiry 31, no. 3 (2005): 575–98. http://dx.doi.org/10.1086/430985.

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38

Van den Bosch, Annette, and Ruth Rentschler. "Authorship, Authenticity, and Intellectual Property in Australian Aboriginal Art." Journal of Arts Management, Law, and Society 39, no. 2 (2009): 117–31. http://dx.doi.org/10.3200/jaml.39.2.117-131.

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39

Kotliar, Svitlana, and Iryna Zaspa. "Female Portrait in Photography Art: from Authenticity to Modernity." Bulletin of Kyiv National University of Culture and Arts. Series in Audiovisual Art and Production 4, no. 1 (2021): 84–96. http://dx.doi.org/10.31866/2617-2674.4.1.2021.235094.

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The purpose of the research is to analyze female photo portrait, the concept of female beauty in photography, the history of the origin and formation of female portrait in photography. Moreover, the aim was to trace the common and distinct features of a female portrait from the past to nowadays. It was decided to establish a role of female photo portrait in the art of photography, to prove its peculiarity and importance. The research methodology consists of the following parts: theoretical – analysis of the female beauty concept in the photo portrait, history of female portrait development in

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40

Poškaitė, Loreta. "Authenticity/Genuineness/Truth (Zhen 真 ) in Chinese Traditional Art Theories and Aesthetics". Art History & Criticism 16, № 1 (2020): 145–58. http://dx.doi.org/10.2478/mik-2020-0011.

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SummaryThe uniqueness of Chinese traditional art and aesthetics is often presented by the popular Chinese saying “art is manifestation of Dao”, which could mean manifestation of truth or authenticity, since Dao 道 in Classical Daoism was understood as authentic being and a source of authenticity. However, the meaning of authenticity/truth (zhen 真 ) in Chinese aesthetics and theories of art seems less discussed, and far more complicated, than the term Dao. This article argues that zhen is no less important for understanding the nature of artistic creativity and expression in Chinese arts and the

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41

Hahl, Oliver, Ezra W. Zuckerman, and Minjae Kim. "Why Elites Love Authentic Lowbrow Culture: Overcoming High-Status Denigration with Outsider Art." American Sociological Review 82, no. 4 (2017): 828–56. http://dx.doi.org/10.1177/0003122417710642.

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We develop and test the idea that public appreciation for authentic lowbrow culture affords an effective way for certain elites to address feelings of authenticity-insecurity arising from “high status denigration” (Hahl and Zuckerman 2014). This argument, which builds on recent sociological research on the “search for authenticity” (e.g., Grazian 2005) and on Bourdieu’s (1993) notion of artistic “disinterestedness,” is validated through experiments with U.S. subjects in the context of “outsider” art (Fine 2004). The first study demonstrates that preference for lowbrow culture perceived to be a

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Bai, Yuli, Tsan-Ming Choi, Jeanne Tan, Raymond W. Au, and Yingchun Zang. "Searching for Authenticiy in Fashion Design and Art Collaboration (FDAC)." Leonardo 47, no. 2 (2014): 179–82. http://dx.doi.org/10.1162/leon_a_00738.

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This paper explores theoretical issues around authenticity in fashion design and art collaboration (FDAC). The aim is to understand the marketer's actual momentum and cultural properties of this phenomenon. Based on multiple case studies and interview surveys, this research identified that: FDAC is in widespread use as a way of above commerce; additionally, it bridges a gap between authenticity and fashion (especially youth fashion), while it represents the value of being free, true to the self and having passion for life. It is also heavily linked with creative youth culture and fashionisatio

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LEACH, ELIZABETH EVA. "Vicars of ‘Wannabe’: authenticity and the Spice Girls." Popular Music 20, no. 2 (2001): 143–67. http://dx.doi.org/10.1017/s0261143001001386.

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Popular notions of value in art – even popular definitions of art itself – are much indebted to the idealist narratives of late romanticism and its maximalised form, elite modernism. Since artistic value is normally imputed to one side of a dialectically related pair of oppositional terms, two principal strategies exist by which to ascribe value to the music you love, find interesting, or want to study: either show how it merits the positive term of the valorising pair (if necessary redefining the specific markers of that term), or attack the narrative underlying the binary itself. A typical p

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44

Noble, Anne, and Geoffrey Batchen. "Had We Lived ... Phantasms & Nieves Penitentes: Conversation between Anne Noble and Geoffrey Batchen." Grimace, Vol. 2, no. 1 (2017): 20–29. http://dx.doi.org/10.47659/m2.020.art.

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In the conversation, two of the most prominent New Zealand authors in the field of photography talk about the body of work of Anne Noble’s Antarctica photography projects. Had we lived is a re-photographic project reflecting on the tragedies of heroic age exploration (commemorating the centenary of the deaths of Robert Falcon Scott and his men on their return from the South Pole – Terra Nova Expedition or British Antarctic Expedition to the South Pole, 1912) and on the memory of Erebus tragedy of 1975, when a tourist plane flying over Antarctica crashed into Mt Erebus, killing all 257 people o

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45

Delimata, Maria. "Authenticity and commercialization. Cambodian theatre in a postcolonial perspective." Journal of Education Culture and Society 1, no. 2 (2020): 15–26. http://dx.doi.org/10.15503/jecs20102.15.26.

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The article discusses the problem of authenticity and commercialization in the context of the postcolonial theatre in Cambodia. It seems that contemporary art in this country depends on foreign funds and at the same time on the special taste of – mainly – Western donors. The author tries to show, that the epithet “pure Cambodian” is very often used to make art more interesting to tourists. A similar situation can be seen in the crucifixions in Cutud (which annually takes place in a Philippine province – Pampanga with a wide touristic audience) and in Balinese theatre (another good example of a

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46

Ostajewska, Marta. "„Nie ma już tam tam” – Urban Indians i współczesna sztuka rdzenna, wokół tożsamości i autentyczności w amerykańskiej popkulturze." Literaturoznawstwo 1, no. 13 (2020): 19–31. http://dx.doi.org/10.25312/2451-1595.13/2019__02mo.

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“There is no there there” – Urban Indians and The New Contemporary in Indigenous American Art – around Identity and Authenticity in American Pop Culture Native American artists and writers are constantly reimagining their narratives, and addressing context, community, and intersection with others. Based on few examples: Tommy Orange (Cheyenne / Arapaho), James Luna (Payómkawichum / Ipi), Wendy Red Star (Apsáalooke (Crow)) and Steven Paul Judd (Choctaw / Kiowa) author of article examines how their art undermines the conventional view on a stereotypical image of Native Arts and how their strateg

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47

Tsagkaris, Aristeidis S., Georgios A. Koulis, Georgios P. Danezis, et al. "Honey authenticity: analytical techniques, state of the art and challenges." RSC Advances 11, no. 19 (2021): 11273–94. http://dx.doi.org/10.1039/d1ra00069a.

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48

Doluda, A. O., and O. S. Puklich. "CLASSIFICATION OF FORENSIC ART EXAMINATION OBJECTS." Theory and Practice of Forensic Science and Criminalistics 16 (November 30, 2016): 378–84. http://dx.doi.org/10.32353/khrife.2016.52.

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The paper gives the classification of forensic art examination objects. Consideration is given to the features of conducting the forensic art examination and to the main directions of objects research on the issues of belonging to those that have a cultural value. Determination is made for the authenticity and cost of objects, as well as for the availability of pornographic signs and propaganda of violence and cruelty cults.

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49

Hajduk, Jacek. "Pliny the Younger and the Art of Narration." Classica Cracoviensia 21 (July 2, 2019): 55–70. http://dx.doi.org/10.12797/cc.21.2018.21.03.

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In this paper I try to examine some of Pliny’s well known letters as pieces of literary fiction. The main interest here is not the authenticity of facts presented, but some literary techniques that Pliny uses in order to make his descriptions more vivid.

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50

Merrill, Samuel. "Keeping it real? Subcultural graffiti, street art, heritage and authenticity." International Journal of Heritage Studies 21, no. 4 (2014): 369–89. http://dx.doi.org/10.1080/13527258.2014.934902.

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