Journal articles: 'Authenticité (art)'

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Scott, David A. "Art and Authenticity." Studies in Conservation 59, no. 5 (August 23, 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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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, works of art, but its ease of manipulation increases the risk of falsification. Reproductions also have a psychological existence as mental constructs. Art and its institutions depend on them, and allow them to create their own authenticity.

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Adkins, Jessica. "Authenticity in Anatomy Art." Journal of Medical Humanities 40, no. 1 (January 12, 2017): 117–38. http://dx.doi.org/10.1007/s10912-016-9431-3.

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Young, James O. "Art, authenticity and appropriation." Frontiers of Philosophy in China 1, no. 3 (September 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 (February 22, 2016): 253–54. http://dx.doi.org/10.1080/09670882.2016.1149143.

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Hodgman, Matthew R. "Class, Race, Credibility, and Authenticity within the Hip-Hop Music Genre." Journal of Sociological Research 4, no. 2 (November 16, 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, race was the primary signifier of rapper authenticity. After the success of white rappers such as Eminem new parameters of what constitute credibility and authenticity in the rap genre have been forged. This article discusses the significance of the continued presence of white rappers in hip-hop in terms of class and race in relation to artistic credibility within the rap genre. On a larger scale, this article considers questions related to cultural interloping upon a racially concentrated art form. It is concluded that class has generally emerged as the premier indicator or variable of authenticity throughout rap. </p>

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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 theological works, especially Person and Act and Letter to Artists. The conception of the counter-morality of art, as derived from Kant’s works, and Charles Taylor’s concept of the ethics of authenticity are the framework for this deliberation.

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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 (January 26, 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 to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.

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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, computer based techniques are attracting increasing interest within the forensic community. The question here is; which is better: man or machine? To address this question we focus on empirically comparing the performance of the two, on the same or similar material. The novelty of this work is that we have applied various state-of-the-art signature verification systems to questioned signature problems which had already been worked by FHEs and then performed a comparative analysis of the two. Purchase article for $10.

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Alexander, Isabella. "White Law, Black Art." International Journal of Cultural Property 10, no. 2 (January 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 concepts as “authenticity.” Finally, the article looks beyond the Label of Authenticity and existing law of intellectual and cultural property, to sketch another possible solution to the problem.

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Molinari, Elena. "The Art of Fielding." Romanian Journal of Psychoanalysis 11, no. 2 (December 1, 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 experience. Authenticity especially appears as a broader concept, which includes something about style and the ability to reach a sense of contentment and sharing together. The author explores as authenticity goes through the form, not just the content, of language; a form capable of arousing surprise, wonder and transformation of the gaze. The optimal regulation of the intensity of feeling and the subjective quality of the words allow the latter to cross the relational field and to be received by the other subject. The goal for therapy that strives to reach the patient and allow a creative, subjective and full relational experience can be described (or summarized) with the word ‘authenticity’.

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

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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 (December 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 negotiations around artistic authenticity in settler societies can replicate and re-entrench colonialist power.

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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 (March 1, 2008): 88–93. http://dx.doi.org/10.1215/10757163-22-23-1-88.

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McCrone, Walter C. "A Protocol for Authentication of Paintings." Microscopy Today 8, no. 5 (June 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) was, in fact, a painting and not an artifact produced by some other mysterious means, e.g., some sort of photographic process or resurrection itself.

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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 of the silhouettes is accentuated (“Birds of the World”). The rigor of the drawing is combined with the integrity of color, and exquisite detailing with the monumentality, implying grandeur and even epic content (“Animals Disappeared”, “Birds of Moldova”, series of stamps issued by “Moldavian Post”). In the times when digital technologies affect the process of making illustrations, artworks by V. Melnik are valuable for the character of unique piece products, as they appear to be like pearls of filigree decoration. В статье рассматривается творчество Владимира Мельника, одного из самых опытных мастеров графического искусства Республики Молдова. Несмотря на значительные достижения художника в разных областях графики, ранее его творчество не было изучено. Автор статьи освещает многолетнюю деятельность мастера для введения его произведений в международный научный оборот. Анализируются работы, выполненные с 1980-х по 2010-е годы: натурные и полуфантастические композиции (офорт, меццо-тинто, пастель), документальные изображения для книг и марок (темпера с добавлениями гуаши, акварели, карандаша, пастели). Работая в трех областях графики – станковой, книжной и малых форм, В. Мельник проявляет утонченность художественного исполнения, а также тонкое пейзажное видение. Станковые произведения выделяются метафоричностью художественного языка и обилием насыщенных черных тонов. Усложнение технического исполнения приводило к созданию неповторимых эффектов. Графика малых форм, предназначенная для репродуцирования в книгах и на марках, интересна емкостью при описательной правдоподобности. Мастер стремится одновременно к типологизации и психологизации образов, к детальной разработанности и обобщенности форм. Творчество В. Мельника показательно как синтез старинных и современных традиций разных видов графики в талантливой авторской обработке.

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

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Sagoff, Mark. "Art and Authenticity: A Reply to Jaworski." Journal of Value Inquiry 48, no. 3 (April 24, 2014): 503–15. http://dx.doi.org/10.1007/s10790-014-9428-y.

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Nagy-Sándor, Zsuzsa, and Pauwke Berkers. "Culture, Heritage, Art: Navigating Authenticities in Contemporary Hungarian Folk Singing." Cultural Sociology 12, no. 3 (July 13, 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 definitions of folk singing as, variously, culture, heritage, and art. Third-person authenticity is more highly regarded, but it is more difficult for contemporary urban folk singers to achieve because they were not socialized in peasant communities. Therefore, they use objectified authenticity such as ‘original recordings’ as a proxy for learning about living folk culture. Although objectified authenticity constrains the agency of artistic expression, it affords discriminatory creativity (choosing one’s own repertoire) and rationalized creativity (adapting traditional material to external values and contexts).

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

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

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

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Irvin, Sherri. "Authenticity, Misunderstanding, and Institutional Responsibility in Contemporary Art." British Journal of Aesthetics 59, no. 3 (April 23, 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 avoid misunderstanding; the institution will sometimes need to supply auxiliary information. And even where competing considerations require mounting an inauthentic display, thoughtful museum practice can promote the audience’s ability to grasp the work. The argument will be developed with consideration of artworks by El Anatsui, Lygia Clark, and Glenn Ligon.

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

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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 (November 2015): 356–67. http://dx.doi.org/10.1037/aca0000026.

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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 components of painting and, in particular, the colorful layer as the most defining feature. Different types of craquelure and its origin are considered. It is indicated that craquelure is formed under the action of various factors, and therefore it differs both in form, location-oriented disposition, and formation method.The criteria for determining the composition creation time and its authenticity are defined. It is noted that craquelure is one of painting authenticity features, therefore, on non-authentic composition, in order to pass them off as genuine, craquelure is formed by means of mechanical action that is fairly easy to recognize, or by means of painting technology violating. Considered the need for comprehensive research. It is proved that correspondence of an handwriting to the author handwriting in the signature is one of the most important features of composition authenticity which is determined according to the methods of forensic handwriting researches by the relevant specialists and it is performed as a comprehensive fine art and handwriting examination. Another of the most important authenticity features is the correspondence of the chemical composition of coloring pigments and their origin to the time of applicability and time of composition creation which is determined with the involvement of the appropriate specialists in while performing a comprehensive forensic fine art and chemical examination.

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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 authenticity from three aspects ( including sensory authenticity and image authenticity, direct process and guiding process and ornamentation and interestedness ) and the correlation between visual authenticity and intellectual authenticity and landscape to make the landscape design perfect.

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

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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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McNally, Rika Smith. "The Painted King: Art, Activism, and Authenticity in Hawai'i." Public Art Dialogue 4, no. 2 (July 3, 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 (March 2005): 575–98. http://dx.doi.org/10.1086/430985.

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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 (July 2009): 117–31. http://dx.doi.org/10.3200/jaml.39.2.117-131.

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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 (June 30, 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 photography, empirical – study of relationships between female portraits of different times, comparative – comparison of modern and authentic portraits. In the course of cognitive synthesis and generalization of distinctive and similar features of female photo portraits of different times, special features of the female portrait were determined. Scientific novelty. For the first time, the history and formation of female photo portrait from authenticity to the nowadays were analyzed. The analysis was conducted based on photo portraits researches of different times. A detailed analysis of factors influencing the formation of this genre of photography was carried out. With the help of the theoretical analysis, the factors influencing the development of the female photo portrait were determined, its specifics and features were outlined. Conclusions. In the course of the article, we analyzed female portrait in photography and the concept of female beauty in different periods. With the help of the analysis of the history of development and formation of the female portrait photography genre, its role in the art of photography has been established. Peculiarities of female photo portrait as a genre of the art of photography were determined. Its peculiarity and importance have been proved. The factors influencing the concept of female beauty in photography, the development of female portrait and its features have been generalized.

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Poškaitė, Loreta. "Authenticity/Genuineness/Truth (Zhen 真 ) in Chinese Traditional Art Theories and Aesthetics." Art History & Criticism 16, no. 1 (December 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 their theories in the historical perspective, and the issue of likeness in art in particular. It demonstrates how this term is related to the evaluation of the work of art, the artist’s expression and self-expression, and his/her relation to the “object” represented in art; in other words, with representation, imagination and morality, which is evident in such compounds as “drawing truthfulness” (xie zhen 写真), and “to create the truth” (chuang zhen 創真). The article deals with the conceptual and historical analysis of the term zhen, aiming to survey the differences and changes of its meaning in theories of painting, literature and “aesthetics of things” (antiquarianism), and to reveal the relations between its philosophical and aesthetic interpretations, especially evident in the Ming dynasty.

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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 (June 2, 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 authentic is higher when individuals feel insecure in their authenticity because they attained status in a context where extrinsic incentives are salient. The second study demonstrates that audiences perceive the members of erstwhile denigrated high-status categories to be more authentic if they consume lowbrow culture, but only if the cultural producer is perceived as authentic. We conclude by noting how this “authenticity-by-appreciation” effect might be complementary to distinction-seeking as a motivation for elite cultural omnivorousness, and we draw broader implications for when and why particular forms of culture are in demand.

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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 (April 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 fashionisation featuring fun, excitation and hedonism.

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LEACH, ELIZABETH EVA. "Vicars of ‘Wannabe’: authenticity and the Spice Girls." Popular Music 20, no. 2 (May 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 postmodernist strategy is to do both these things simultaneously, so as to collapse notions of value into a win-win polysemy.

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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 on board. Anne Noble re-photographed image taken by Herbert Bowers at the South Pole – the photograph of Scott and his men taken after they arrived at the South Pole to find Amundsen had already been and gone. Phantasms and Nieves Penitentes projects hint at the triumph of Antarctica over human endeavour and as a non-explorer type herself photographer Anne Noble states: “I rather liked this perverse reversal”. Both tragic events have a notable relationship to photography – Erebus in particular, as those who died were likely looking out of the aeroplane windows taking photographs at the time of impact. This relationship is addressed throughout the conversation between the two, providing an insightful commentary on the questions of authenticity, documentary value and the capacity of photography to exist in the in-between spaces of thoughtful imagining, and rational dreaming. Keywords: Antarctica, authenticity, documentary, photographic imaginary, re-photographing

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Delimata, Maria. "Authenticity and commercialization. Cambodian theatre in a postcolonial perspective." Journal of Education Culture and Society 1, no. 2 (January 17, 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 postcolonial, hybrid identity). Moreover, a discourse of the battle between “traditional” and “touristic” points of view does not have one answer. The search for purity can be a cause of petrifying traditional forms, as well as a sign of neocolonialism and (self-)orientalisation. On the other hand, a dialogue between indigenous artists and the others, tourists, may give the art a new profile and new meaning.

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Ostajewska, Marta. "„Nie ma już tam tam” – Urban Indians i współczesna sztuka rdzenna, wokół tożsamości i autentyczności w amerykańskiej popkulturze." Literaturoznawstwo 1, no. 13 (April 30, 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 strategies are opening a new view on Urban Indians. How does artistic work around their own identity is transforming a social perception of indigenous minorities. Kewords: Urban Indians, the New Contemporary, Indigenous American Art, American Pop Culture, Identity, Authenticity

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Tsagkaris, Aristeidis S., Georgios A. Koulis, Georgios P. Danezis, Ioannis Martakos, Marilena Dasenaki, Constantinos A. Georgiou, and Nikolaos S. Thomaidis. "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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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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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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Merrill, Samuel. "Keeping it real? Subcultural graffiti, street art, heritage and authenticity." International Journal of Heritage Studies 21, no. 4 (July 30, 2014): 369–89. http://dx.doi.org/10.1080/13527258.2014.934902.

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Journal articles on the topic 'Authenticité (art)'

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