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Książki na temat „Authenticité (art)”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 1 lutego 2022

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1

Authenticité du faux: Lectures psychanalytiques. Paris: Presses universitaires de France, 2004.

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2

Humphries, Lund, i Sotheby's (Firm). Institute of Art, red. Art and authenticity. Farnham, UK: Lund Humphries, 2012.

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3

Exhibiting authenticity. Manchester: Manchester University Press, 1997.

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4

Debating authenticity: From art to wilderness. New York: Berghahn Books, 2012.

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5

Vē, Jeyarāj, Chemical Conservation and Research Laboratory (Government Museum (Madras, India)) i Indian Association for the Study of Conservation of Cultural Property., red. Authenticity in art: With special reference to conservation of art objects. Chennai: Government Museum, 2006.

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6

Art, conservation and authenticities: Material, concept, context. London: Archetype Publications, 2009.

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7

The painted king: Art, activism, and authenticity in Hawaiʻi. Honolulu: University of Hawaiʻi Press, 2011.

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8

Original intentions: Essays on production, reproduction, and interpretation in the arts of China. Gainesville [Fla.]: University Press of Florida, 2012.

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9

Everyday genius: Self-taught art and the culture of authenticity. Chicago: University of Chicago Press, 2004.

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10

Securing the past: Conservation in art, architecture, and literature. Cambridge: Cambridge University Press, 2008.

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11

Graña, César. Meaning and authenticity: Further essays on the sociology of art. New Brunswick, N.J., U.S.A: Transaction Publishers, 1989.

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12

Orlando, Britto Jinorio, Fitzgerald Shannon, Mosaka Tumelo, Contemporary Art Museum St. Louis, Regina Gouger Miller Gallery i Blaffer Gallery, red. A fiction of authenticity: Contemporary Africa abroad : Siemon Allen ... [et al.]. St. Louis, Mo: Contemporary Art Museum St. Louis, 2003.

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13

Appropriating Blackness: Performance and the politics of authenticity. Durham [N.C.]: Duke University Press, 2003.

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14

Voskuil, Lynn M. Acting naturally: Victorian theatricality and authenticity. Charlottesville: University of Virginia Press, 2004.

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15

Autenticidad y monumento: Del mito de Lázaro al de Pigmalión. Madrid: Abada Editores, 2013.

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16

Khiṭāb al-aṣālah fī al-fann wa-al-ʻimārah. [Damascus]: Dār al-Sharq lil-Nashr, 2004.

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17

Künstlerische Authentizität: Philosophische Untersuchung eines umstrittenen Begriffs. Würzburg: Königshausen & Neumann, 2009.

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18

Fiktionen von Wirklichkeit: Authentizität zwischen Materialität und Konstruktion. Bielefeld: Transcript, 2011.

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19

Olsburgh, Carolyn. Authenticity in the art market: A comparative study of Swiss, French and English contract law. Leicester, Great Britain: Institute of Art and Law, 2005.

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20

Rauser, Amelia F. Caricature unmasked: Irony, authenticity, and individualism in eighteenth-century English prints. Newark: University of Delaware Press, 2008.

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21

Kawalec, Anna, i Wojciech Daszkiewicz. Między autentycznościa ̨a udawaniem: Postawy twoŕcze w kulturze współczesnej. Lublin: Wydawnictwo KUL, 2013.

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22

Ästhetik des Authentischen: Literatur und Kunst um 1970. Berlin: De Gruyter, 2010.

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23

Catherine, Whitney, red. Leonardo's lost princess: One man's quest to authenticate an unknown portrait by Leonardo da Vinci. Hoboken, N.J: Wiley, 2012.

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24

Solar dance: Genius, forgery, and the crisis of truth in the modern age. Toronto: Knopf Canada, 2012.

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25

Solar dance: Van Gogh, forgery, and the eclipse of certainty. Cambridge, Massachusetts: Harvard University Press, 2012.

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26

Baugh, Laurie Bruce. Art and authenticity. 1986.

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27

Art of Authenticity. Wiley & Sons, Incorporated, John, 2016.

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28

Dutton, Denis. Authenticity in Art. Redaktor Jerrold Levinson. Oxford University Press, 2009. http://dx.doi.org/10.1093/oxfordhb/9780199279456.003.0014.

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Streszczenie:

Many of the most often-discussed issues of authenticity have centred around art forgery and plagiarism. A forgery is defined as a work of art whose history of production is misrepresented by someone (not necessarily the artist) to an audience (possibly to a potential buyer of the work), normally for financial gain. A forging artist paints or sculpts a work in the style of a famous artist in order to market the result as having been created by the famous artist. Exact copies of existing works are seldom forged, as they will be difficult to sell to knowledgeable buyers. The concept of forgery necessarily involves deceptive intentions on the part of the forger or the seller of the work: this distinguishes forgeries from innocent copies or merely erroneous attributions.

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29

Art: Authenticity, Restoration, Forgery. The Cotsen Institute of Archaeology Press, 2016.

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30

John Banville: Art and Authenticity. Lang AG International Academic Publishers, Peter, 2013.

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31

Ivan Moudov: Certificate of Authenticity. Kerber Verlag, 2017.

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32

Olander, William. Fake: A Meditation on Authenticity. New Museum of Contemporary Art, 1987.

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33

Vivian, Bradford. Authenticity. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190611088.003.0003.

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Chapter 2 investigates a case in which large segments of the public praised a deeply suspect act of witnessing without critical scrutiny. Questions of historical authenticity (as well as authorship and authority) attend the rhetorically inventive nature of witnessing in Binjamin Wilkomirski’s fraudulent Holocaust memoir, titled Fragments. The author’s alleged childhood memories during his fictional imprisonment at Auschwitz were hailed as an instant classic in the genre for its apparent historical authenticity, and subsequently lauded with international literary awards, but historians and journalists who eventually questioned its historical accuracy proved, in the end, that the book was fake. The chapter examines why even actual Holocaust survivors celebrated Fragments as an authentic work of testimony insofar as Wilkomirski borrowed and recycled numerous tropes and images characteristic of postwar survivor memoirs, including the ethos of the survivor, fragmented memories, and recollections focused on trauma. Wilkomirski’s book illustrates potential dangers that attend the extensive public receptiveness for commonplace, and oftentimes unquestioned, tropes of authenticity in witnessing.

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34

Wharton, Glenn. Painted King: Art, Activism, and Authenticity in Hawai'i. University of Hawaii Press, 2011.

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35

Orlando, Britto Jinorio, Fitzgerald Shannon, Mosaka Tumelo, Contemporary Art Museum St. Louis., Regina Gouger Miller Gallery i Blaffer Gallery, red. A fiction of authenticity: Contemporary Africa abroad. St. Louis, MO: Contemporary Art Museum St. Louis, 2003.

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36

Camara, Ery, Gilane Tawadros, Paul Ha i Orlando Britto Jinorio. A Fiction of Authenticity: Contemporary Africa Abroad. Contemporary Art Museum St. Louis, 2004.

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37

British Music Videos 1966 - 2016: Genre, Authenticity and Art. Edinburgh University Press, 2020.

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38

Authenticity is a Feeling: My Life in PME-ART. Book*hug, 2018.

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39

Mock, Steven J. Mapping Authenticity. Redaktorzy Angela M. Labrador i Neil Asher Silberman. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190676315.013.15.

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Debates in the study of public heritage are rooted in the field’s inherently interdisciplinary nature. Heritage is about both the past and the present; about tangible objects and intangible myths; about individuals, groups, institutions, and nations. Cutting through these challenges requires approaching heritage as the emergent product of dense interaction between diverse systems that operate on multiple levels of analysis. This chapter explores the utility of a method known as Cognitive-Affective Mapping, capable of tracking the interaction between tangible and intangible elements of the past and present where they must, by necessity, meet on common ground: as emotionally loaded representations in the human mind. Drawing from the examples of Switzerland and Israel, we examine how such a method can be used both to explain the authenticity of a given object to a national heritage, and to illuminate the emotional significance of this property in situations of inter-group conflict.

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40

Fine, Gary Alan. Everyday Genius: Self-Taught Art and the Culture of Authenticity. University Of Chicago Press, 2006.

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41

Fine, Gary Alan. Everyday Genius: Self-Taught Art and the Culture of Authenticity. University Of Chicago Press, 2004.

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42

Authenticity?: Observations and Artistic Strategies in the Post-Digital Age. Valiz, 2017.

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43

1951-, Jones Mark, i British Museum, red. Why fakes matter: Essays on problems of authenticity. London: Published for the Trustees of the British Museum by British Museum Press, 1992.

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44

Everyday genius : self-taught art and the culture of authenticity. Chicago: University of Chicago Press, 2004.

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45

Guertin, Bill, i Andy Corbus. Reality Sells: The Art of Authenticity As a Business Tool. Wbusiness Books, 2007.

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46

Graña, César. Meaning and Authenticity: Further Essays on the Sociology of Art. Transaction Publishers, 1988.

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47

Clément, Chéroux, red. De main de maître: L'artiste et le faux. Paris: Hazan, 2009.

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48

De main de maître: L'artiste et le faux. Paris: Hazan, 2009.

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49

Ekelund, Robert B., John D. Jackson i Robert D. Tollison. American Art and Illegal Activity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657895.003.0006.

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This chapter presents an economic characterization of theft and fakery in the art world generally and with respect to American art specifically. When costs are low or benefits are high, there is more theft and fakery. That happens to be the case in the generally opaque market for art. With low national and international enforcement and higher and higher prices for art, we should not be surprised that art crime is the third largest criminal enterprise in the world. Art is used as “money” in drug operations and in money laundering of other illicit activities. Authenticity through experts, provenance, and exhibition records may add credence or establishment of authenticity to a work of art but, in many case, such “credence” may be faked. The story of art crime is told through a multiplicity of examples and “case studies,” derived primarily from theft and fakery of American art.

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50

Goldsmith, Joan, i Kenneth Cloke. Art of Waking People Up: Cultivating Awareness and Authenticity at Work. Wiley & Sons, Incorporated, John, 2007.

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