{"id":961,"date":"2019-10-06T21:41:39","date_gmt":"2019-10-06T21:41:39","guid":{"rendered":"http:\/\/hashtagart.blog\/?p=961"},"modified":"2025-03-01T16:52:22","modified_gmt":"2025-03-01T16:52:22","slug":"art-authenticity-john-cabot-university","status":"publish","type":"post","link":"https:\/\/hashtagart.blog\/?p=961","title":{"rendered":"The Illusion of Authenticity<\/em> at John Cabot University."},"content":{"rendered":"

3 points on the role of authenticity in the commodified culture of today\u00a0<\/span>(and where’s art is all of this?)<\/span><\/p>\n

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The Illusion of Authenticity: Art in the Age of Mechanical Reproduction<\/span><\/em><\/strong> at <\/span>John Cabot University<\/a><\/span> (JCU) was a panel organized as a part of the JCU Alumni Reunion on September 20th.<\/span><\/span><\/p>\n

Professor\u00a0<\/span><\/span>Brunella Automarini<\/a><\/span>, <\/span>Professor Antonio Lopez<\/a><\/span>, and <\/span>Professor Peter Sarram<\/a><\/span>, as well as alumna Fiamma Mozzetta ’16 and alumna Elisabetta Petrucci ’19, moderated the panel.<\/span><\/span><\/p>\n

\"IMG_7537\"<\/p>\n

Starting at the beginning:\u00a0<\/span>The Work of Art in the Age of Mechanical Reproduction<\/em><\/span><\/h3>\n

The discussion was based on the iconic 1935 essay\u00a0<\/span>The Work of Art in the Age of Mechanical Reproduction<\/em>\u00a0<\/span>by Walter Benjamin<\/strong>. In short, Benjamin\u2019s essay is a dense set of arguments on the concept of aura<\/em>\u00a0in art <\/span><\/strong>in relation to photography, film, and that the dissemination of images on the mass scale is the death of artistic aura.<\/strong>\u00a0Benjamin emphasized that\u00a0reproductions<\/strong>\u00a0lack\u00a0the physical conditions<\/strong> of space, time, and ownership.\u00a0These physical features establish authenticity<\/strong>, as well as provide historical contextualization<\/strong> of an object. <\/span><\/span><\/p>\n

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“Expansi\u00f3n CEO – Equipo \/ El reclutador eficiente”<\/a><\/span> by Orbeh Studio is licensed under<\/span> CC BY-NC-ND 4.0 <\/a><\/span><\/em><\/figcaption><\/figure>\n

The phenomenon of aura<\/strong> is a feeling of distance between a viewer and the object. The viewer perceives an object as seemingly out of reach,<\/strong> both historically and physically. Benjamin argues that art originated as a form of cultic worship<\/strong>, first related to magic, then religion, and then beauty. Hence aura carries a spiritual value<\/strong>. Benjamin points out that art has always been reproducible,<\/strong>\u00a0what has changed is the scale of reproducibility. He argues that\u00a0mass reproduction<\/strong> is the \u201cemancipation of artworks from ritual.\u201d Viewers shifted from being<\/i> absorbed by<\/i>\u00a0art to absorbing<\/i>\u00a0art.\u00a0<\/span><\/p>\n

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Distorting the appearance of authenticity in three points.<\/span><\/h4>\n

1. What you see is what you get. Maybe?<\/span><\/h3>\n

Before judging art through the lens of authenticity, we should ask what is authentic to us today.<\/strong><\/span><\/p>\n

Surreal Animation GIF<\/a><\/span>\u00a0by Rapha\u00eblle Martin<\/a><\/span><\/em><\/figcaption><\/figure>\n

A good start is with a look at some of the major\u00a0establishers of today\u2019s iconography<\/strong>, namely corporations, for instance, Apple<\/strong>. As Professor Lopez pointed out, on Apple products you find the bold statement \u201cDesigned in California.\u201d<\/strong>\u00a0This statement diverts attention from where the products are actually built.<\/strong><\/span><\/p>\n

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\u00a0<\/span>“iPhone Air Concept”<\/a> <\/span>by Ran Avni is licensed under<\/span> CC BY-NC 4.0<\/a><\/span>. Text added by Natalia Stanusch.<\/span><\/span><\/em><\/figcaption><\/figure>\n

A logo is a mask for authenticity.\u00a0<\/span><\/span>Behind Apple, there is a barrel full of rotten apples<\/strong>. Is it authentic that Apple promotes \u201ctheir\u201d product by taking away attention from those who really make it (<\/span>iPhone Workers Are 25 Times More Exploited Than 19th-Century Textile Workers<\/a><\/span><\/u><\/span>)<\/span>?<\/span><\/p>\n

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Street Art Fox GIF <\/span>b<\/span><\/a>y\u00a0<\/span>Animation Domination High-Def<\/a><\/span><\/em><\/figcaption><\/figure>\n

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If Banksy were to de-authorize his artwork, asked Professor Lopez, would it still be as valuable in art auctions as it is today?<\/strong><\/span><\/p>\n<\/blockquote>\n

Is Banksy like Apple, fully commodified<\/a><\/span> and dependant on the market?<\/strong> If the value of an object is its authenticity, then\u00a0no matter if the <\/span>authorship belongs to\u00a0Banksy or not. Artworks can be out of not only the artist’s power, but also out of time, even out of the political and economic system, without losing its value. \u00a0<\/span><\/p>\n

\"Zrzut<\/p>\n

2. Benjamin and hype<\/span><\/h3>\n
Piano Corgi GIF<\/a><\/span><\/em><\/figcaption><\/figure>\n

Let\u2019s focus on music. An increasingly common practice in the music industry is to “plant” musicians. As Professor Sarram explained, \u201cplanting\u201d means to shape musicians\u2019 careers in a certain manner or style, crafting their personality and history to manufacture authenticity\u00a0for a<\/strong>\u00a0\u00a0targeted audience<\/strong>.\u00a0A good example, said Professor Sarram, is Lana Del Rey, who had her story and style reinvented<\/span>\u00a0<\/a>to appeal to the expectations of the music industry.\u00a0<\/span><\/span><\/p>\n

The Beatles Smile GIF<\/a><\/span><\/em><\/figcaption><\/figure>\n

The question remains whether we enjoy music less if we know that it is a part of an industry-planned strategy of\u00a0increasing commodification and income<\/strong>. Even the well-established artists follow marketing paths in order to keep their image iconic<\/strong>. Does it matter<\/strong> for us that Elvis Presley, The Beatles, and the Rolling Stones would probably never have happened had they not had the \u2018support\u2019 and guidance from\u00a0industry professionals<\/strong>?<\/span><\/span><\/p>\n

Elvis Presley Images GIF<\/a><\/span><\/em><\/figcaption><\/figure>\n

Professor Sarram pointed out that Benjamin’s notion of aura is often misunderstood<\/strong>. Benjamin claimed that mass culture is erasing aura from artworks<\/strong>. However, as Professor Sarram explained, Benjamin saw this\u00a0aura as a human-made concept<\/strong> which adds fake value to objects. As Professor Sarram said, it is technology that might allow us to see through it<\/strong>.<\/span><\/p>\n

3. Goodbye, Authenticity (we will see you soon)<\/span><\/h3>\n

\"bBNmvbN-1.gif\"<\/p>\n

Does technology destroy authenticity? According to Professor Automarini, discussions about authenticity often rely on\u00a0a Romanticized notion of nature as authentic.<\/strong>\u00a0We see nature as authentic and good, consequently viewing technology as its binary opposite. Professor Automarini maintains that technology is neutral.<\/strong>\u00a0It depends on us how we use it.<\/span><\/p>\n

…but can technology be authentic?<\/strong> Ai-Da is a good example of how neutral technology becomes authentic through the addition of aura. Ai-Da, which<\/strong><\/span> I talked about here<\/a>,<\/span><\/span><\/strong> is the first humanoid robot-artist<\/strong> that depends on artificial intelligence to create original, authentic art. Or rather, this is what the PR narration and wants us to believe.\u00a0<\/span><\/span><\/p>\n

If what is human belongs to what is natural, then anything made or manipulated by a\u00a0human<\/strong>. Even if mediated by technology, a<\/span>rt can be turned into natural and therefore be authentic.<\/span><\/p>\n

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#UnsecuredFutures<\/a> is open at @UniofOxford<\/a> , my first exhibition includes a series of abstract paintings, created using Artificial Intelligence #aidarobot<\/a> #art<\/a> pic.twitter.com\/ca3o808UpG<\/a><\/p>\n

— ai-da robot (@aidarobot) July 2, 2019<\/a><\/p><\/blockquote>\n