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8 Cards in this Set
- Front
- Back
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Different types of forgery |
referential: copy a specific existent artwork inventive: copy the style manifested in certain existent artworks pastiche: copy significant parts from existing works and recombine them |
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autographic and allographic art |
Goodman: an art is autographic ‘if and only if even the most exact duplication does not thereby count as genuine’
Autographic art works are non-repeatable or particular (e.g. paintings, carved sculptures) Allographic artworks are repeatable, e.g. musical works/dance |
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forgeries and repeatable works |
Goodman denies that there can be forgery in the allographic arts Lessing denies that there can be forgery in the performing arts as they are not creative however, particular performances can be inventive, referential or pastiche forgeries Goodman and Lessing deny that being an occurrence of a repeatable work can be forge, instead it is a genuine instance of the work Dutton's counter example: orchestral performance made by electronic means |
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formalism and forgery |
Forformalists, a work’s aesthetic properties only supervene on its perceptibleproperties.
being a forgery is a non-perceptible property of a work determined by its history of production formalists must accept that a work's being a forgery has no bearing upon its aesthetic value/properties Aesthetic contextualists hold that a work’s aestheticproperties are (in part) determined by its history of production Due to this, they needn’t accept the aestheticequivalence of forgeries and originals Not obvious that Walton’s categories can explain thepurported aesthetic significance of forgery. |
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Lessing's defense of the formalist supervenience thesis |
Lessing argues it is mere snobbery to insist that forgeries identical to the originals are aesthetically inferior where there is no perceptible difference, there is no aesthetic difference fogery is not just morally wrong, it is wrong because it is passing the inferior off as the superior what is bad about them is that they are unoriginal ‘Whatmakes ‘The Disciples’ a forgery is precisely the disparity of gap between itsstylistically appropriate features and its actual date of production.’ being unoriginal is an artistic demerit rather than an aesthetic one ‘Artistsdo not seek merely to produce works of beauty. They seek to produce originalworks of beauty’ |
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criticisms |
distinction between artistic value and aesthetic value unclear downplays importance of a works aesthetic properties |
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accepting the aesthetic significance of forgery |
Dutton argues that forgery is an aesthetic defect,if we are aware the work is a forgery it should affect how we perceive it aesthetically for Dutton, works misrepresent origin and therefore the artist's achievement knowing a work is a forgery may lead us to judge it as aesthetically inferior to the original, but this is not always the case aesthetic appreciation as valuing artist's perfromance |
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criticisms |
why is aesthetically assessing a work to do with assessing artist's achievement? Does this account commit us to viewing the appreciation of art as a matter of inferring the artist’s achievement form the nature of the artwork and other contextual facts? Is this plausible? are all facts about the artist's achievement and context of performance relevant? if not then how do we decide which are and which are not? |
