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What makes art valuable? Why authenticity matters? What is authenticity and how do we know?
What makes art valuable? Well, there are multiple factors that could create value, preserve it, and influence it. The weightage varies and leaves no certainty over time. There is a subjective definition to what ‘value’ means of course to different people, each to their won. Therefore, what is valuable to one may not be or as much to another. Whether it be abstract paintings in art galleries in Bangalore or all around the world, or whether we are talking of artists in Bangalore or elsewhere, or whether it’s canvas paintings, mixed media, sculptures, ceramic or printmaking, this makes it all look too subjective for anyone to digest straight up. Isn’t there anything objective about anything in this equation of value and art. Well, there is. Authenticity.
Authenticity is the objective fulcrum in this equation of the forces of value and art. It can be only black or white in this case. Either the art is authentic or its not. There can be of course aspects of art that can resemble or be adapted or be inspired by, drawn from and so on, but those are just influenced aspects. The work itself doesn’t stand at stake there. Where authenticity stands at stake is where there can be no possibility of being original due to tangibly conveying a very familiar intangibility lacking freshness, newness, or unconventionality to speak of a few individual stand outs to be possible.
The inauthentic could not only include forgery and plagiarism but could also encase hidden copied tricks that surface later to suffice to be labelled inauthentic or blatantly scream out parody, social or political commentary, satire, or protest and much more in the field of context to content as a battle of relevance and perspective. Impact, ultimately, is what makes it all work or rather come together with objectivity because everything is so widespread in terms of resonance and familiarity that one cannot get over the later impact of something feeling lie something they’ve seen or heard, excluding feeling.
As contrary to popular opinion as this may sound, one cannot feel the same way looking at different pieces of art. Why different? One may not even feel the same looking at the same piece of art every day. Why is this? It is because of the connection between context and content. The context we are coming to the painting with, determines what we see, and what we see, as John Berger discusses in his work, ‘Ways of Seeing’, is what we look for. When ‘we see what we look for’, it also becomes about what is being looked at and how. This is the most instinctive, organic, obvious, and widely perceptive, basic method to derive value off art. There can be many a hunch as to interpretations or memories of what one sees, oversees, misses, focusses on and so on. But isn’t this what determining value is all about?
It isn’t exactly all. There’s much more to determining value, but we could say that this is a basic level of determining value to step forward and keep climbing to find value. Value is a cumulative tangible figure or an intangible feeling on a wide range of things. The quantitatively though intangible nature of feeling makes the world of difference to like, dislike, value, not value, keep it significant, leave it insignificant or operate out of nowhere, where one can be variably defiant, resisting the flow, decisive to create flow or unassertive to remain bewildered.
Authentic Art and its Roots in Ritual
The nature of evolutionary habits teaches us from history and evidence that art has always been in origin through tradition. As Walter Benjamin states in his essay ‘The Work of Art in the Age of Mechanical Reproduction’, “We know that the earliest art works originated in the service of a ritual – first the magical, then the religious kind.” And he goes onto say later in the essay, “In the case of the art object, a most sensitive nucleus – namely, its authenticity – is interfered with whereas no natural object is vulnerable on that score. The authenticity of a thing is the essence of all that is transmissible from its beginning, ranging from its substantive duration to its testimony to the history which it has experienced.”
We do know that as part of ritual, art has served in the west, its function through frescoes, mosaics, illustrations for mythology, stories, a visual and visceral function of faith, very precious. And in our part of the world, we have our gorgeous sculptures, wall mural paintings, high relief, low relief work as well as ceramics, handloom, paintings and so much more on art. This function of art in ritual, tradition and of religion is incredible. Most of the artisanry that we can’t even achieve today with modern equipment for the craftsmanship we see is so impeccable. Of ritual and religion, art history has an immense timeline. To instil a sense of importance and centre the lives of people around faith with a channel of visualisation, symbolism and portrayed depictions, art has always been an actively functioning, crucial part of society.
There can be an evident statement we can discuss as Benjamin states that the rooted art works from earlier times would have stemmed out of ritual being significant in the realms of lifestyle as well as headspace. Whether it be abstract paintings in art galleries in Bangalore or all around the world, or whether we are talking of artists in Bangalore or elsewhere, or whether it’s canvas paintings, mixed media, sculptures, ceramic or printmaking, when we therefore see where art came from and what purposes it has served in the past, what it continues to serve in the world at present and what it is directing itself to be / become in the future is indeed a saga of changing times, buzzing minds and interesting finds. The roots thereof symbolise and represent the threads of continuing diversity of authenticity. Preserving authenticity in this age remains a challenge for many, as time is but fleeting and a rich sense of mastery and prowess surrounds us.
With abundant talent comes increasing responsibilities. As art has its essence in feeling, instinct in making, and resonance in taking becomes even more important in today’s social media sensitive era. There can be disputed thoughts on whether authenticity came from ritual for many who may not agree. But the later statement as stated above that mentions sensitivity in the context of authenticity being the nucleus, it is for sure the most natural way to put it. As we experience art for ourselves, we learn how crucial, uncompromisable for art lovers and how credible authenticity drives a work to be. It is a sure overtake and front benching factor.
Authenticity and its factors’ roles today…
Today, what we know as Provenance is also a central factor to determining the authenticity of a work. This could be the easiest way to establish that it is most credibly authentic. There is for example the Rockefeller Rothko, ‘White Centre’, which came to be known so itself due to it being bought at auction by the Rockefellers to hold it in their office at the Rockefeller Centre in New York. Iconic works such as this are so reputed and special, the painting has never ever been seen ever since. The importance of provenance establishes that trust in authenticity and trust in its originality. Now, it is of utmost importance that we understand the difference between originality and authenticity.
Originality is more of a connotation to a source or an anchored focal point of origin for a work or thought behind the work. But, not so for authenticity, as Benjamin states, it is about the beginning, the substantial process right up to it viewership, testimony in history and therefore the entire story is encompassed in this strong shell of authenticity which exists as a powerful protective layer in whole or none. That is why we saw that authenticity is either black or white. It’s either authentic or inauthentic. There is no middle ground when it comes to describing it.
In Walter Benjamin’s essay ‘The Work of Art in the Age of Mechanical Reproduction’, he also discusses how the increased accessibility to works has been an easy gateway to duplicate, replicate and reproduce works and sell faster and cheaper. This of course threatens the nature of authentic works and defines authenticity as a niche zone. But, if we look at this in context of today’s world, there can be no doubt that we see the inflection of prints in our industry overtaking the market share and market cap in the painting sales rivalry. Whether it be abstract paintings in art galleries in Bangalore or all around the world, or whether we are talking of artists in Bangalore or elsewhere, or whether it’s canvas paintings, mixed media, sculptures, ceramic or printmaking, there is a very fine line between low authenticity and then high authenticity. The disparity is nuanced and contrasting in the most cliché way to say the least.
What one perceives as being a print original, has its authentic original in a hand painted canvas painting somewhere. Even when we see galleries today, that is why they have so much more on them when they hold paintings vs when they hold prints for an exhibition. Art galleries in Bangalore and all over the world hold a lot of precious works by different leagues of artists, masters, experienced artists, new comers, youth artists, student shows and so much more. But, anyone who creates an original work has the caution always to take care of whether one needs to be aware of; forgery, plagiarism, misuse and prints without consent to name a few unauthorised ways to reproduce works.
There is also an important mentality involved where investment is concerned. There is no doubt that authentic, original paintings will hold more value both tangibly and intangibly when compared to photographs of paintings or prints of paintings compared to the physicality of the original, authentic canvas painting. But, having said that, what about the abstract paintings which we see at galleries from artists who don’t have fame? Is that a factor? Well, as Ralph Waldo Emerson once said, “Every artist was first an amateur.” So, it is important to remember that every authentic piece of work holds its ground on its sources, process and testimony in history.
Case studies on the weightage that authenticity holds
The dispute of authenticity is not always about the seen alone thereby. It is also most often times about the unseen, the overlooked and the neglected. The nuanced, intricate, rather juxtaposed nature of simplicity and complexity of the nature and stature of true authenticity, is what makes it most special and close to our hearts. Authenticity is also a great factor in terms of finding out originality, to speak of the other side of the coin.
For example we heard of Subash Kapoor’s illegal smuggling of temple idols and Indian antiquities via sea to the USA for his gallery business and art dealing enterprise, we know that it was indeed the authenticity of those idols including its beginnings, the way they were made in those ancient and medieval times and the way they looked and paid testimony to history aptly is how they got the antiquities identified and brought back or held the gravitas with evidence and still have missing antiquities to trace. Therefore it can serve both sides to prove the might and honesty of the object in all its realities ; undisputedly, and undebatable in truth and not, if it be so the case.
There is also the case of art dealer, gallerist Yves Bouvier from Paris who overcharged his Clients who are HNIs such as the famous billionaire businessman and Russian oligarch Dmitry Rybolovlev, the president of AS Monaco FC amongst his other ventures. There is a possibility that the authenticity and provenance of the famous works in question is what made Rybolovlev also pay for those works as much as he did and then realise is it really as much he had had to pay which is when the nightmare of a decade long legal feud started.
There can be many a time when one saw that a work of art has the value due to it being credibly held, its authenticity – by art galleries in Bangalore and around the world as well as when we see auction houses such as Christie’s and Sotheby’s selling the masters’ works at their celebrated auctions. Whether it be abstract paintings in art galleries in Bangalore or all around the world, or whether we are talking of artists in Bangalore or elsewhere, or whether it’s canvas paintings, mixed media, sculptures, ceramic or printmaking, value tangible is tangible and that which is undefined is always going to be so, in terms of the intangible which is where the art galleries in private come through.
Events such these where works get sold for overwhelming prices and bought for the same too, are indications to tell us in the art world as both Creators and Viewers, the power and weightage held by authenticity. Why is there a possibility to go through and come through the agents, the dealers, the galleries and the museums or private collectors too for that matter. Authenticity is weighed very high on priority even as we see people’s preferences and how much it matters to them that a work of art is original, authentic, clean testimony or a line of provenance and a thread of clear records as to substantiate its authenticity and credibility most efficiently established.
Today we see and hear so much of this one portrait painting called the Mona Lisa housed in the Louvre in Paris, in a bulletproof glass. Why? Why does a painting painted with oil paint on a piece of wood be placed in a strong frame behind bullet proof glass? The reason is very much authenticity. People believe it is the master from the renaissance age, Leonardo da Vinci who created the magic and mystery in that portrait of his depiction of Lisa del Giocondo from Florence who was a wealthy merchant’s wife and was painted by da Vinci then in the 1600s. That is the source of originality and the substantiated evidence of authenticity with its testimony in history through the ages of plague, war, peace and conflict having top class provenance such as being hung in the King’s / Queen’s chambers in the Palace of Versailles and so on. Though there are disputes if it is actually really the layer painted by da Vinci which we see or not, it is what we believe to be it is either way. One way or the other and each to their own, notwithstanding the scientific testing.
Why and how did the Mona Lisa become so famous? It was once a painting that hung in one of the galleries amongst many other classical paintings and masters such as Rubens, Rembrandt and many more… The Mona Lisa was stolen by a museum staff himself in the dark hours of the night, one night in 1911 and ever since its spot haunting empty stunned the world in one of the most impromptu heists unexpected, making the Mona Lisa hunted down for, popular and a crazy hunch to find the painting, this very painting by da Vinci, even though many other Mona Lisas emerged around the world of course including Raphael and many others in places such as Russia, Argentina and South Africa too amongst others discovered. The stolen painting was anyway retrieved after being traced down in a resale in Florence which was its home city and was put back in the museum safer than all other works to never be stolen again.
Therefore, why does authenticity matter to the art world as well as the world outside it?
This is why authenticity becomes so important and there are flip sides to popularity, publicity and protection against art crime, fraud and legal feuds. Whether it be abstract paintings in art galleries in Bangalore or all around the world, or whether we are talking of artists in Bangalore or elsewhere, or whether it’s canvas paintings, mixed media, sculptures, ceramic or printmaking, this kind of disputes is what keeps everyone in caution to buy and make, both carefully and today, more so the former.
There is also undeniably an incredible difference in feeling towards the work if it’s a painting hand done vs if it’s a print of a painting or a framed photograph. For example whether it be paintings for home in Bangalore or whether it be corporate office paintings, customised paintings, canvas paintings, sculptures, ceramics, anything; when it’s an original piece created by the artist and the copy is reproduced there is for sure a shifted energy change or variable feeling. Not speaking less or more, lower or higher of either form. Painting or print, a work of art is a work of art, but having said that, as Benjamin himself states in the essay, “to ask for the authentic print makes no sense.”
Here, again to clarify, we are not saying works of art cannot be or should not be reproduced. Well, if they are reproduceable and people want it, someone is going to probably do it too, to make a living. But, here it is conveyed that making prints or reproducing art is not necessarily authentic to say so. There is therefore an individuality and unlikeness as a facet too, to art. There is this pride and joy when we have a painting in our home that I so authentic, so special and so real! Most art collectors in the world speak so passionately of their collections and of course do have their favourites among others that are close to their heart and might be for various reasons of their own with resonance and liking, but authenticity for sure plays a monumental role and it is not just now.
Authenticity since time immemorial has been of utmost importance whether in history, present or whether it is going it be of the future. Our today is the future of the authentic works that we see in history. Has the value of authenticity or authenticity valuing a work accordingly gone down? Definitely not. Instead, as time passes us by, authenticity is only becoming more important and climbing up the ladder of why it is important to factor in. There is absolute evidence that in most places in India where there have been cave paintings, frescoes or wall murals, ceiling paintings of vegetable and natural dyes made, it is all authentic and have been dated, examined, tested and even restored to be found out.
With credible consensus, whether it be abstract paintings in art galleries in Bangalore or all around the world, or whether we are talking of artists in Bangalore or elsewhere, or whether it’s canvas paintings, mixed media, sculptures, ceramic or printmaking, where there is authenticity, it prevails as testimony to the past and the thereby lingering underlayer of power which is authenticity will be immortal both tangibly and intangibly so. Not only with canvas paintings at art galleries alone, but even paintings for homes, corporate office paintings and public spaces too when present.
Authenticity will always remain the key to the lock of art being special and according to me, every Creation by a Creator deserves authentic. Origin, approach, process and record. Provenance will be of the future, but the credibility and honesty is ever prevalent is prevalent in the future and that is why authenticity is so beautiful, elegant, powerful, unconquerable by anyone other than the one who creates it, and therefore, undisputed in vagueness.
About Sparsha By Radhika
Exploring possibilities through a variety of these artistic doors, at Sparsha by Radhika, we explore possibilities with concept and feeling to embed memorable experiences for our clients’ spaces to be energized in the most effective and special ways with our abstract paintings in Bengaluru. We work Pan India and Abroad.
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Radhika is an abstract artist creating abstract paintings based in Bengaluru, servicing abstract art requirements for HNI homes and Commercial Spaces.
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