Abstract:
Many theorists and philosophers have devoted extensive attention to the analysis of authenticity within the visual arts. Researching authenticity as a concept relevant to contemporary art practice reveals that writers, theorists, and practitioners often assume that an authoritative understanding of authenticity is possible. Although writers and philosophers often acknowledge authenticity as a necessary factor in contemporary artworks, the subjective understanding of the term, and implications for its usage, are often at odds and, in extreme cases, disputed. I hope to test various theories concerning authenticity against a selection of art practices in order to evaluate the impact notions of authenticity have on the apprehension of contemporary art. This thesis is arranged into three sections. Each section investigates a philosophical approach concerning authenticity: ontological, phenomenological and epistemological. Each of these approaches is applied to analyses of key artworks. Examining ontological, phenomenological and epistemological theories in respect to contemporary art allows insight into the many theoretical assumptions made regarding authenticity. Each evaluation of a branch of philosophical thought is informed by the writings of key theorists and philosophers particularly concerned with concepts relating to visual art. These writings are then applied to artworks representing particular fields of artistic inquiry and cultural heritage. Section one examines ontological arguments for establishing the authenticity of artworks with a focus on painting. Section two investigates phenomenology as a means of evaluating the experience of authentic artworks with an emphasis on sculpture. Section three investigates epistemological factors contributing to an understanding of authenticity with a focus on Conceptual art.
