In a thoughtful paper, Peter Martin Jaworski has written, “The debate over originals, authenticity, fakes, duplicates, and forgery got its start in the mid-60s and then continued until the ‘80s.”Peter Martin Jaworski. “In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates Are as Good as the Originals.” Journal of Value Inquiry (2013), pp. 391–405. Quotation at p. 392. The debate, at least insofar as I participated in it, questioned whether original paintings and for…
Read moreIn a thoughtful paper, Peter Martin Jaworski has written, “The debate over originals, authenticity, fakes, duplicates, and forgery got its start in the mid-60s and then continued until the ‘80s.”Peter Martin Jaworski. “In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates Are as Good as the Originals.” Journal of Value Inquiry (2013), pp. 391–405. Quotation at p. 392. The debate, at least insofar as I participated in it, questioned whether original paintings and forgeries were sufficiently alike – sufficiently the same kinds of things – that as a general rule the same qualities could be predicated of them. I and others argued they were not. To know the qualities of a painting, to make sense of the many often conflicting interpretations critics may offer of the same canvass, one must as a first step know what kind of painting it is. The relevant qualities of a painting, call them “artistic” or “aesthetic” or “stylistic” or whatever, are predicated of them i ..
