Knjiga - Aksioma

20 s skorajda detektivskim znanjem lahko določila, kdo jethe moment of non finito, but also because with their signature21avtor umetniškega dela. Veda o podpisih je postala donosenthey asserted their authorship of the work of artposel. Za razvozlavanje podpisov na slikah danes obstajajoand thus gave it cultural and market value, which wasmnožice zbornikov, kakršen je npr. Artists' Monogramssocially attributed to the signature. The question of theand Indiscernible Signatures, An International Directory,author of the work of art became so important in the art1800–1991, Johna Castagna, in seveda so dosegljivi tudiworld that it was no longer possible to entrust the artiststrokovnjaki, ki vam za masten znesek pomagajo odkriti,with it; hence, in the middle of the 19 th century, the expertkdo je avtor neberljivega podpisa na sliki v vaši spalnici.appeared on the market – a person who, using virtuallyUmetnikom na trgu ni bilo mogoče zaupati, saj sodetective skills, was able to determine the author of a workse v dvajsetem stoletju začeli poigravati tudi s statusomof art. The science of signature became a lucrative business.„neprave religioznosti“ umetnine. Duchampa je sevedaThere are numerous collections, such as Artists’ Monogramstreba omeniti, Andy Warhol pa je bil tisti, ki je v svet umetnostiand Indiscernible Signatures, An International Directory,vnesel tehniko sitotiska, za katero so prej vsi vedeli,1800–1991 by John Castagno, that help one decipher sig-da je primerna le za cenene, komercialne izdelke, nikakornatures on paintings and, of course, experts are availablepa ne za nastanek Umetnine. In ne le to! Za Warholawho help you determine, for a fair amount, the author ofthe illegible signature on the painting in your bedroom.tradicionalna, ročna spretnost ni pomenilaThe artists on the market could no longer be trusted for,ničesar več. Dejstvo, da je znal Warhol risati,in the 20 th century, they also started to toy with the status ofni imelo nobene povezave z njegovo umetnostjo.“bogus religiosity” of the work of art. Duchamp, of course,Kako je umetniško delo nastalo, ni bil več kriterijmust be mentioned here, but it was Andy Warhol who introducedza ocenjevanje njegove kvalitete. [...] Ustvarjanjethe technique of screen-printing to the world of art;umetnosti je postalo serija miselnih odločitev,before Warhol, everybody considered this technique appropriateod katerih je bila najpomembnejša izbiraonly for cheap, commercial products and certainlyprimernega motiva. Warhol je nekaj let kasnejenot for the Work of Art. And not only this! For Warhol,povedal: ‚Izbira podob je najbolj pomembna,je sad domišljije.‘ 6V poznih šestdesetih, predvsem pa v sedemdesetih letihse je Andy Warhol razen signature odrekel kakršnemukolifizičnemu stiku z umetniškim delom. To so zdaj večinomaizdelovali pomočniki, med njimi Gerard Malanga in BillyName. Včasih so dela nastajala celo tako, da je Warholposredoval ideje po telefonu. Takšna dela so v Factory imenovalitelefonska umetnost.Umetnik je izgubil zaupanje trgovcev z umetninami inkulturnim prestižem, ker je postavljal vprašanja, kakršnihsi ideologija umetnosti in trg umetnin nista mogla pri-6 Tony Scherman inDavid Dalton, Pop: TheGenius of Andy Warhol,Harper, New York 2009,str. 342.6 Tony Scherman andDavid Dalton, Pop: TheGenius of Andy Warhol,Harper, New York 2009,p. 342.traditional, manual craft no longer had any value.The fact that Warhol was a skilled draftsman hadno bearing on his art. The mode of creation ofa work of art was no longer a criterion for gaugingits quality. [...] Artistic creativity became a seriesof mental decisions, the most important of whichwas the choice of an appropriate motif. A few yearslater, Warhol stated: ‘The choice of images is whatmatters most; it is the fruit of imagination.’ 6In the late sixties and particularly in the seventies, AndyWarhol relinquished all physical contact with his works of