EXHIBITION: THE BRAND FACTOR
In art an original is the exciting first form coming from the very hand of a particular artist. This original is somehow infused with the distinctive essence of that artist and it is coveted for its uniqueness while copies, no matter how close to the original, fall down on both these counts. Challenging these notions an exhibition by Mohammad Zeeshan, titled Original Copy of Original Copy of Copy Originals hosted by Sanat Initiative at Art Dubai, sparks debate on conventional opinion versus current viewer/buyer psychology surrounding originality.
Presenting three versions of each work — the original, the first copy and the second copy, with slight variations in each piece — the artist questioned: what defines an original piece of art? And a first copy? And a second copy? How does all this affect the value of a piece of art? How do ideas about ‘original’ and ‘copy’ affect buyers? What does a buyer ultimately want and why?
In a 1936 essay, cultural critic Walter Benjamin wrote about how modes of technological reproduction were going to impact independent aesthetic experiences. Benjamin was writing about many processes such as etching, engraving and Greek founding and stamping, but his focus was mainly on the advent of photography and film in the early 20th century and on the distinction between the authentic original and its “copy.” He used the word “aura” to describe a set of features that justified an “origin.” The reproduced image, he argued, has no aura. It has been removed from its location within time and space. Reproducing images, he argued, was going to fundamentally change how people engaged with art.
An exhibition of Muhammad Zeeshan’s signature imagery of motifs reflects the subcontinent’s multicultural heritage
The anxiety that surrounded Benjamin’s writing on the loss of aura as a result of reproduction in 1935 is not dissimilar to the modern and postmodern debates around deliberate production and avid purchase of prints and multiples. It is perhaps Andy Warhol’s use of silkscreens that offered the most rigorous challenge to traditional definitions of originality. Warhol explored intrinsic multiplicity in the repetitive use of screens in his silkscreen paintings that he began to produce in 1962. He produced a series of works containing ongoing repetition of an image within single works. One of his most renowned examples is his ‘Marilyn Diptych’ (1962) which was based on a publicity photograph from the 1953 film Niagara. Warhol’s paintings of this time are excellent examples of multiple copies without an original. His method allowed for variations within the prints so that no two works were identical. Certainly, there is no aura surrounding the second or third print, but today public reaction to multiples is relative to how the contemporary viewer sensibility has evolved over the years.