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In May 2005, Alex Matter, a filmmaker and son of the photographer Herman Matter and painter Mercedes Matter, announced the discovery of32 early Jackson Pollock drip paintings. The full story sounded a lot like a New York version of Michael Frayn's novel Headlong. Matter's parents were friends of Pollock, close enough to the artist that photographs exist of them lounging about with Pollock. At least one biography of Pollock mentions the purchase of some small Pollock works by the Matters, and it is reported that Herman Matter's signature is on the back of these works, labeling them as Pollock originals. It seems that the paintings had been languishing in a metal storage bin out on Long Island until they were discovered by Mr. Matter, not far from Pollock's former home in the Hamptons and the scene of his fatal car accident. The press releases were accompanied by pictures of a grinning Alex Matter holding one of these paintings, which, at a distance and at the resolution of a newspaper photograph, looked suitably spattered. It's a good story and certainly a plausible one. But, in fact, hardly a year goes by in which someone doesn't claim to have found a long-lost Pollock- that's what Richard Taylor, a consultant for the Pollock-Krasner Foundation tells me. Most of these claims are disposed of easily, their faults ranging from the obvious (misspelled signatures-"Jackson Pollack") to the subtle (materials that were only available after Pollock's death). Some fakes are veterans of the auction circuit and reappear every few years with a new story ("Some hitchhiker gave this to a truck driver, who brought it into my gallery ... "), while other schemes are almost as ingenious as the artist himself, even going to the extremes of inventing a provenance by inserting appropriately faded pictures of the "discovered" work into obscure hard-to-find gallery catalogs. So, how to tell real from fake In spite of the fact that there is only one right answer, generally, evaluating claims of authenticity in the world of modem art is, well, more art than science. Slamdunks are the situations in which the work is accompanied by an airtight provenance, consisting of documentation of every single person or institution that has ever owned the work (the back of a painting can look like a well traveled steamer trunk, covered with labels marking its appearance in exhibitions). Such works are also accompanied by records of any conservation incurred and a list of events detailing the touch-up here or the cleaning there. Failing this sort of complete biography, the truth begins to get a little murkier. Sometimes science can help. X-rays can reveal under paintings or preliminary sketches. Analysis of the materials provides clues, including information as to the age of the work. But even this hard evidence can go only so far. Several years ago the photography market was flooded with "newly discovered" Man Ray prints, their authenticity supported by the fact that the photographic paper was exactly of the kind that Man Ray was known to have used 60 years ago. It was only later discovered that the forger had managed to find an old cache of this paper, obtain access to Man Ray's negatives, and use this to make a new set of prints. So, enter the human actor. Connoisseurs steeped in the work of the artist in question apply the "sniff test" and either the light bulb goes on or it doesn't. And the fact is that different connoisseurs of the same artist can have different senses of smell. Ultimately, in the case of Alex Matter's bundle of proposed Pollocks, the experts are taking a close look at each painting and answering the question, "Is this work characteristic of the style of Jackson Pollock at this stage in his career" This is the question that Richard Taylor asked when the PollockKrasner Foundation called him in to evaluate the Matter cache-but the way in which he differs from his connoisseur colleagues is that he answered the question with mathematics. Taylor seems to have found a way to extract a numerical signature that identifies a work as an original Pollock. More precisely, Taylor has determined that a statistical analysis of the numbers that comprise the digital representation of the work can reliably separate authentic Pollocks from fakes. In so doing, Taylor's work is paving the way for a new world of visual "stylometry," that is, a growing discipline that is making math out of that seemingly impossible to define thing that is style. It is a subject that actually goes back to the mid-1800s, but has recently exploded in our world in which all actions and creations are fodder for broad vision. The tools of trade find their way into all aspects of our life, helping to distill not only styles of artistic creation, but styles of all sorts of actions.
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<p>During the ceremony, producer&nbsp;Gale Anne Hurd&nbsp;received the MPSE Filmmaker Award.&nbsp;&ldquo;To me, sound design provides much more than 50% of the viewers&#39; filmgoing experience,&rdquo; Hurd said. &ldquo;I love the sound of a cicada, a wind chime, a shirt rustling, or silence.&rdquo;</p>
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游客 117.26.255.x 发表于 2013-10-17 13:02
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