The story of this discrepancy – how a pocket-size print, sold for a few dollars in a neighborhood shop in West Africa, became a wall-size photograph that sold for $16,000 in an upscale SoHo gallery – begins in colonial Mali in the 1930’s and continues into the future: a new show of Mr. Keïta’s work opens at the Sean Kelly Gallery in Chelsea on Friday.
It is a story that includes screaming fights, a lawsuit and charges of theft, forgery and perjury. It survives the photographer himself, who died in 2001. And it touches on the broadest channels of human history, from colonialism to capitalism to revolution to race. But it also involves a conflict of the most rarefied sort – a philosophical disagreement over the nature of photography and the concept of authenticity.
[…] As a photograph (or any other work of art) is separated in time from the cultural context in which it originated, the work becomes open to new meanings. This idea, perhaps first articulated in Walter Benjamin’s landmark 1931 essay, “The Work of Art in the Age of Mechanical Reproduction,” has been embraced by many curators in recent years, leading them away from what Mr. Wallis refers to as the “fetish for the vintage.” Instead curators are more open to the new meanings that may emerge from manipulating the originals, even if those meanings are different from – or in direct contrast to – anything the artist had in mind.
The result is ripe with possibilities, but also with contradictions. It is now not uncommon for galleries to put on shows that reflect this postmodern approach but at the same time to charge higher prices for original works.
[…] There is, though, another argument, based in the technology of photography, that undermines the concept of photographic authenticity. Charles Griffin, who prints the photographs of Cindy Sherman and Hiroshi Sugimoto, observes that the resolution of photographic negatives is far greater than that of the prints made from them. The negatives, you might say, contain a far greater amount of information than can be shown, placing those who make prints in the position of having to select and suppress the information that will ultimately appear.
And the printer’s responsibility in this regard, Mr. Griffin added, has been heightened by the decision of paper companies to reduce the silver content in, and therefore the sensitivity of, photographic papers.
[…] In the end, the debate over how to make prints from Mr. KeÃ¯ta’s negatives may soon be academic. As a result of the litigation to recover the 921 negatives from Mr. Magnin and Mr. Pigozzi, the association has little money left to preserve those negatives that are in its possession – negatives which, according to Mr. Griffin, are quickly deteriorating. In the end, the controversial prints may be all that is left of Seydou Keïta. And at that point, the postmodern will have become the authentic.