What if everyone did that? What if everyone painted like Picasso or Pollock? What if everyone painted like Jenny Holtzer or photographed like Bill Henson? What if everyone made readymades like Duchamp? What if everyone spray-painted on walls in the city? Repeatability, reproducibility of results, is an important issue for science and ethics but what about art?
The history of art, unlike the history of science, is a cumulative narrative, where every work of art adds to what has come before. There have never been revolutions in art as there are in science; there has been nothing equivalent to the Copernican revolution (although Duchamp’s contribution might be the equivalent of quantum physics). The mistake was made when modern artists started to use the language of science in the first place in talking about ‘experiments’. Contemporary artists have avoided this word, using the more professional word ‘practice’.
There are different kinds of repeatability in the visual arts to the performing arts. The American choreographer, Merce Cunningham when on tour in India asked by Indian academic: “Do Americans like your kind of dance?” And after some confusion the question was clarified…for after dinner dancing?” Merce Cunningham’s choreography is repeatable for a trained dancer but not repeatable in a popular fashion. Democratic repeatability, that is repeatable by ordinary people, is different to repeatable by a trained elite.
Although the original is identical to the cliché except for its position in the sequence. Artistic creativity is held to be idiosyncratic, in the sense that it is isolated to an individual. This has helped sustain the idea and value of an artist’s individual signature style that grew from 17th Century artists, when artists first started to market their own work rather than rely on commissions.
Currently in the visual arts the results are regarded as irreproducible. Unlike in ethics or science the same events do not create the same results. The great results of visual art are not universalizable and can never be replicated. If someone else made portraits like Warhol they would be simply a derivative initiator (you can now get a Warhol effect on canvas at most commercial photo printers).
Obviously it has not always been this way; originally students would learn by imitating their master to the point of exactly reproduction. In the past if you could paint or sculpt like an established master then you did and would be praised for it. Following previous great art as an example is a very different issue for modern and contemporary visual art. We need to ask the question why are we not intended to follow the example of great contemporary artists? What part of their art is repeatable? Should we use great modern art as examples in art education? What if everyone behaved like Damien Hirst?