Rainer Maria Rilke: Briefe an einen jungen Dichter

And an anticipation (or forerunner ?) of the 2010s: The nexus of expression, truthfulness and authenticity is not far from the view that artistic practice must be judged on the basis of who produces a translation of a poem, who paints a painting, who stands on stage & plays this role. (8/8)

Habermas' book with its twelve hundred pages was published in 1981. Perhaps his oversimplification of the artistic work was a reflection of the social self-presentation of artists, bohemians and escapists in the 1970s. (7/8)

The strategy was then adopted by the counter culture in the late 70s and early 80s: Through authenticity I gain political / social credibility for my activism among my peers - and real happiness in life. (6/8)

To be seen as a true artist, a original artist, an artist by profession and by vocation - in the competition for a recognised social position and in the different art markets this proved to be a successful strategy for distinction. (5/8)

From a subjective perspective, many artists experience the creative process as an expression of inner impulses, visions & ideas. And the emphatic gesture of authenticity was always important for the social self-presentation of the modern Avant-Garde movements. (4/8)

(In reality, art is much more.)

Truthfulness is different from authenticity. As coins and bills, they are part of the same key currency in the social media market that mixes activism, artistic presence and self-promotion. (3/8)

Now the standards of authenticity & legitimacy (related to the identity but also to the moral behaviour of artists) are more and more important.

Habermas links art to the communicative practice of expression, and the associated "Geltungsanspruch" is then truthfulness / honesty. (2/8)