Speaking to Myspace as an upcoming artist in 2013, Lana Dey Rey said that the “vision of making [her] life a work of art” was what inspired her to create her music video for her breakthrough single, Video Games (2011).

The self-made video, featuring old movies clips and webcam footage of Del Rey singing, went viral. It eventually led her to sign with a major record label. For many, the video conveyed a sense of authenticity. However, upon discovering that “Lana Del Rey” was a pseudonym (her real name is Elizabeth Grant), some fans began to have doubts. Perhaps this self-made video was just another calculated marketing scheme?

The question of Del Rey’s authenticity has puzzled many throughout her career. Consider, for instance, the controversial Judah Smith Interlude from her latest album, Did You Know That There’s a Tunnel Under Ocean Blvd? (2023). Both fans and critics – including her sizeable LGBTQ+ fanbase – were surprised and troubled by her decision to feature the megachurch pastor Judith Smith, who’s been accused of homophobia.

However, the meaning of Del Rey’s inclusion of Smith’s sermon soundclips, layered under a recording of Del Rey giggling, is unclear. Is this meant to mock Smith, or even Christianity itself? Or is it an authentic expression of Del Rey’s own spirituality? After all, she repeatedly makes references to her “pastor” in the same album’s opening track The Grants, about her family in real life.

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Before she became a singer-songwriter, Del Rey gained her philosophy degree at Fordham University. It was the mid-2000s, when the eminent existentialism scholar Merold Westphal would have been on staff, so she probably studied theories of authenticity by existentialists such as Jean-Paul Sartre (1905–80) and Martin Heidegger (1889–1976). Heidegger spoke of human existence as a “being-towards-death”. Or as Del Rey sings in the title track of her first major-label album, “you and I, we were born to die”.

In Heidegger’s view, to pretend that we are not all bound to die is to deny the kind of finite beings which we are: it is to disown ourselves and exist inauthentically. Conversely, to exist authentically is to accept our own mortality and embrace the way we exist as finite beings.

The music video for Video Games.

In this understanding, to exist authentically does not mean the expression of some underlying “true self” or “human nature”. Rather, it is to accept the conditions of life in which we find ourselves.

‘An obsession for freedom’

For existentialist philosophers, such conditions include not only mortality but also freedom – a theme particularly emphasised by Sartre.

As Sartre says in his 1946 lecture Existentialism Is a Humanism, existentialism holds that “there is no human nature, because there is no God to have a conception of it … Man is nothing else but that which he makes of himself”.

Jean-Paul Sartre in Venice in 1967.
Wiki Commons, CC BY-SA

With no creator God or pre-established human nature to determine human destiny or purpose, Sartre teaches that human beings are “condemned to freedom”. We are free beings who are always acting freely – whether we acknowledge that we are free or not. To pretend that we are not free is to be inauthentic.

Sartre suggests embracing our freedom means living life in a manner “comparable to the construction of a work of art”. In his view, in both art and life, we cannot decide in advance what actions ought to be taken: “No one can tell what the painting of tomorrow will be like; one cannot judge a painting until it is done.”

Lana Del Rey at Primavera in 2024.
Wiki Commons, CC BY-SA

Likewise, we cannot judge whether or not a life is well-lived until it is finished. We must not predetermine how someone should live according to some pre-established criterion of “human nature”.

Instead, we can only assess someone’s life by considering whether they accept that they are free, with the freedom and responsibility to create meaning for their existence by living life as a work of art.

Both freedom and making life a work of art are recurring themes in Del Rey’s discography. They are brought together perhaps most memorably in her much-loved monologue in the music video for Ride (2012):

On the open road, we had nothing to lose, nothing to gain, nothing we desired anymore, to make our lives into a work of art: Live fast, die young, be wild, and have fun. I believe in the country America used to be. I believe in the person I want to become. I believe in the freedom of the open road.

Del Rey is someone Elizabeth Grant became. As though echoing Sartre’s comparison between making art and living life, in her 2012 song Gods & Monsters, she sings of herself “posing like a real singer – cause life imitates art”.

For Del Rey, being a public-facing “real singer” involves some kind of image-cultivation or even self-cultivation. Not unlike how her music video for Video Games is “self-made”, the very identity of Lana Del Rey is also “self-made”. The image of Lana is a work of art made by the artist, Del Rey herself.

Ride by Lana Del Rey.

To be an “authentic” or “real” singer is to accept that the persona of a public figure is always inevitably curated. To combine Sartre’s slogan and Del Rey’s lyrics, the real singer is always “condemned to posing”. To pretend otherwise is to disown what it is to be a “real singer” and to act inauthentically.

If it is true that, as Del Rey sings, “life imitates art”, to render life as a work of art is the most authentic thing that a person can do. Because to live life as a work of art is nothing other than authentically accepting life as it is, something that itself “imitates art”. As she sings in Get Free (2017), this is Del Rey’s commitment, her modern manifesto.

King-Ho Leung does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.