Showing posts with label forgeries. Show all posts
Showing posts with label forgeries. Show all posts

October 29, 2015

Thursday, October 29, 2015 - ,,, No comments

i2MStandards offers systematic approach to problem of fakes and forgeries in the art market -- Colette Loll, ARCA Alum


Colette Loll, Art Fraud Insights
Tom Mashberg's article for The New York Times, "Art Forgers Beware: DNA Could Thwart Fakes" (October 12, 2015) discusses "a new authentication system that would let artists sign their works with specks of synthetic DNA."

One method is being developed at the Global Center for Innovation at the State University of New York at Albany. The school said it had received $2 million in funding from the ARIS Title Insurance Corporation, which specializes in art.

Here's a link to the program's website: https://www.i2mstandards.org

Colette Loll, of Art Fraud Insights -- quoted in Mashberg's article -- consulted on the project. Loll attended ARCA's program in International Art Crime in 2009 and 2010. In October, Ms. Loll was in London with artist Eric Fischl "and some of the top conservation and materials scientists in the field," Colette wrote in an email. "I have been consulting on this initiative for over a year now." Ms. Loll explained:

“The i2MStandards initiative offers a systemic approach to fighting the prolific problem of fakes and forgeries in the art market. We have been talking about the problem for a long time, it’s wonderful to participate in a very real solution.”

Here's a link to the program's video: https://www.i2mstandards.org/media/.

by Catherine Schofield Sezgin, ARCA Blog Editor

August 1, 2013

Thierry Lenain on "The Question of the Value of Doubles in Autographic Arts" (The Journal of Art Crime, Spring 2013)

In the Spring 2013 issue of The Journal of Art Crime, art theorist Thierry Lenain writes on "The question of the Value of Doubles in Autographic Arts".
This essay seeks to analyze the concept of the artistic value of copies, taking into account the comments of Renaissance, Early Modern, and Modern thinkers and artists, from Vasari to Friedlander. The essay is more philosophical/theoretical, rather than criminological, dealing with ideas rather than case studies. In the course of the essay, the reader is introduced to factions who praise skillful copies and others who dismiss any copy, no matter how skillful, out of hand as inherently worthless and bad. This overview shows the extent to which the treatment of the question of the double in painting has varied over time.
Thierry Lenain is a professor of art theory at Université Libre de Bruxelles. His latest book is Art Forgery: the History of a Modern Obsession.

The ninth issue of The Journal of Art Crime, edited by Noah Charney and published by ARCA, is available electronically (pdf) and in print via subscription and Amazon.com. The Associate Editor is Marc Balcells (ARCA '11), Graduate Teaching Fellow, Department of Political Science, John Jay College of Criminal Justice -- The City University of New York.

November 12, 2012

Conclusions of Interpol's first international conference on counterfeit art

Last month Interpol's first International Conference on Counterfeit Art arrived at a list of "Conclusions" in Lyon.  The conference identified "a rising trend in all forms of counterfeit art, fakes, forgeries and international misattribution of works of art and cultural heritage" causing "significant economic prejudice and non-material damage" by "substantial criminal assets generated by the production and distribution of counterfeit art" due to the lack of awareness and of appropriate national laws and international legal instruments."

The Interpol conference recommended that member countries:
"(1) RAISE public and political awareness of the increasing trend in counterfeit art, fakes, forgeries, and intentional misattribution, and the impact on cultural heritage, the art market and historic and scientific knowledge";  (2) ENFORCE, review and, if necessary, adapt existing national laws to be able to fight the above-mentioned crimes effectively;  (3) CALL FOR counterfeit art to be explicitly included in regional and international laws criminalizing other types of counterfeiting or DEVELOP specific regional and international legislation on this subject;  (4) DEVELOP mechanisms and procedures to fight counterfeit art effectively, if necessary by creating working groups and inter-sectorial commissions;  (5) SUPPORT national  law enforcement agencies in preventing and suppressing the above crimes and in allocating adequate resources;  (6) DEVOTE, where possible; additional efforts and resources to tracing assets generated through the above crimes so as to dismantle the criminal networks involved;  (7) ENHANCE the information exchange on the above crimes through INTERPOL channels, and share experiences and best practices among member countries; (8) DEVELOP AND DISSEMINATE a checklist of precautions to be taken by potential customers to prevent them from acquiring fake objects; (9) DEVELOP AND DISSEMINATE a set of principles for professionals to prevent them from becoming invovled in the commerce of fake objects.
Here's a link to an article published last week in the New York Times: "With rules Murky, Fake Artworks Stay on the Market."