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A review by toniclark
Forged: Why Fakes Are the Great Art of Our Age by Jonathon Keats
4.0
Ooh, I really liked this book! It was so engrossing, entertaining, and provocative. Somebody said it was dry? Slow? I didn’t think so at all. In fact, it’s downright humorous in places. I kept reading passages to my husband.
The book raises many questions about the implications of forgery for art, its relationship to art, and forgery as an art in itself. Part One, which is Chapter 1, sets us up with some themes to keep in mind when reading the stories of six famous forgers. The author maintains that “art forgeries achieve what legitimate art accomplishes when legitimate art is most effective, provoking us to ask agitating questions about ourselves and our world.”
It also reminds us that, “To become a serious artist, the forger must get caught. The swindle must be exposed.” Which explains why so many forgers come forward, turn themselves in, and claim responsibility. It’s fascinating that in some times and places, they have been reviled, while in others, lionized.
Part Two, comprising the next six chapters, focuses on the careers in forgery of Lothar Malskat, Alceo Dossena, Han van Meegeren, Eric Hebborn, Elmyr de Hory, and Tom Keating — with themes of What Is Belief?, What Is Authenticity?, What Is Authority?, What Is History?, What Is Identity?, and What Is Culture? Fascinating questions, indeed.
And finally, Part Three, Forging a New Art, covers some more modern hijinks — From Duchamp’s “Fountain” and “L.H.O.O.Q.” to Warhol to graffiti artists and Internet hoaxes (e.g., a fake Vatican website where papal encyclicals were “lightly modified” to promote free sex and drug legalization).
Never dull, imho.
The book raises many questions about the implications of forgery for art, its relationship to art, and forgery as an art in itself. Part One, which is Chapter 1, sets us up with some themes to keep in mind when reading the stories of six famous forgers. The author maintains that “art forgeries achieve what legitimate art accomplishes when legitimate art is most effective, provoking us to ask agitating questions about ourselves and our world.”
It also reminds us that, “To become a serious artist, the forger must get caught. The swindle must be exposed.” Which explains why so many forgers come forward, turn themselves in, and claim responsibility. It’s fascinating that in some times and places, they have been reviled, while in others, lionized.
Part Two, comprising the next six chapters, focuses on the careers in forgery of Lothar Malskat, Alceo Dossena, Han van Meegeren, Eric Hebborn, Elmyr de Hory, and Tom Keating — with themes of What Is Belief?, What Is Authenticity?, What Is Authority?, What Is History?, What Is Identity?, and What Is Culture? Fascinating questions, indeed.
And finally, Part Three, Forging a New Art, covers some more modern hijinks — From Duchamp’s “Fountain” and “L.H.O.O.Q.” to Warhol to graffiti artists and Internet hoaxes (e.g., a fake Vatican website where papal encyclicals were “lightly modified” to promote free sex and drug legalization).
Never dull, imho.