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ArtOctober 2007 Exhibition note by Marco Grassi On "Fakes and Forgeries: The Art of Deception" at the Bruce Museum, Greenwich, Connecticut. "Fakes and Forgeries: The Art of Deception" At a time when works of art routinely change hands for sums which, not long ago, might have represented the total book value of large industrial enterprises, it’s fair to ask: why have fakes—good fakes—virtually disappeared? Everyone is familiar with the axiom that money breeds deception and that the bigger the money … the bigger … etc., vide Enron. So, indeed, apart from some petty chicanery by the auction houses, why, in recent memory, has the art world not provided us with a truly grand deception? The question came to mind in the wake of a small but spicy selection of fakes and forgeries that, until recently, was on view at the Bruce Museum in Greenwich, Connecticut. (Although the two terms are often used interchangeably, “fake” is an obj ... This article is available to subscribers and for individual purchaseSubscribe to TNC (Print and Online editions) Subscribe to TNC (Online only) This article originally appeared in The New Criterion, Volume 26 October 2007, on page 49 Copyright © 2012 The New Criterion | www.newcriterion.com http://www.newcriterion.com/articles.cfm/Exhibition-note-3644
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by Karen Wilkin On “Rembrandt and Degas: Two Young Artists” at the Sterling and Francine Clark Art Institute, Williamstown, MA. On "New Formations: Czech Avant-Garde Art & Modern Glass from the Roy and Mary Cullen Collection” at the Museum of Fine Arts, Houston. On “Ai Weiwei: Dropping the Urn, Ceramic Work 5000 B.C.–A.D. 2010” at the Victoria & Albert Museum, London & “The Flamboyant Mr. Chinnery: An English Artist in India and China” at Asia House, London.
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