December 06, 2012
make me a fake
I want to own art like this, but I’m not rich, and I also think it’s a conflict of interest for a critic to own work that he or she may write about. (Reviews can affect market value.) So, last winter, I put out a call on Facebook. I’d pay anyone $155 plus the cost of materials to make me a perfect fake by Richter, Ryman, Flavin, Fontana, Duchamp, Hirst, Guyton, or Agnes Martin. (Why $155? It’s enough money to me that the painting had to be worth it, and 55 is a funnier number than 50.) You can’t just call up a guy and order an ersatz Hirst or Richter—unless you are seeking a flat-out forger, but those folks don’t work for $155 and their numbers aren’t listed. Besides, in the art world, noncriminal fakes aren’t news. We don’t even call them “fakes.” We prefer the term “appropriation,” whereby a new artwork incorporates or reproduces another. Copyists lie on a continuum: At one end, you have extremely original artists (Richard Prince, Elaine Sturtevant) who use the old to make something new.more from Jerry Saltz at New York Magazine here.
Posted by Morgan Meis at 10:43 AM | Permalink