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1 Burnside Art- Forgery

Forged: Why Fakes Are the Great Art of Our Age

by

Forged: Why Fakes Are the Great Art of Our Age Cover

 

Synopses & Reviews

Publisher Comments:

According to Vasari, the young Michelangelo often borrowed drawings of past masters, which he copied, returning his imitations to the owners and keeping originals. Half a millennium later, Andy Warhol made a game of "forging" the Mona Lisa, questioning the entire concept of originality.

Forged explores art forgery from ancient times to the present. In chapters combining lively biography with insightful art criticism, Jonathon Keats profiles individual art forgers and connects their stories to broader themes about the role of forgeries in society. From the Renaissance master Andrea del Sarto who faked a Raphael masterpiece at the request of his Medici patrons, to the Vermeer counterfeiter Han van Meegeren who duped the avaricious Hermann Göring, to the frustrated British artist Eric Hebborn, who began forging to expose the ignorance of experts, art forgers have challenged "legitimate" art in their own time, breaching accepted practices and upsetting the status quo. They have also provocatively confronted many of the present-day cultural anxieties that are major themes in the arts. Keats uncovers what forgeries--and our reactions to them--reveal about changing conceptions of creativity, identity, authorship, integrity, authenticity, success, and how we assign value to works of art. The book concludes by looking at how artists today have appropriated many aspects of forgery through such practices as street-art stenciling and share-and-share-alike licensing, and how these open-source "copyleft" strategies have the potential to make legitimate art meaningful again.

Forgery has been much discussed--and decried--as a crime. Forged is the first book to assess great forgeries as high art in their own right.

Review:

"In his introduction, critic, journalist, and artist Keats (Virtual Worlds) asserts that fakes — old forgeries and new works falsely attributed to old masters — are 'the great art of our age.' While acknowledging that their artistic merit lies elsewhere than in the aesthetic, the author claims that 'art forgeries achieve what legitimate art accomplishes when legitimate art is most effective,' namely, causing us to confront troubling truths about 'ourselves and our world.' To substantiate this claim, Keats devotes the bulk of his book to portraits of six fakers throughout history, highlighting different questions that their work raises. But with the exception of the author's consideration of forger Eric Hebborn, who subverted the view of art history as a progressive continuum, these profiles don't do much to substantiate Keats's bold claims. He saves the heavy lifting for his conclusion, in which he considers contemporary approaches to art that riff on the forger's work, such as appropriation and street art. But as he decries most appropriation as being locked in a self-referential holding pattern, while declaring science the new frontier of boundary smashing, it's unclear why Keats has devoted most of his book to profiling artistic frauds. Agent: Elise Capron, Sandra Dijkstra Literary Agency." Publishers Weekly Copyright PWxyz, LLC. All rights reserved.

About the Author

Jonathon Keats is a critic, journalist and artist. He is the art critic for San Francisco Magazine, and has contributed art criticism to Art and Antiques, Art + Auction, Art in America, ARTnews, Artweek, and Salon.com. His arts writing has also appeared in Wired Magazine, ForbesLife Magazine, The Washington Post, and The Christian Science Monitor. He is most recently the author of Virtual Words: Language on the Edge of Science and Technology (OUP). His conceptual art has been exhibited at venues including the Berkeley Art Museum, the Hammer Museum, and the Wellcome Collection.

Table of Contents

TABLE OF CONTENTS

Part One

The Art of Forgery

Part Two

Forgers: Six Modern Masters

Lothar Malskat: What is Belief?

Alceo Dossena: What is Authenticity?

Han van Meegeren: What is Authority?

Eric Hebborn: What is Heritage?

Elmyr de Hory: What is Identity?

Tom Keating: What is Culture?

Part Three

Forging a New Art

Further Reading

Product Details

ISBN:
9780199928354
Author:
Keats, Jonathon
Publisher:
Oxford University Press, USA
Subject:
Art-Miscellaneous Techniques
Subject:
General Art
Subject:
Art & Architecture | History
Subject:
Art-History and Criticism
Publication Date:
20130131
Binding:
HARDCOVER
Language:
English
Pages:
208
Dimensions:
5.8 x 8.6 x 0.9 in 0.65 lb

Related Subjects

Arts and Entertainment » Art » Forgery
Arts and Entertainment » Art » General
Arts and Entertainment » Art » History and Criticism
Arts and Entertainment » Art » Miscellaneous Techniques
Arts and Entertainment » Art » Reference
Arts and Entertainment » Art » Technique
Arts and Entertainment » Art » Theory and Criticism
Featured Titles » Culture
Health and Self-Help » Health and Medicine » Medical Specialties
History and Social Science » World History » General

Forged: Why Fakes Are the Great Art of Our Age New Hardcover
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Product details 208 pages Oxford University Press, USA - English 9780199928354 Reviews:
"Publishers Weekly Review" by , "In his introduction, critic, journalist, and artist Keats (Virtual Worlds) asserts that fakes — old forgeries and new works falsely attributed to old masters — are 'the great art of our age.' While acknowledging that their artistic merit lies elsewhere than in the aesthetic, the author claims that 'art forgeries achieve what legitimate art accomplishes when legitimate art is most effective,' namely, causing us to confront troubling truths about 'ourselves and our world.' To substantiate this claim, Keats devotes the bulk of his book to portraits of six fakers throughout history, highlighting different questions that their work raises. But with the exception of the author's consideration of forger Eric Hebborn, who subverted the view of art history as a progressive continuum, these profiles don't do much to substantiate Keats's bold claims. He saves the heavy lifting for his conclusion, in which he considers contemporary approaches to art that riff on the forger's work, such as appropriation and street art. But as he decries most appropriation as being locked in a self-referential holding pattern, while declaring science the new frontier of boundary smashing, it's unclear why Keats has devoted most of his book to profiling artistic frauds. Agent: Elise Capron, Sandra Dijkstra Literary Agency." Publishers Weekly Copyright PWxyz, LLC. All rights reserved.
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