Out now: Journal for art market studies, Vol. 1, No. 2 (2017)

Is Art Market Studies a discipline in its own right, or rather a research focus area? And if it is a research focus area, then which discipline does it belong to? Art history? Economic or social history? Sociology? Economics of culture? In this second issue of the Journal for Art Market Studies we ask about the theories of art market research and their different approaches, methods and objectives. We ask from an art history perspective which is quite open to transdisciplinary approaches.


Vol 1, No 2 (2017)

Table of Contents


Bénédicte Savoy, Johannes Nathan, Dorothee Wimmer

Continue reading “Out now: Journal for art market studies, Vol. 1, No. 2 (2017)”

L: Henry Keazor, Fakes. The Current State of the Art, Berlin (10 July, 17)

Forum Kunst Markt, TALK on MONDAY

10 July, 2017
Room A 111 

Architekturgebäude der TU
Straße des 17. Juni 150/152
10623 Berlin

Left: Christian Goller: Saint Catherine, fake in style of Matthias Grünewald, 1972, Cleveland Museum of Art (Study Collection); right: Wolfgang Beltracchi: Natur (sic!) morte (1913), fake based on different paintings by Fernand Légers, before 2006 (verso), Landeskriminalamt, LKA 454, Berlin/ AA&R, London.

On May 26, 2017, the media reported that the legal steps (of 2014) against the Bavarian restorer, church painter and forger Christian Goller would be suspended because the defendant was unable to negotiate permanently due to health problems. Thus a “tangible scandal shrank to a provincial farce”. However, such withdrawals from accused forgers are not the only challenges faced by art history and art technology.
Fakes and Forgeries seem to exist since art has existed and attempts to introduce new counterfeits will probably not be fully prevented in the future either. However, on the basis of the hitherto known and resolved cases, one can also learn a lot about the future, including the development of precise nomenclatures and the steps to be considered.
Prof. Keazor will use a specific case to outline a panorama of the currently known methods of counterfeiting and discuss the lessons to be drawn from them by means of three problems (1. nomenclature, 2. unmasking or relationship between art technology and other methods, 3. dissemination of information). He will also take up the question of how to deal with objects exposed as counterfeits. From this, conclusions can be drawn about the possibilities of prevention and quick exposure, to limit or reduce the effect of forged art.

German Text here