Too Good To Be True

Economic calculations behind the production and dissemination of fakes and forgeries are easy to understand and hard to process. When demand for certain goods, let’s say Modigliani paintings or Giacometti sculptures, exceeds the supply, particularly creative individuals or groups may step in to address the scarcity and introduce it into the art market counterfeits.

Having focused attention on the art market dealers who defrauded their clients and colleagues earlier this spring, the Center for Art Law continues its exploration of the “F is for fraud” series, this time with a conversation about art fakes. What are the real costs and damages of peddling falsely attributed artworks?

Our guests Judd Tully, art critic and journalist who closely followed the Knoedler story, and Emily Reisbaum, Partner at Clarick Gueron Reisbaum LLP who represented the DeSole plaintiffs in the only Knoedler related case that went to trial in 2018, will explain the not-so-rare phenomenon of spotting and weeding out fakes from the art historical records, academic, and market. This conversation will be moderated by Irina Tarsis, the Founder and Managing Director of the Center for Art Law.

Course Materials