‘Fake works can fetch anything from R100,000 to R1 million’
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African art is finally becoming big business after centuries of neglect by the global art establishment, writes Rebecca Davis in an article for Daily Maverick.
It follows that forging works by artists who’re highly valued, is now becoming big business too.
“While the demand for, and value of, African art is rapidly increasing, the South African art market is notoriously under-regulated and vulnerable to exploitation and the spread of fake art.”
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Bruce Whitfield interviews Salome le Roux, co-founder of the ART (Art, Research and Technical Analysis) Group.
Le Roux says South African work is becoming more relevant in the international art market, presenting the opportunity for those with the skill to forge artists that are valuable at the moment.
And this compromises the integrity of the local market.
There’s been an upsurge in collecting African art in general, whether it’s historic or contemporary.
Salome le Roux, Co-founder – Art, Research and Technical Analysis Group
We do have brilliant artists… and unfortunately if there is a flood of fake artwork then we don’t have investment in the South African art market…
Salome le Roux, Co-founder – Art, Research and Technical Analysis Group
We are at a level where artworks are fetching anywhere from R100,000 towards R1 million for a piece that might be fake.
Salome le Roux, Co-founder – Art, Research and Technical Analysis Group
One example is revered local artist Cecil Skotnes, whose family is facing an uphill battle in combating forgery of his work.
Le Roux says daughter Pippa, who is very involved in maintaining the integrity of Skotnes’ oeuvre, really has nowhere to turn for assistance.
There’s no unit in the police force that’s specifically dedicated to addressing the problem of the fake art market in South Africa.
Salome le Roux, Co-founder – Art, Research and Technical Analysis Group
The best way [to protect artworks] is to create awareness I think… The middle-market artists usually fall through the cracks because there’s not as much scrutiny as for your more valuable, higher-end artists.
Salome le Roux, Co-founder – Art, Research and Technical Analysis Group
The best thing to do is to try and collect these works, put them in one location, keep them from circulating in the South African and international art markets.
Salome le Roux, Co-founder – Art, Research and Technical Analysis Group
Listen to le Roux explain the process of verifying the authenticity of artworks in the audio clip:
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