From ‘Forgery fiction: literature’s fascination with fake art’

‘Ever since Aestheticism’s mantra of art for art’s sake, capital-A Art has kept its distance from the taint of money, even though they have always been attached by what the critic Clement Greenberg once called “an umbilical cord of gold.” The canonization of an artistic masterpiece often goes hand in hand with its removal as a commodity from the market. In the hallowed halls of a national museum, artworks become sacred and exceptional. We want to believe that something as universally appreciated as a Michelangelo or as privately meaningful as a family heirloom is “priceless,” but the market is as blind to aesthetics as it is to sentimental value.’ [Via]

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