Two writers and professors present 40 short pieces of fiction that serve as humorous counterfeit texts, including a personal ad from Ron Carlson, a parking department complaint from Amy Hempel, and a list of works cited from Rick Moody.
Does an authentic Andy Warhol painting need to be painted by Andy Warhol? Why do audiences feel outraged when they find out that scenes from their beloved blockbuster documentaries are staged? Can people move past assuming that a diamond grown in a lab is a fake? What happens when a forged painting or manuscript becomes more valuable than its original? This is a book about genuine fakes – the curious and complex objects that provoke these very sorts of questions. Genuine fakes fall into the space between things that are real and things that are not; whether or not we think that those things are authentic is a matter of perspective. Unsurprisingly, the world is full of genuine fakes – full of things that defy simple categorisation. From stories of audacious forgeries to feats of technological innovation, historian Lydia Pyne explores how the authenticity of eight genuine fakes depends on their unique combinations of history, science and culture. The stories of art forgeries, fake fossils, nature documentaries, synthetic flavours, museum exhibits, Maya codices and Palaeolithic replicas show that genuine fakes are both complicated and change over time. Drawing from historical archives, interviews, museum exhibits and science fiction as well as her own research, Pyne brings each genuine fake to life through unexpected and often outrageous stories. Genuine Fakes will make readers think about all the unreal things they encounter in their daily lives, and why they invoke the reactions – surprise, wonder, understanding or annoyance – that they do.
How do you grow a spaghetti tree? Who saw fairies down by the creek? A fake is something that is not what it seems to be. Fakes are meant to trick people.
An entertaining collection of the most audacious and underhanded deceptions in the history of mankind, from sacred relics to financial schemes to fake art, music, and identities. World history is littered with tall tales and those who have fallen for them. Ian Tattersall, a curator emeritus at the American Museum of Natural History, has teamed up with Peter Néaumont to tell this anti-history of the world, in which Michelangelo fakes a masterpiece; Arctic explorers seek an entrance into a hollow Earth; a Shakespeare tragedy is "rediscovered"; a financial scheme inspires Charles Ponzi; a spirit photographer snaps Abraham Lincoln's ghost; people can survive ingesting only air and sunshine; Edgar Allen Poe is the forefather of fake news; and the first human was not only British but played cricket. Told chronologically, HOAX begins with the first documented announcement of the end of the world in 2800 BC and winds its way through controversial tales such as the Loch Ness Monster and the Shroud of Turin, past proven fakes such as the Thomas Jefferson's ancient wine and the Davenport Tablets built by a lost race, and explores bald-faced lies in the worlds of art, science, literature, journalism, and finance.
Fakes and forgeries are objects of fascination. This volume contains a series of thirteen articles devoted to fakes and forgeries of written artefacts from the beginnings of writing in Mesopotamia to modern China. The studies emphasise the subtle distinctions conveyed by an established vocabulary relating to the reproduction of ancient artefacts and production of artefacts claiming to be ancient: from copies, replicas and imitations to fakes and forgeries. Fakes are often a response to a demand from the public or scholarly milieu, or even both. The motives behind their production may be economic, political, religious or personal – aspiring to fame or simply playing a joke. Fakes may be revealed by combining the study of their contents, codicological, epigraphic and palaeographic analyses, and scientific investigations. However, certain famous unsolved cases still continue to defy technology today, no matter how advanced it is. Nowadays, one can find fakes in museums and private collections alike; they abound on the antique market, mixed with real artefacts that have often been looted. The scientific community’s attitude to such objects calls for ethical reflection.
In addition to providing a checklist of 70 treasures from the Arthur and Janet Freeman Bibliotheca Fictiva Collection, this beautifully-illustrated volume includes five essays that explore the phenomenon of forgery as a creative literary form and provide an interesting and informative sense of the broader collection. With nearly 1,700 individual items, the Bibliotheca Fictiva Collection is the largest and most comprehensive collection of books and manuscripts of forgery in the world. Highlights include editions of Jesus' posthumous "Letter from Heaven," eyewitness accounts of the Fall of Troy, annotated books from Shakespeare's personal library, Alpine inscriptions recording Noah's settlement of Vienna after the Flood, and a first-hand account of the discovery of Homer's tomb. The collection was assembled over a 50-year period and acquired by the Sheridan Libraries of Johns Hopkins University in 2011. Exhibition: Johns Hopkins Krieger School of Arts, Baltimore, USA (05.10.2014 - 01.02.2015).
Describes the different ways con artists use fraud to get money, including stealing identities, copying paintings, and counterfeiting money, and how they are caught.