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Abstract

While many have investigated media constructions of ‘newsworthy’ and ‘non-newsworthy’ crimes and their victims, the overwhelming focus of these analyses has been upon violent crime in its myriad forms. In contrast, this article examines the Canadian print media’s peculiar construction of crime, criminals, and victims in the world of art fraud from 1978 to 2012. Just as art fraud is not thought of as normal ‘crime news’ and is bracketed away elsewhere, the victims of art fraud tend not to be regarded as ideal victims. We note that allegations of art fraud in Australia and elsewhere have occasionally provided a catalytic environment for discussions of ‘who is an “Aboriginal artist”?’, ‘what is “Aboriginal art”?’, and ‘who owns Native culture?’ However, the Canadian print media’s response to allegations of fraud in relation to the art and artistry of Canada’s indigenous peoples suggests how contemplation of these questions can be forestalled.

Keywords

Art forgery art fraud ideal victim victim-blaming

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Framing the picture

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