| This thesis explores pervasive problems plaguing the African art market from the early 20th century to present day. The overarching problem stems from the dynamic discourse regarding the authenticity of "tribal" African art and the ways in which experts and scholars seek to address issues that spring from attempting to classify an African work as "authentic." Beginning with Africa's initial encounter with colonial powers of the West, leads to the establishment of the art market in African artifacts in both Europe and North America. The study discusses different perspectives on the issue of authenticity in the African art market by head specialist from Sotheby's Auction House, an art dealer, and a museum curator. The thesis endeavors to define authenticity, distinguishes between an "authentic" versus "inauthentic" work in the market and categorizes objects proposed by academics and art dealers. |
