Josh and Adie Nelson authored "The Crime That Pays? The Canadian Print Media’s Construction of Art Fraud, 1978-2012" in the Fall 2013 issue of The Journal of Art Crime. From the abstract:
This article examines the Canadian print media’s construction of art fraud from January 1978 until December 2012. Our content analysis of N=386 articles reveals that art fraud was portrayed as a low-risk crime that pays and as a “victimless” crime. In contrast to conventional crime news, which is situated in the front portions of newspapers, articles on art fraud were most often positioned in sections devoted to “entertainment.” The media’s portrayal of art fraud as a phenomenon that was more entertaining than vexatious resonated in its portrayal of offenders as charming rogues and artful dodgers, with the most notorious of offenders depicted as heroes, and in its casting of victims as fools or “legitimate” victims. This peculiar construction would seem to offer considerable inducements for schadenfreude, a revelling in the misfortunes of others.
From the article's introduction: 
Examinations of the “professional imperatives” (Chibnall, 1977: 23) that guide press reporting on crime have repeatedly suggested the folly of supposing that these dicta encourage a faithful rendering of the incidence and dynamics of crime. Thus, in emphasizing that journalists are tasked daily with producing a “certain quantity of what is called ‘news’,” Breed’s (1955) classic study suggested how this role obligation could catalyze a “persistent search in the drab episodes of city life for the romantic and picturesque, its dramatic accounts of victim and crime” (see also crime: e.g., Ericson, Baranek & Chan, 1987, 1989, 1991; Hugill, 2010; Katz, 1987; Peelo, 2006; Rajiva & Batacharya, 2010). While the frenetic quality of this quest may have abated in more recent eras with the rise of “supermarket journalism” (Mawby, 2010a, 2010b; McGovern, 2010) and the concomitant ability of journalists to “simply ‘buy’ their stories off the shelf from the press offices that are responsible for ‘managing the media’ about a particular crime or event” (Wilson, 2011), journalism’s cynical mantra, “if it bleeds, it leads,” continues to resonate both its disdain for coverage of the mundane and prosaic and rapt readiness to endow statistically atypical incidents with especial lustre. As Reiner (2002: 307) observed in his commentary upon the news media’s tendency to position the extraordinary as ordinary, “[f]rom the earliest studies (e.g., Harris 1932) onward, analyses of news reports have found that crimes of violence are featured disproportionately compared to their incidence in official statistics. Indeed, a general finding has been the lack of relationship between patterns and trends in crime news and crime statistics.”
Josh Nelson is a graduate student at the University of Guelph in the department of art history & visual culture and, beginning in September, 2013, a doctoral student in art history at Queen’s University in Kingston, Ontario, Canada. His doctoral research addresses a criminal event that the Canadian print media early and, ostensibly enduringly, dubbed the “Great Canadian art fraud”; it examines the social context in which this highly-publicized incident emerged in media reports of the early 1960s, was weighted with significance, framed as portentous and defined as a “crime against culture.”
Adie Nelson received her PhD at the London School of Economics and is an Associate Professor in the Department of Sociology & Legal Studies at the University of Waterloo. She is the author/co-author/editor/co-editor of approximately two dozen books and her writings have appeared in journals such as the British Journal of Sociology, Psychology of Women Quarterly, the Journal of Contemporary Ethnography, Qualitative Sociology and the International Review of Victimology.
Design for this issue and all issues of The Journal of Art Crime is the work of Urška Charney.
Here's a link to ARCA's website on The Journal of Art Crime (includes Table of Contents for previous issues).
Design for this issue and all issues of The Journal of Art Crime is the work of Urška Charney.
Here's a link to ARCA's website on The Journal of Art Crime (includes Table of Contents for previous issues).
Josh and Adie Nelson authored "The Crime That Pays? The Canadian Print Media’s Construction of Art Fraud, 1978-2012" in the Fall 2013 issue of The Journal of Art Crime. From the abstract:
This article examines the Canadian print media’s construction of art fraud from January 1978 until December 2012. Our content analysis of N=386 articles reveals that art fraud was portrayed as a low-risk crime that pays and as a “victimless” crime. In contrast to conventional crime news, which is situated in the front portions of newspapers, articles on art fraud were most often positioned in sections devoted to “entertainment.” The media’s portrayal of art fraud as a phenomenon that was more entertaining than vexatious resonated in its portrayal of offenders as charming rogues and artful dodgers, with the most notorious of offenders depicted as heroes, and in its casting of victims as fools or “legitimate” victims. This peculiar construction would seem to offer considerable inducements for schadenfreude, a revelling in the misfortunes of others.
From the article's introduction: 
Examinations of the “professional imperatives” (Chibnall, 1977: 23) that guide press reporting on crime have repeatedly suggested the folly of supposing that these dicta encourage a faithful rendering of the incidence and dynamics of crime. Thus, in emphasizing that journalists are tasked daily with producing a “certain quantity of what is called ‘news’,” Breed’s (1955) classic study suggested how this role obligation could catalyze a “persistent search in the drab episodes of city life for the romantic and picturesque, its dramatic accounts of victim and crime” (see also crime: e.g., Ericson, Baranek & Chan, 1987, 1989, 1991; Hugill, 2010; Katz, 1987; Peelo, 2006; Rajiva & Batacharya, 2010). While the frenetic quality of this quest may have abated in more recent eras with the rise of “supermarket journalism” (Mawby, 2010a, 2010b; McGovern, 2010) and the concomitant ability of journalists to “simply ‘buy’ their stories off the shelf from the press offices that are responsible for ‘managing the media’ about a particular crime or event” (Wilson, 2011), journalism’s cynical mantra, “if it bleeds, it leads,” continues to resonate both its disdain for coverage of the mundane and prosaic and rapt readiness to endow statistically atypical incidents with especial lustre. As Reiner (2002: 307) observed in his commentary upon the news media’s tendency to position the extraordinary as ordinary, “[f]rom the earliest studies (e.g., Harris 1932) onward, analyses of news reports have found that crimes of violence are featured disproportionately compared to their incidence in official statistics. Indeed, a general finding has been the lack of relationship between patterns and trends in crime news and crime statistics.”
Josh Nelson is a graduate student at the University of Guelph in the department of art history & visual culture and, beginning in September, 2013, a doctoral student in art history at Queen’s University in Kingston, Ontario, Canada. His doctoral research addresses a criminal event that the Canadian print media early and, ostensibly enduringly, dubbed the “Great Canadian art fraud”; it examines the social context in which this highly-publicized incident emerged in media reports of the early 1960s, was weighted with significance, framed as portentous and defined as a “crime against culture.”
Adie Nelson received her PhD at the London School of Economics and is an Associate Professor in the Department of Sociology & Legal Studies at the University of Waterloo. She is the author/co-author/editor/co-editor of approximately two dozen books and her writings have appeared in journals such as the British Journal of Sociology, Psychology of Women Quarterly, the Journal of Contemporary Ethnography, Qualitative Sociology and the International Review of Victimology.
Design for this issue and all issues of The Journal of Art Crime is the work of Urška Charney.
Here's a link to ARCA's website on The Journal of Art Crime (includes Table of Contents for previous issues).
Design for this issue and all issues of The Journal of Art Crime is the work of Urška Charney.
Here's a link to ARCA's website on The Journal of Art Crime (includes Table of Contents for previous issues).
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