In a startling revelation that has sent shockwaves through the art world, the Orlando Museum of Art has taken legal action against its former director, Aaron De Groft, alleging his involvement in attempting to profit from the exhibition of counterfeit Jean-Michel Basquiat paintings. The museum filed a lawsuit on Monday, citing claims that De Groft leveraged the institution’s reputation to increase the value of the fake artworks for personal gain.
The mixed-media paintings were initially hailed as newly discovered works by the legendary artist Jean-Michel Basquiat, created during his time in Los Angeles around 1982 and forgotten in storage. However, suspicions about their authenticity surfaced shortly after their debut. An astute observer noticed discrepancies, including using a FedEx typeface that wasn’t introduced until after Basquiat’s death in 1988.
The lawsuit also states that the five co-owners of these works promised De Groft a portion of the proceeds if the paintings were sold. Furthermore, an FBI affidavit includes an interview with the supposed original owner who claimed to have never purchased a Basquiat artwork.
The Orlando Museum of Art contends that De Groft used the museum’s standing to lend credibility to the fake paintings, consequently boosting their value to serve his personal interests. Mark Elliott, the museum’s current board chair, emphasized that the legal action aims to hold those accountable who knowingly misrepresented the authenticity and origin of the artworks.
The lawsuit seeks damages for various charges including fraud, conspiracy, breach of fiduciary duty, and breach of contract. The suit alleges that the museum expended substantial resources, both financially and in terms of its reputation, in presenting the now-acknowledged counterfeit artworks.
This lawsuit marks the latest development in a series of events related to the Basquiat exhibition. In the past year, the museum faced an FBI raid, leading to the confiscation of the fake paintings and the subsequent termination of Aaron De Groft’s position. It is noted that De Groft had previously been on probation by the American Alliance of Museums for similar circumstances involving the rediscovery of artworks.
In a significant twist, Los Angeles auctioneer Michael Barzman recently admitted to being involved in producing the forged Basquiat paintings as part of a plea deal. Emails and text messages exchanged by De Groft appear to reference the future sale of the artworks, which are now part of the court documents.
The lawsuit further alleges that De Groft sought to legitimize the provenance of other artworks associated with artists such as Titian and Jackson Pollock. The court papers reveal that De Groft had agreed to showcase the Basquiat paintings before inspecting them in person and only examined them three months before the exhibition’s opening. The museum’s legal action also suggests that De Groft withheld information about the ongoing FBI investigation from the museum’s board.
As the legal proceedings unfold, the art world awaits the resolution of this stunning case that has placed the integrity of both the museum and the art market under scrutiny.