Abstract
Abstract This reflection on the social construction of authenticity analogizes the quest for artistic authenticity to snark hunting. To illustrate the instability of this term, it employs various Canadian examples, including the “Michelangelo” terracotta sculptures donated to the Museum of Vancouver, the “Igloo tag,” the importation of a sculpture by Edward Chukwuweike Madukaego, and the work of Bill Reid. It posits that proclamations of authenticity and fraudulence are ultimately utterances denoting and invoking power relations. It also reveals, through the use of specific examples, how negotiations around artistic authenticity in settler societies can replicate and re-entrench colonialist power.
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