Anna Sorokin: The Story of the Fake German Heiress Who Stiffed the Art World

Once an art magazine intern, Anna Delvey created a jet-setting lifestyle for herself on others’ dimes. She is now in jail for upto 12 years.

As New York Magazine tells it, Anna Delvey lived a life that many young women in Europe could only dream of having: monthslong stays at trendy New York hotels, parties where she rubbed elbows with the jet-setting elite, hops across the Atlantic to attend art openings, strolls through Venice during the Biennale.

She once chartered a jet to Omaha for the Berkshire Hathaway annual investment conference to see Warren Buffett, spent a week in a private Moroccan riad on a whim and had dinner at gourmet restaurants with celebrities. And documented it all on Instagram along the way.

Screenshot of woman in front of a private plane (Instagram/annadlvv)

Some say that the scam artist could not have been as successful had she not had a carefully curated Instagram account that gave the appearance of wealth. Image credit: Instagram/ananadlvv

But social media access will likely be more difficult for Delvey, who has been in custody since her October 2017 arrest, after a judge on Thursday sentenced her to four to 12 years in prison following convictions on multiple counts of grand larceny and theft of services.

New York Judge Diane Kiesel said she was “stunned by the depth of the defendant’s deception” and turned down a request to count time already served towards her sentence.

How it started

In New York, Delvey had told acquaintances she was an heiress from a small town outside of Cologne, Germany and she was waiting on her trust fund before she could move on with her grand plans to open an art space in the city.

Her dream was to open this visual arts center at the historic Church Missions House at the corner of Park Avenue and East 22nd Street. She made moves to make that dream a reality, hiring a graphic designer to create a logo for the Anna Delvey Foundation and courting banks for loans in the millions.

The arts center never came to fruition. The life Anna Delvey had created for herself was all based on a series of scams.

By the time she was arrested in October 2017, she had left a pile of bad checks, unpaid bills and stiffed friends in her wake.

After her arrest on charges of grand larceny and attempted grand larceny, the faux heiress, who was born in Russia before moving to Germany as a child and whose real name is Anna Sorokin, sat down with writer Jessica Pressler for a New York Magazine exclusive interview, published on its lifestyle website, The Cut.

 Capital not hard to come by

In the article, “Maybe She Had So Much Money She Just Lost Track of It,” Pressler speaks not only to Delvey but also to people who knew Delvey as a socialite in New York. She uncovers an unusual world — one in which both money and friends appears easy to come by. “Resilience is hard to come by,” Delvey tells the writer. “But not capital.”

Still, that capital is not her own. As Delvey’s father — a former trucker and manager of a middle-sized business who lives in Eschweiler, Germany — told New York Magazine: “Until now, we have never heard of any trust fund.”

This story, jokingly referred to by many on Twitter as the story of the “Soho Grifter,” got both the New York media world and the art world in a tizzy.

One acquaintance in Berlin, where Delvey is said to have interned in fashion PR, told New York Magazine that there were several individuals there who were apparently duped by Delvey. “She screwed basically everyone,” said the source.

Swindling the art world

One person who had been swindled — and who has faced Anna Delvey in court — is her former friend, Rachel Deloache Williams. A photo editor at Vanity Fair, Williams wrote in that magazine about her experience of being left holding the bag for a week’s stay in a five-star Moroccan villa.

“Seeking reimbursement from Anna became a full-time job. Stress consumed my sleep and fueled my days. My co-workers saw me unravel. I came to the office looking pale and undone,” Williams wrote.

Williams nevertheless managed to recoup her losses. In July 2019, she will publish her account of her relationship with the con artist, a book to be titled My Friend Anna; she obtained $300,000 (€268,000) for the the book deal. She also sold her story to HBO for $35,000.

Another prominent art collector who went on record as having been slighted is Michael Xufu Huang, with whom Delvey went to the Venice Biennale. The founder of Beijing’s M Woods Museum, Xufu Huang told New York Magazine that he found it odd that he was asked to put the plane tickets on his credit card but he later forgot her promises to pay him back, brushing it off as just being $2,000 or $3,000 owed.

Through her ruse, along with the “friends” she conned, she also managed to obtain a $100,000 loan from a bank and never paid it back. Altogether, prosecutors accuse her of stealing around $275,000.

How could these scams have carried on for so long? “It’s very much an art story,” said Ben Davis of Art Net in an article titled, “How Purple Magazine Intern-Turned-Scam Artist Anna Delvey Turned Contemporary Art Into the Perfect Tool for Fraud.”

“Take a look at Delvey’s Instagram and behold what a hollowed-out signifier art has become.”

Instagram screenshot from Venice features Anna Delvey (Instagram/annadlvv)

The Instagram account believed to belong to Anna Delvey has gone dormant. Image credit: Instagram/annadlvv

“What interests me in the tale is how the sleight of hand that allowed Delvey to perpetrate her improbably long-lasting scam — flaunting the signifiers of wealth without the reality of wealth — is duplicated in the way a superficial association with art is so often confused with the love and appreciation of art,” he wrote.

The rights to the New York Magazine article have been acquired by Netflix and production company Shondaland. The company’s producer, Shonda Rhimes, best known as the author of the popular medical drama Grey’s Anatomy (2005), is attached to write the series.

This article was originally published at Deutsche Welle. Read the original article here.

Featured image credit: Instagram/@theannadlvv

Celebrating Anish Kapoor at 65: A Sculptor Extraordinaire

As a leading contemporary artist, Kapoor has pioneered the craft of large scale, flamboyant artwork and architecture.


Black hole devours museum visitor” is an odd headline. And this one, from summer 2018, had nothing to do with astrophysics. The hole in question was a 2.5-meter deep exhibit in Portugal, installed by artist Anish Kapoor. Despite warnings advising against going too close, a man attempted to walk across the intensely black surface and fell inside. According to media reports, the man landed in the hospital with minor injuries.

The artwork, Descent into Limbo, was created by painting the walls of the hole with a high-tech acrylic paint that absorbed the light in such a way that the abyss suggested that it was a circle painted on the floor. Sneaky though it may have been, Kapoor was dismayed by the accident. Yet the idea behind it is one that is central to the sculptor and painter. Kapoor, who said he is interested in the idea that objects are not necessarily as they might appear at first, warns viewers that illusions are lurking everywhere.

Knotted steel cathedral

Although his sculptures and installations do not normally pose any physical danger to the viewer, they are challenging, pushing the limits of art.

Also Read: The World of Architecture Should Embrace the Avant-Garde, as This Year’s Pritzker Prize Has

His blood-red Orbit tower, erected for the 2012 Olympic Games in London’s Olympic Park, is a delight among Londoners. The UK’s tallest public sculpture, a 115-meter-high installation, is asymmetrical, a mess of knots and jutting elbows. In an interview, Kapoor himself compared the sculpture to a cathedral.

The ArcelorMittal Orbit in the Queen Elizabeth Olympic Park in Stratford, London. Credit: Wikimedia Commons

The ArcelorMittal Orbit in the Queen Elizabeth Olympic Park in Stratford, London. Credit: Wikimedia Commons

Cathedrals are likewise something the artist is familiar with. He designed an altar stone for the reconstructed Frauenkirche in Dresden out of a massive block of black limestone.

From Turner Prize to knighthood

Born on March 12, 1954, in Bombay (now Mumbai), to a Hindu father and Jewish mother originally from Baghdad, Kapoor has become one of the most highly decorated contemporary artists working today.

He grew up in Mumbai and later lived in a kibbutz in Israel before heading off to London to study art in the early 1970s. There, his star ascended, with his career leading literally to Britain’s art nobility.

Kapoor represented Great Britain at the 1990 Biennale and participated in Documenta IX in Kassel in 1992. By then, he had already received the prestigious Turner Prize a year earlier. In 2013, he was knighted for his services to visual art.

Also Read: Hope and Despair Come Together in Sculptor K.S. Radhakrishnan’s ‘Ephemera’

Drawing equally on the spiritual traditions of his native India and the ideas behind Western art traditions, Kapoor was perhaps predestined to become a kind of Commonwealth artist. His interactions with all sorts of vibrant, brilliant colours are seen as references to the blaze of hues of the Indian subcontinent.

Dispute over darkness

But it is a non-colour that has put Kapoor in the centre of much talk in recent years — and sparked controversy in the art world: Vantablack, the blackest black today, the colour at the centre of the black hole that swallowed up the museum visitor in Portugal.

Based on nanotechnology, the deep black absorbs 99.6% of all light radiation and was originally developed for satellites. Ideal for Kapoor’s art, it makes three-dimensional objects appear as smooth surfaces. Kapoor exclusively secured the artistic usage rights to Vantablack. A protest broke out when the artist prohibited others from using Vantablack.

This article was originally published on DW. Read the original article here