Showing posts with label Dick Drent. Show all posts
Showing posts with label Dick Drent. Show all posts

March 16, 2018

Is art crime understudied? We think so, but you can help us change that.


Who studies art crime?

ARCA's Postgraduate program in Art Crime and Cultural Heritage Protection is still accepting applications.

Late applications will be accepted through 30 April subject to census limitations. 

In 2009, ARCA started the first of its kind, interdisciplinary, approach to the scholarly study of art crime. Representing a unique opportunity for individuals interested in training in a structured and academically diverse format, the summer-long postgraduate program is designed around the study of the dynamics, strategies, objectives and modus operandi of criminals and criminal organizations who commit a variety of art crimes.  

Turn on the news (or follow this blog) and you will see over and over again examples of museum thefts, forgeries, antiquities looting and illicit trafficking of cultural goods.  Intentional heritage destruction during armed conflict, once a modern-day rarity, now affects multiple countries and adds to regional instability in many areas of the globe.  Looted art, both ancient and Holocaust-related, finds its way into the galleries of respected institutions, while auction houses and dealers continue to be less than adept at distinguishing smuggled and stolen art, from art with a clean provenance. Thus making dealing with art crime an unrelenting problem and one without any easy solution.

Taken incident by incident, it is difficult to see the impact and implications of art crime as a global concern, but when studied across disciplines, looking at the gaps of legal instruments, country to country, one begins to have a clearer picture of the significance of the problem and its impact on the world's collective patrimony.

The world's cultural heritage is an invaluable legacy and its protection is integral to our future. 


Here are 11 reasons why you should consider joining us for a summer in Amelia, Italy for ARCA's 10th edition of its postgraduate program. 

At its foundation, ARCA's summer-long program in Italy draws upon the overlapping and complementary expertise of international thought-leaders on the topic of art crime – all practitioners and leading scholars who actively work in the sector. 

In 2018, participants of the program will receive 220+ hours of instruction from a range of experts actively committed to combatting art crime from a variety of different angles.

One summer, eleven courses.

Taught by:

Fabrizio Rossi, whose law enforcement experience with the Italian Carabinieri's  art squad delves into criminal investigations surrounding plunder. His tireless work reminds those interested in purchasing ancient art, be it from well-known dealers or auction houses, that crimes committed 40 years ago still taint many of the artifacts and fine art that find their way into the illicit art market today.

London art editor and lecturer Ivan Macquisten who eloquently paints a picture of the burgeoning business which is art, whilst examining the interplay between our cultural obsession with risk and collecting.  Macquisten disentangles the paradoxical alliances between the financially lucrative art market and the collector relationships that feed upon the art market's unregulated trade, sometimes profiteering from the lack of transparency in its transactions.

Duncan Chappell, the Chair of the International Advisory Board of the Australian Research Council’s Center of Excellence in Policing and Security. Chappel is a national award winner for his lifetime achievements in criminology and will be lecturing on the growing number of bilateral, regional and global legal agreements that reflect a growing realization that transnational art crime has to be addressed through international cooperation, and that just as criminal groups operate across borders, judicial systems must consequently do the same.  

Marc Masurovsky, co-founder of HARP, the Holocaust Art Restitution Project who will lecture on the variations among countries’ historical experiences and legal systems, as well as the complexities of provenance research and the establishment of claims processes. Focusing not only on the implementation of the Washington Conference Principles on Nazi-confiscated art but also on modern-day examples that underscore the difficulties facing any heir in recovering their property, Masurovsky underscores the need for fully trained provenance experts within museums and auction houses. 

Richard Ellis, private detective and the founder of the Metropolitan Police-New Scotland Yard Art and Antiques Squad.  His law enforcement background reminds us that trafficking in art and antiquities provides criminals with an opportunity to deal in high value commodities that are often poorly protected, difficult to identify and easy to transport across national boundaries. Ellis' lectures paint a little-talked-about portrait of the motley cast of characters who operate in the high-stakes world of the art crime.  His course introduces students to sophisticated criminal organizations, individual thieves, small-time dealers and unscrupulous collectors who don't just dabble in hot art, but who also may be involved in other crimes, such as the smuggling and sale of other illicit commodities, corruption or money-laundering.

Criminal defense attorney and criminologist Marc Balcells, whose animated lectures on the anatomy and etiology of art crimes will illustrate that even if every art crime is unique unto itself, often the underlying causes of criminal behaviors fit into certain established patterns.  With Edgar Tijhuis, students will explore various theories of crime causation each of which are key to understanding the crime and the criminal as well as evaluating its danger to our cultural patrimony.

Museum security and risk management expert Dick Drent, whose role in the recovery of two Van Gogh paintings from a Camorra reminds us that finding stolen works of art is much harder than protecting them in the first place, especially when organized crime is involved. In Drent's course students will learn about safeguarding culture before it goes missing, analyzing practical approaches to securing a collection, using risk and decision analysis as a form of analytics to support risk-based decision in museums, galleries and reference institutions around the globe.

New Zealand District Court Judge and founding trustee of the New Zealand Art Crime Research Trust, Arthur Tompkins who gives us a fast-galloping 2000-year romp through the history of art crimes committed during war and armed conflict. Tompkins reminds us that armed conflict, whether interstate or intrastate, poses various threats to cultural monuments and cultural property and that while laws have been enacted in an attempt to prevent or reduce these dangers; better laws are also needed to sort matters out after the fact.

Independent art & insurance advisory expert Dorit Straus, who serves as a member of AXA ART Americas Board of Directors and Presidential appointee to the Cultural Property Advisory Committee (CPAC) explores the worlds of specialist fine art insurers and brokers, who underwrite the risks associated with the fine art market.  As the former Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son, she knows firsthand the active, financially-motivated role insurance firms play in analyzing the risks involved in owning, dealing, buying, transporting or displaying art to the public.  While art insurance expertise is sometimes overlooked as a less-than-sexy side of the art world, insurers have served to make galleries, museums and private collector's collections safer, as their oversight and contract stipulations have produced a dramatic reduction in attritional losses.

ARCA's founding director, Noah Charney who draws upon his knowledge of art history and contemporary criminal activity to explore several of the most notorious cases of art forgery. Emphasizing that art forgery not only cheats rich buyers and their agents, ruining reputations, his course illustrates how crime distorts the art market, one which once relied heavily on connoisseurship, by messing with its objective truth.

Valerie Higgins, archaeologist and Program Director for the master's in art management program at the American University in Rome examines material culture as the physical evidence of a culture's existence, illustrating that through objects; be they artworks, religious icons, manuscripts, statues, or coins, and through architecture; monumental or commonplace, we can and should preserve the powerfully potent remains which truly define us as human.

For more information on the summer 2018 postgraduate professional development program, please see ARCA's website here.

To request further information or to receive a 2018 prospectus and application materials, please email:
education (at) artcrimeresearch.org

Interested in knowing more about the program from a student's perspective?

Here are some blog posts from and by students who have attended in 20162015, 2014, and in 2013.



November 20, 2017

Is art crime understudied? We think so, but you can help us change that.


Who studies art crime?

ARCA's Postgraduate program in Art Crime and Cultural Heritage Protection is now accepting applications.

In 2009, ARCA started the first of its kind, interdisciplinary, approach to the scholarly study of art crime. Representing a unique opportunity for individuals interested in training in a structured and academically diverse format, the summer-long postgraduate program is designed around the study of the dynamics, strategies, objectives and modus operandi of criminals and criminal organizations who commit a variety of art crimes.  

Turn on the news (or follow this blog) and you will see over and over again examples of museum thefts, forgeries, antiquities looting and illicit trafficking of cultural goods.  Intentional heritage destruction during armed conflict, once a modern-day rarity, now affects multiple countries and adds to regional instability in many areas of the globe.  Looted art, both ancient and Holocaust-related, finds its way into the galleries of respected institutions, while auction houses and dealers continue to be less than adept at distinguishing smuggled and stolen art, from art with a clean provenance. Thus making dealing with art crime an unrelenting problem and one without any easy solution.

Taken incident by incident, it is difficult to see the impact and implications of art crime as a global concern, but when studied across disciplines, looking at the gaps of legal instruments, country to country, one begins to have a clearer picture of the significance of the problem and its impact on the world's collective patrimony.

The world's cultural heritage is an invaluable legacy and its protection is integral to our future. 


Here are 11 reasons why you should consider joining us for a summer in Amelia, Italy for ARCA's 10th edition of its postgraduate program. 

At its foundation, ARCA's summer-long program in Italy draws upon the overlapping and complementary expertise of international thought-leaders on the topic of art crime – all practitioners and leading scholars who actively work in the sector. 

In 2018, participants of the program will receive 220+ hours of instruction from a range of experts actively committed to combatting art crime from a variety of different angles.

One summer, eleven courses.

Taught by:

Archaeologist, Christos Tsirogiannis from the University of Cambridge, whose forensic trafficking research continues to unravel the hidden market of illicit antiquities.  His tireless work is often highlighted on this blog and reminds those interested in purchasing ancient art, be it from well-known dealers or auction houses, that crimes committed 40 years ago still taint many of the artifacts that find their way into the illicit art market today.

London art editor and lecturer Ivan Macquisten who eloquently paints a picture of the burgeoning business which is art, whilst examining the interplay between our cultural obsession with risk and collecting.  Macquisten disentangles the paradoxical alliances between the financially lucrative art market and the collector relationships that feed upon the art market's unregulated trade, sometimes profiteering from the lack of transparency in its transactions.

Duncan Chappell, the Chair of the International Advisory Board of the Australian Research Council’s Center of Excellence in Policing and Security. Chappel is a national award winner for his lifetime achievements in criminology and will be lecturing on the growing number of bilateral, regional and global legal agreements that reflect a growing realization that transnational art crime has to be addressed through international cooperation, and that just as criminal groups operate across borders, judicial systems must consequently do the same.  

Marc Masurovsky, co-founder of HARP, the Holocaust Art Restitution Project who will lecture on the variations among countries’ historical experiences and legal systems, as well as the complexities of provenance research and the establishment of claims processes. Focusing not only on the implementation of the Washington Conference Principles on Nazi-confiscated art but also on modern-day examples that underscore the difficulties facing any heir in recovering their property, Masurovsky underscores the need for fully trained provenance experts within museums and auction houses. 

Richard Ellis, private detective and the founder of the Metropolitan Police-New Scotland Yard Art and Antiques Squad.  His law enforcement background reminds us that trafficking in art and antiquities provides criminals with an opportunity to deal in high value commodities that are often poorly protected, difficult to identify and easy to transport across national boundaries. Ellis' lectures paint a little-talked-about portrait of the motley cast of characters who operate in the high-stakes world of the art crime.  His course introduces students to sophisticated criminal organizations, individual thieves, small-time dealers and unscrupulous collectors who don't just dabble in hot art, but who also may be involved in other crimes, such as the smuggling and sale of other illicit commodities, corruption or money-laundering.

Criminal defense attorney and criminologist Marc Balcells, whose animated lectures on the anatomy and etiology of art crimes will illustrate that even if every art crime is unique unto itself, often the underlying causes of criminal behaviors fit into certain established patterns.  With Edgar Tijhuis, students will explore various theories of crime causation each of which are key to understanding the crime and the criminal as well as evaluating its danger to our cultural patrimony.

Museum security and risk management expert Dick Drent, whose role in the recovery of two Van Gogh paintings from a Camorra reminds us that finding stolen works of art is much harder than protecting them in the first place, especially when organized crime is involved. In Drent's course students will learn about safeguarding culture before it goes missing, analyzing practical approaches to securing a collection, using risk and decision analysis as a form of analytics to support risk-based decision in museums, galleries and reference institutions around the globe.

New Zealand District Court Judge and founding trustee of the New Zealand Art Crime Research Trust, Arthur Tompkins who gives us a fast-galloping 2000-year romp through the history of art crimes committed during war and armed conflict. Tompkins reminds us that armed conflict, whether interstate or intrastate, poses various threats to cultural monuments and cultural property and that while laws have been enacted in an attempt to prevent or reduce these dangers; better laws are also needed to sort matters out after the fact.

Independent art & insurance advisory expert Dorit Straus, who serves as a member of AXA ART Americas Board of Directors and Presidential appointee to the Cultural Property Advisory Committee (CPAC) explores the worlds of specialist fine art insurers and brokers, who underwrite the risks associated with the fine art market.  As the former Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son, she knows firsthand the active, financially-motivated role insurance firms play in analyzing the risks involved in owning, dealing, buying, transporting or displaying art to the public.  While art insurance expertise is sometimes overlooked as a less-than-sexy side of the art world, insurers have served to make galleries, museums and private collector's collections safer, as their oversight and contract stipulations have produced a dramatic reduction in attritional losses.

ARCA's founding director, Noah Charney who draws upon his knowledge of art history and contemporary criminal activity to explore several of the most notorious cases of art forgery. Emphasizing that art forgery not only cheats rich buyers and their agents, ruining reputations, his course illustrates how crime distorts the art market, one which once relied heavily on connoisseurship, by messing with its objective truth.

Valerie Higgins, archaeologist and Program Director for the master's in art management program at the American University in Rome examines material culture as the physical evidence of a culture's existence, illustrating that through objects; be they artworks, religious icons, manuscripts, statues, or coins, and through architecture; monumental or commonplace, we can and should preserve the powerfully potent remains which truly define us as human.

For more information on the summer 2018 postgraduate professional development program, please see ARCA's website here.

To request further information or to receive a 2018 prospectus and application materials, please email:
education (at) artcrimeresearch.org

Interested in knowing more about the program from a student's perspective?

Here are some blog posts from and by students who have attended in 20162015, 2014, and in 2013.



October 4, 2017

Art Theft Exhibited - A unique exhibit of thirty years of art thefts in Holland

Westfries Museum director Ad Geerdink in Kiev, standing next to
the recovered painting "Lady World".  Image Credit: Westfries Museum

It was a Sunday night in October 1999 when a group of masked men entered the villa of the 84 year old lady in Bilthoven.  The fragile woman was smashed against a radiator and guarded, while other robbers emptied the walls and took seven masterpieces within fifteen minutes.  The brutal robbery had an enormous impact on her, one of which she would never recover.  It was only in 2012 when one of the paintings was offered at Christie’s and recognized by the auction house staff.  The fences were arrested and four more paintings were recovered, together with several types of drugs. For the owner, the recovery came too late.  She had died several months before.

This tragic history is one of thirty stories of art thefts in the Netherlands that together make up the unique exhibition Plunder, Art Theft in the Netherlands, opening October 15th in the Westfries Museum in Hoorn.  For the first time, art crime is the subject of an exhibition in the Netherlands, instead of the art works themselves. 

And for anyone interested in art crime, the Westfries Museum probably rings a bell.  It is the museum that was robbed in 2005, the night before it was scheduled to celebrate its 125th birthday.  Twenty four paintings were stolen, together with 70 pieces of antique silver from the museum's collection. 

In April 2016, four paintings were recovered in the Ukraine and a fifth was later voluntarily returned by its new owner.  In September that year, they were returned to the museum, some in very bad condition requiring extensive restoration.  The fifteen other paintings and silverware still remain missing. 

Through this exhibit the museum aims to highlight the phenomenon of art theft in all its facets.  From the motives of perpetrators to the suffering of victims.  Thirty objects are used to demonstrate this.  The singular thing each object has in common is the fact that they each were stolen in the Netherlands during the last few decades.  Every item tells its own story and together they provide a fascinating look into the world of art and antiquities crime. 

Even for someone familiar with art crime, the enormous diversity of the objects stolen is striking.  Examples of works of art stolen from museums are supplemented with art stolen from private residences, art dealers and even a whole truck of art and antiquities destined for an art fair.  One artist was robbed many times with a total loss of 27 bronze statues, another lost 37 of his paintings in one single theft.  The motives of the thieves are less diverse, and show the ugly reality of art theft.  In the end it usually comes down to money, even when the modus operandi may differ. 

Theft for ransom, stolen art as collateral for criminals, theft in order to sell the works at auction or to dealers, and even theft to order from a dealer are all present in one remarkable exhibition.  The latter case is especially interesting as this type of theft is often suspected but rarely proven.  

In preparing this article, I spoke with the museum about the purpose of this exhibition, in their museum that was, and still is, a victim of art crime itself.  Ad Geerdink, the director or the Westfries Museum, explains: 

We want to achieve more awareness and public outrage about this topic.  But also to ensure that owners of art and antiquities are more conscious of what they themselves can do themselves to prevent thefts. Or, in the unfortunate case a theft nevertheless happens, to ensure they have adequate documentation for police agencies and registers of stolen art.  For that reason, we decided to organise a workshop around the exhibition, in collaboration with Donatus Insurance and Kerkmagazine (Church Magazine), for administrators of religious heritage. 

Documentation, or the lack of it, is a recurring theme around art thefts. When asked about the lessons one can learn from this exhibit and art theft in general, Martin Finkelnberg also stresses the importance of documentation.  Finkelnberg is head of the Art and Antique Crime Unit, National Criminal Intelligence Division of the National Police of the Netherlands.

The takeaway to learn here is that everything of value is vulnerable and thus a potential target for criminals.  To guard against that it's very important to document every valuable object as without documentation recovery after a theft is almost impossible.  Everybody already understands that to recover from an automobile theft, the owner cannot merely state “it was a green car of a German brand”.  Why then do individuals assume that one can do this with an artwork.  How effective can police officers be if the only thing they have to go on is “it was old, multicolored and painted on wood”?

Dick Drent, associate director with Sosecure and owner of Omnirisk, a risk management firm, also points to the need for improved and more comprehensive protection of cultural heritage.  As an international protective intelligence expert on the security of cultural heritage, I spoke with him in Amsterdam about this upcoming exhibition and he had this to add:

It is a very special exhibition about a topic shrouded by sensation and even romance. But wouldn’t it be great if there would never be a sequel.  Instead we should have an exhibit about the successful protection of cultural heritage, by preventing these awful raids through pro-active security.  I already have a title: “The Netherlands - 30 years without art theft. Utopia or challenge?”. But above all, let’s not wait for another 30 years for this exhibit…

The exhibition ‘Plunder, Art Theft in the Netherlands’ will open on October 15, 2017 and run through February 12, 2018 at the Westfries Museum, Roode Steen 1, Hoorn (The Netherlands).  ARCA’s CEO Lynda Albertson will be speaking at the official opening of the exhibition, together with the Secretary of Culture of the Netherlands. 

By Edgar Tijhuis

--------------------------
Check out this video of the restoration work process on the Westfries Museum paintings recovered in the Ukraine. 

Restauratie gestolen kunst Westfries Museum, deel 1 from Westfries Museum on Vimeo.



May 17, 2017

Blast from ARCA Program Pasts: ARCA'13 Alum Summer Clowers asks: Is the ARCA program for you? Really now.

A medieval town & its secret passageways
by Summer Clowers, ARCA 2013

WARNING: this essay is a work of satire.  It is best understood when read in the haughty voice of the Dowager Countess of Grantham, from Downton Abbey.

As an ARCA alumna, I have come to warn you about all of the things that you will hate about this small program on art crime. With that in mind, I here offer a list of the woes of living in a small Umbrian town the likes of which will keep you up at night as you scroll through old Facebook photos.  A hue and cry, as it were, to any prospective ARCA-ites. Should you choose to ignore my advice, I cannot be responsible for the consequences.

Your first few days in Amelia will leave you with an intense urge to explore and make friends.  The town is ancient, surrounded on most sides by a Neolithic wall, and even more ancient history buried beneath it.  There are secret passages and hidden rooms and you will want to grab a new-found "buddy" as the Americans are saying and sneak through every one of them.  DON’T.  The more you explore, the more you will love the town, and it will make it all that much harder to leave.  Yes, there is a secret Roman cellar underneath one of the restaurants.  No, I will not tell you which one.  Yes, the town’s people do scatter the roads with rose petals in the shape of angels every June. No, pictures do not do it justice.  Yes, there quite possibly is a hidden room in your classmate's flat.  All of these things are beside the point.  Walk steadily on the path and avoid all temptations to adventure.

As for friends, stick with those gentle people that live near to you back in the real world.  I know Papa di Stefano is fantastic, and yes, he will befriend you in a way that transcends language, but do you really want to miss him when you’ve gone?  And your fellow students?  Well, most of them are going to live nowhere near you.  Who needs to have contacts in Lisbon and Melbourne and New York and Amsterdam?  Certainly not you.  No, you don’t.  It’s so damp in the Netherlands and we all know London is just atrocious.  I mean really, all those people. I do try to stay out of the south. Take my advice, ignore anyone that lives far from you.  You are here to learn and leave, not make connections that will last you the rest of forever.

You will also want to be wary of the town’s locals.  Amelia is tiny, so getting to know most of its shopkeepers and inhabitants will not be very hard, but you must resist the urge to do so as it is deeply improper to fraternize with the proletariat.  It is true that Fabio will know your coffee order before you get fully through his door, and the Count will open his home with a smile to show you around his gorgeous palazzo, but these things are not proper.  Do not mistake their overflowing kindness and warmth for anything other than good breeding.  And when you find yourself sobbing at the thought of saying goodbye to Monica, you can just blame your tears on the pollen like the rest of us.

Your instructors are going to be just as big of a challenge.  The professor’s are really too friendly.  I know that Noah Charney says that he’s available for lunch and Dick Ellis will happily have a beer with you, but is getting to know your mentor's socially, really appropriate?  I mean, we’ve all attended seminars where you barely see the speaker outside of stolen moments during coffee breaks, and that’s the best way for things to go, isn’t it?  Sterile classroom experience with little to no professorial interactions has been the way of academia for generations.  I know I never saw any of my professor’s outside of class.  And I certainly don’t keep up with Judge Tompkin’s travels through his hilarious emails; that would just be gauche.

And then there’s the conference.  It lasts an entire weekend.  Why would I want to attend a weekend long event where powerhouses in the field open up their brains for plebeians?  I mean honestly, meeting Christos Tsirogiannis at the conference will be a high point in your year, and it will be too difficult to control your nerdy spasms when Toby Bull sits down next to you at dinner.  And then, when you find out that Christos joined ARCA's teaching team in 2014, you’ll find yourself scrambling to come up with a way to take the program a second time just so you can pick his brain. Think about how much work that will be.  This should be like the grand tour, a comfortable time away from home so that you can tell others that you simply summered in Italy. 

And the program would be so much better served in Rome.  I mean, just think on it.  You would never have to learn Italian, because you’d be in a city full of tourists.  You’d get to pay twice as much for an apartment a third of the size of the one you rent in Amelia, and you wouldn’t have to live near any of your class mates.  A city the size of Rome is big enough that a half hour metro ride to each other’s places would be pretty much de rigueur.  This means you wouldn’t have to deal with any of those impromptu dinner/study sessions at the pool house.  And there certainly wouldn’t be random class-wide wine tastings at the Palazzo Venturelli. It's too much socializing anyway.  It really is unseemly.

And finally, let’s talk about the classes.  Do we really care about art crime? Sure, Dick Drent is pretty much the coolest human you’ll ever meet, and Dorit Straus somehow manages to make art insurance interesting, but really, do you care?  Isn’t that better left to one’s financial advisor?  And the secret porchetta truck that the interns will show you as you study the intricacies of art law, could surely be found on one’s own.  Couldn’t it?  I think we would all be much better served by just watching that  Monuments Men movie, fawning over George Clooney and Matt Damon, and thinking about the things we could be doing all from the safety and comfort of our own homes.  I do so hate leaving home.  The ARCA program involves work, and ten courses with ten different professors, and classmates that will quickly become family. It’s all so exhausting.  I mean really, tell me, does this sound like the program for you?

ARCA Editorial Note:  If you would like more information on ARCA's Postgraduate Certificate Program, please write to us at: education (at) artcrimeresearch.org 

We will put you on the list to receive application materials when the 2018 application period opens in Autumn 2017. 

March 26, 2017

Late Application Period Extended for the 2017 ARCA Postgraduate program in Art Crime and Cultural Heritage Protection

Who studies art crime?


ARCA's Postgraduate program in Art Crime and Cultural Heritage Protection will continue to accept applications through April 28, 2017. 

In 2009 ARCA started the first of its kind, interdisciplinary, approach to the scholarly study of art crime. Representing a unique opportunity for individuals interested in training in a structured and academically diverse format, the summer-long postgraduate program is designed around the study of the dynamics, strategies, objectives and modus operandi of criminals and criminal organizations who commit a variety of art crimes.  

Turn on the news (or follow this blog) and you will see over and over again examples of museum thefts, forgeries, antiquities looting and illicit trafficking of cultural goods.  Intentional heritage destruction during armed conflict, once a modern-day rarity, now affects multiple countries and adds to regional instability in many areas of the globe.  Looted art, both ancient and Holocaust-related finds its way into the galleries of respected institutions, while auction houses and dealers continue to be less than adept at distinguishing smuggled and stolen art from art with a clean provenance. This making dealing with art crime an unrelenting problem and without any one easy solution.

Taken incident by incident, it is difficult to see the impact and implications of art crime as a global concern, but when studied across disciplines, looking at the gaps of legal instruments country to country, one begins to have a clearer picture of the significance of the problem and its impact on the world's collective patrimony.

The world's cultural heritage is an invaluable legacy and its protection is integral to our future. 


Here is 11 reasons why you should consider joining us for a summer in Amelia, Italy. 

At its foundation, ARCA's postgraduate program in Italy draws upon the overlapping and complementary expertise of international thought-leaders on the topic of art crime – all practitioners and leading scholars who actively work in the sector. 

In 2017 participants of the program will receive 230+ hours of instruction from a of range of experts actively committed to combatting art crime from a variety of different angels.

One summer, eleven courses.

Taught by:

Archaeologist, Christos Tsirogiannis from the University of Cambridge, whose forensic trafficking research continues to unravel the hidden market of illicit antiquities.  His tireless work is often highlighted on this blog and reminds those interested in purchasing ancient art, be it from well-known dealers or auction houses, that crimes committed 40 years ago, still taint many of the artifacts that find their way into the licit art market today.

London art editor and lecturer Ivan Macquisten who eloquently paints a picture of the burgeoning business which is art whilst examining the interplay between our cultural obsession with risk and collecting.  Macquisten disentangles the paradoxical alliances between the financially lucrative art market and the collector, relationships that feed upon the art market's unregulated trade and lack of transparency in its transactions.

Duncan Chappell, the Chair of the International Advisory Board of the Australian Research Council’s Center of Excellence in Policing and Security. Chappel is a national award winner for his lifetime achievements in criminology and will be lecturing on the growing number of bilateral, regional and global legal agreements that reflect a growing realization that transnational art crime has to be addressed through international cooperation, and that just as criminal groups operate across borders, judicial systems must consequently do the same.  

Marc Masurovsky, co-founder of HARP, the Holocaust Art Restitution Project who will lecture on the variations among countries’ historical experiences and legal systems, as well as the complexities of provenance research and the establishment of claims processes.  Focusing not only on the implementation of the Washington Conference Principles on Nazi-confiscated art but also on modern day examples that underscore the difficulties facing any heir in recovering their property, Masurovsky underscores the need for fully trained provenance experts within museums and auction houses. 

Richard Ellis, private detective and the founder of the Metropolitan Police - New Scotland Yard Art and Antiques Squad.  His law enforcement background reminds us that trafficking in art and antiquities provides criminals with an opportunity to deal in high value commodities that are often poorly protected, difficult to identify and easy to transport across national boundaries. Ellis' lectures paint a little-talked-about portrait of the motley cast of characters who operate in the high-stakes world of the art crime.  His course introduces students to sophisticated criminal organizations, individual thieves, small-time dealers and unscrupulous collectors who don't just dabble in hot art, but who also may be involved in other crimes, such as the smuggling and sale of other illicit commodities, corruption or money-laundering.

Criminal defense attorney and criminologist Marc Balcells, whose animated lectures on the anatomy and etiology of art crimes will illustrate that even if every art crime is unique unto itself, often the underlying causes of criminal behaviors fit into certain established patterns.  Students will explore various theories of crime causation each of which are key to understanding the crime and the criminal as well as evaluating its danger to our cultural patrimony.

Museum security and risk management expert Dick Drent, whose role in the recovery of two Van Gogh paintings from a Camorra reminds us that finding stolen works of art is much harder than protecting them in the first place, especially when organized crime is involved. In Drent's course students will learn about safeguarding culture before it goes missing, analyzing practical approaches to securing a collection, using risk and decision analysis as a form of analytics to support risk-based decision in museums, galleries and reference institutions around the globe.

New Zealand District Court Judge and founding trustee of the New Zealand Art Crime Research Trust, Arthur Tompkins who gives us a fast-galloping 2000-year romp through the history of art crimes committed during war and armed conflict. Tompkins reminds us that armed conflict, whether interstate or intrastate, poses various threats to cultural monuments and cultural property and that while laws have been enacted in an attempt to prevent or reduce these dangers; better laws are also needed to sort matters out after the fact.

Independent art & insurance advisory expert Dorit Straus explores the worlds of specialist fine art insurers and brokers, who underwrite the risks associated with the fine art market.  As the former Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son she knows first hand the active, financially-motivated role insurance firms play in analyzing the risks involved in owning, dealing, buying, transporting or displaying art to the public.  While art insurance expertise is sometimes overlooked as a less-than-sexy side of the art world, insurers have served to make galleries, museums and private collector's collections safer, as their oversight and contract stipulations have produced a dramatic reduction in attritional losses.

ARCA's founding director, Noah Charney who draws upon his knowledge of art history and contemporary criminal activity to explore several of the most notorious cases of art forgery. Emphasizing that art forgery not only cheats rich buyers and their agents, ruining reputations, his course illustrates how crime distorts the art market, one which once relied heavily on connoisseurship, by messing with its objective truth.

Valerie Higgins, archaeologist and Program Director for archaeology, classics and sustainable cultural heritage at the American University in Rome. Higgins course examines material culture as the physical evidence of a culture's existence, illustrating that through objects; be they artworks, religious icons, manuscripts, statues, or coins, and through architecture; monumental or commonplace, we can and should preserve the powerfully potent remains which truly define us as human.

For more information on the summer 2017 postgraduate professional development program, please see ARCA's website here.

Late Applications are being accepted through April 28, 2017.

To request further information or to receive a 2017 prospectus and application materials, please email:  education (at)artcrimeresearch.org

Interested in knowing more about the program from a student's perspective?

Here are some blog posts from and by students who have attended in 2016, in 2015 in 2014, and in 2013.


February 3, 2017

ARCA is accepting late applications to its 2017 Postgraduate Art Crime and Cultural Heritage Protection Program

ARCA student photo homage to Rene Magritte and his painting
"The Son of Man", 1946*
ARCA's Postgraduate program in Art Crime and Cultural Heritage Protection is now accepting late applications for its summer 2017 program.

In 2009 ARCA started the first of its kind, interdisciplinary, approach to the scholarly study of art crime. Representing a unique opportunity for individuals interested in training in a structured and academically diverse format, the summer-long postgraduate program is designed around the study of the dynamics, strategies, objectives and modus operandi of criminals and criminal organizations who commit a variety of art crimes.  

Turn on the news (or follow this blog) and you will see over and over again examples of museum thefts, forgeries, antiquities looting and illicit trafficking of cultural goods.  Intentional heritage destruction during armed conflict, once a modern-day rarity, now affects multiple countries and adds to regional instability in many areas of the globe.  Looted art, both ancient and Holocaust-related finds its way into the galleries of respected institutions, while auction houses and dealers continue to be less than adept at distinguishing smuggled and stolen art from art with a clean provenance. This making dealing with art crime an unrelenting problem and without any one easy solution.

Taken incident by incident, it is difficult to see the impact and implications of art crime as a global concern, but when studied across disciplines, looking at the gaps of legal instruments country to country, one begins to have a clearer picture of the significance of the problem and its impact on the world's collective patrimony.

The world's cultural heritage is an invaluable legacy and its protection is integral to our future. 


Here is 11 reasons why you should consider joining us for a summer in Amelia, Italy. 

At its foundation, ARCA's postgraduate program in Italy draws upon the overlapping and complementary expertise of international thought-leaders on the topic of art crime – all practitioners and leading scholars who actively work in the sector. 

In 2017 participants of the program will receive 230+ hours of instruction from a of range of experts actively committed to combatting art crime from a variety of different angels.

One summer, eleven courses.

Taught by:

Archaeologist, Christos Tsirogiannis from the University of Cambridge, whose forensic trafficking research continues to unravel the hidden market of illicit antiquities.  His tireless work is often highlighted on this blog and reminds those interested in purchasing ancient art, be it from well-known dealers or auction houses, that crimes committed 40 years ago, still taint many of the artifacts that find their way into the licit art market today.

Art historian and London art lecturer Tom Flynn, who eloquently paints a picture of the burgeoning business which is art whilst examining the interplay between our cultural obsession with risk and collecting.  Flynn disentangles the paradoxical alliances between the financially lucrative art market and the collector, relationships that feed upon the art market's unregulated trade and lack of transparency in its transactions.

Duncan Chappell, the Chair of the International Advisory Board of the Australian Research Council’s Center of Excellence in Policing and Security. Chappel is a national award winner for his lifetime achievements in criminology and will be lecturing on the growing number of bilateral, regional and global legal agreements that reflect a growing realization that transnational art crime has to be addressed through international cooperation, and that just as criminal groups operate across borders, judicial systems must consequently do the same.  

Marc Masurovsky, co-founder of HARP, the Holocaust Art Restitution Project who will lecture on the variations among countries’ historical experiences and legal systems, as well as the complexities of provenance research and the establishment of claims processes.  Focusing not only on the implementation of the Washington Conference Principles on Nazi-confiscated art but also on modern day examples that underscore the difficulties facing any heir in recovering their property, Masurovsky underscores the need for fully trained provenance experts within museums and auction houses. 

Richard Ellis, private detective and the founder of the Metropolitan Police - New Scotland Yard Art and Antiques Squad.  His law enforcement background reminds us that trafficking in art and antiquities provides criminals with an opportunity to deal in high value commodities that are often poorly protected, difficult to identify and easy to transport across national boundaries. Ellis' lectures paint a little-talked-about portrait of the motley cast of characters who operate in the high-stakes world of the art crime.  His course introduces students to sophisticated criminal organizations, individual thieves, small-time dealers and unscrupulous collectors who don't just dabble in hot art, but who also may be involved in other crimes, such as the smuggling and sale of other illicit commodities, corruption or money-laundering.

Criminal defense attorney and criminologist Marc Balcells, whose animated lectures on the anatomy and etiology of art crimes will illustrate that even if every art crime is unique unto itself, often the underlying causes of criminal behaviors fit into certain established patterns.  Students will explore various theories of crime causation each of which are key to understanding the crime and the criminal as well as evaluating its danger to our cultural patrimony.

Museum security and risk management expert Dick Drent, whose role in the recovery of two Van Gogh paintings from a Camorra reminds us that finding stolen works of art is much harder than protecting them in the first place, especially when organized crime is involved. In Drent's course students will learn about safeguarding culture before it goes missing, analyzing practical approaches to securing a collection, using risk and decision analysis as a form of analytics to support risk-based decision in museums, galleries and reference institutions around the globe.

New Zealand District Court Judge and founding trustee of the New Zealand Art Crime Research Trust, Arthur Tompkins who gives us a fast-galloping 2000-year romp through the history of art crimes committed during war and armed conflict. Tompkins reminds us that armed conflict, whether interstate or intrastate, poses various threats to cultural monuments and cultural property and that while laws have been enacted in an attempt to prevent or reduce these dangers; better laws are also needed to sort matters out after the fact.

Independent art & insurance advisory expert Dorit Straus explores the worlds of specialist fine art insurers and brokers, who underwrite the risks associated with the fine art market.  As the former Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son she knows first hand the active, financially-motivated role insurance firms play in analyzing the risks involved in owning, dealing, buying, transporting or displaying art to the public.  While art insurance expertise is sometimes overlooked as a less-than-sexy side of the art world, insurers have served to make galleries, museums and private collector's collections safer, as their oversight and contract stipulations have produced a dramatic reduction in attritional losses.

ARCA's founding director, Noah Charney who draws upon his knowledge of art history and contemporary criminal activity to explore several of the most notorious cases of art forgery. Emphasizing that art forgery not only cheats rich buyers and their agents, ruining reputations, his course illustrates how crime distorts the art market, one which once relied heavily on connoisseurship, by messing with its objective truth.

Valerie Higgins, archaeologist and Program Director for archaeology, classics and sustainable cultural heritage at the American University in Rome. Higgins course examines material culture as the physical evidence of a culture's existence, illustrating that through objects; be they artworks, religious icons, manuscripts, statues, or coins, and through architecture; monumental or commonplace, we can and should preserve the powerfully potent remains which truly define us as human.

For more information on the summer 2017 postgraduate professional development program, please see ARCA's website here.

Late Applications are being accepted through March 30, 2017.

To request further information or to receive a 2017 prospectus and application materials, please email:  education (at)artcrimeresearch.org

Interested in knowing more about the program from a student's perspective?

Here are some blog posts from and by students who have attended in 2016, in 2015 in 2014, and in 2013.

ARCA student photo homage to "The Standard of Ur", 2550 BCE

-------------------------------
*ARCA strives to be careful regarding its students reimagining and/or recontextualizing derivative works of photography that pay homage to famous works of art less than 70 years after the original creator’s death to be sure there is no infringement of the copyright in that work. 

January 20, 2017

Is art crime understudied? Yes, but you can help us change that.

Who studies art crime?


ARCA's Postgraduate program in Art Crime and Cultural Heritage Protection is now accepting applications.

In 2009 ARCA started the first of its kind, interdisciplinary, approach to the scholarly study of art crime. Representing a unique opportunity for individuals interested in training in a structured and academically diverse format, the summer-long postgraduate program is designed around the study of the dynamics, strategies, objectives and modus operandi of criminals and criminal organizations who commit a variety of art crimes.  

Turn on the news (or follow this blog) and you will see over and over again examples of museum thefts, forgeries, antiquities looting and illicit trafficking of cultural goods.  Intentional heritage destruction during armed conflict, once a modern-day rarity, now affects multiple countries and adds to regional instability in many areas of the globe.  Looted art, both ancient and Holocaust-related finds its way into the galleries of respected institutions, while auction houses and dealers continue to be less than adept at distinguishing smuggled and stolen art from art with a clean provenance. This making dealing with art crime an unrelenting problem and without any one easy solution.

Taken incident by incident, it is difficult to see the impact and implications of art crime as a global concern, but when studied across disciplines, looking at the gaps of legal instruments country to country, one begins to have a clearer picture of the significance of the problem and its impact on the world's collective patrimony.

The world's cultural heritage is an invaluable legacy and its protection is integral to our future. 


Here is 11 reasons why you should consider joining us for a summer in Amelia, Italy. 

At its foundation, ARCA's postgraduate program in Italy draws upon the overlapping and complementary expertise of international thought-leaders on the topic of art crime – all practitioners and leading scholars who actively work in the sector. 

In 2017 participants of the program will receive 230+ hours of instruction from a of range of experts actively committed to combatting art crime from a variety of different angels.

One summer, eleven courses.

Taught by:

Archaeologist, Christos Tsirogiannis from the University of Cambridge, whose forensic trafficking research continues to unravel the hidden market of illicit antiquities.  His tireless work is often highlighted on this blog and reminds those interested in purchasing ancient art, be it from well-known dealers or auction houses, that crimes committed 40 years ago, still taint many of the artifacts that find their way into the licit art market today.

London art editor and lecturer Ivan Macquisten who eloquently paints a picture of the burgeoning business which is art whilst examining the interplay between our cultural obsession with risk and collecting.  Macquisten disentangles the paradoxical alliances between the financially lucrative art market and the collector, relationships that feed upon the art market's unregulated trade and lack of transparency in its transactions.

Duncan Chappell, the Chair of the International Advisory Board of the Australian Research Council’s Center of Excellence in Policing and Security. Chappel is a national award winner for his lifetime achievements in criminology and will be lecturing on the growing number of bilateral, regional and global legal agreements that reflect a growing realization that transnational art crime has to be addressed through international cooperation, and that just as criminal groups operate across borders, judicial systems must consequently do the same.  

Marc Masurovsky, co-founder of HARP, the Holocaust Art Restitution Project who will lecture on the variations among countries’ historical experiences and legal systems, as well as the complexities of provenance research and the establishment of claims processes.  Focusing not only on the implementation of the Washington Conference Principles on Nazi-confiscated art but also on modern day examples that underscore the difficulties facing any heir in recovering their property, Masurovsky underscores the need for fully trained provenance experts within museums and auction houses. 

Richard Ellis, private detective and the founder of the Metropolitan Police - New Scotland Yard Art and Antiques Squad.  His law enforcement background reminds us that trafficking in art and antiquities provides criminals with an opportunity to deal in high value commodities that are often poorly protected, difficult to identify and easy to transport across national boundaries. Ellis' lectures paint a little-talked-about portrait of the motley cast of characters who operate in the high-stakes world of the art crime.  His course introduces students to sophisticated criminal organizations, individual thieves, small-time dealers and unscrupulous collectors who don't just dabble in hot art, but who also may be involved in other crimes, such as the smuggling and sale of other illicit commodities, corruption or money-laundering.

Criminal defense attorney and criminologist Marc Balcells, whose animated lectures on the anatomy and etiology of art crimes will illustrate that even if every art crime is unique unto itself, often the underlying causes of criminal behaviors fit into certain established patterns.  Students will explore various theories of crime causation each of which are key to understanding the crime and the criminal as well as evaluating its danger to our cultural patrimony.

Museum security and risk management expert Dick Drent, whose role in the recovery of two Van Gogh paintings from a Camorra reminds us that finding stolen works of art is much harder than protecting them in the first place, especially when organized crime is involved. In Drent's course students will learn about safeguarding culture before it goes missing, analyzing practical approaches to securing a collection, using risk and decision analysis as a form of analytics to support risk-based decision in museums, galleries and reference institutions around the globe.

New Zealand District Court Judge and founding trustee of the New Zealand Art Crime Research Trust, Arthur Tompkins who gives us a fast-galloping 2000-year romp through the history of art crimes committed during war and armed conflict. Tompkins reminds us that armed conflict, whether interstate or intrastate, poses various threats to cultural monuments and cultural property and that while laws have been enacted in an attempt to prevent or reduce these dangers; better laws are also needed to sort matters out after the fact.

Independent art & insurance advisory expert Dorit Straus explores the worlds of specialist fine art insurers and brokers, who underwrite the risks associated with the fine art market.  As the former Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son she knows first hand the active, financially-motivated role insurance firms play in analyzing the risks involved in owning, dealing, buying, transporting or displaying art to the public.  While art insurance expertise is sometimes overlooked as a less-than-sexy side of the art world, insurers have served to make galleries, museums and private collector's collections safer, as their oversight and contract stipulations have produced a dramatic reduction in attritional losses.

ARCA's founding director, Noah Charney who draws upon his knowledge of art history and contemporary criminal activity to explore several of the most notorious cases of art forgery. Emphasizing that art forgery not only cheats rich buyers and their agents, ruining reputations, his course illustrates how crime distorts the art market, one which once relied heavily on connoisseurship, by messing with its objective truth.

Valerie Higgins, archaeologist and Program Director for archaeology, classics and sustainable cultural heritage at the American University in Rome. Higgins course examines material culture as the physical evidence of a culture's existence, illustrating that through objects; be they artworks, religious icons, manuscripts, statues, or coins, and through architecture; monumental or commonplace, we can and should preserve the powerfully potent remains which truly define us as human.

For more information on the summer 2017 postgraduate professional development program, please see ARCA's website here.

Late Applications are being accepted through April 28, 2017.

To request further information or to receive a 2017 prospectus and application materials, please email:  education (at)artcrimeresearch.org

Interested in knowing more about the program from a student's perspective?

Here are some blog posts from and by students who have attended in 2016, in 2015 in 2014, and in 2013.