Showing posts with label art security. Show all posts
Showing posts with label art security. Show all posts

November 19, 2016

Conference: Iraq and Syria: Archaeological Heritage between Risks and Perspectives

CPAVO: Strategy-setting Conference of the Archaeologists of the Near East

Iraq and Syria: Archaeological Heritage between Risks and Perspectives

Location:  Palagio dei Capitani di Parte Guelfa, Florence, Italy

Dates:  16-17 December 2016

Cost:  Free, Deadline for Registration 04/12/16

Note:  The spoken language of the conference is Italian. 

The event, organized by CAMNES (Center for Ancient Mediterranean and Near Eastern Studies), in collaboration with the Municipality of Florence (UNESCO Office) and the Academy of Arts and Design of Florence, on the occasion of the anniversary of the inscription of the Historic Center of Florence in the UNESCO World Heritage List, which took place on December 17, 1982, is a part of active collaboration between the city of Florence and UNESCO and follows the latest initiatives, such as the third UNESCO Forum on cultural industries in 2014 and the recent global summit of Mayors 'Unity in Diversity 2015', after which the Charter of Florence was signed.

On the basis of what is reported in the Charter of Florence to the points set forth below this event will:

• support the UNESCO campaign #United4Heritage regarding the defense of the cultural heritage; encourage the establishment of scientific committees in support of the "Blue Helmets of Culture" - promoted by the Italian government - and support programs of international cooperation for the preservation and protection of heritage;

• make available to UNESCO and its National Commissions, Governments and local administrations a network of specialists, particularly in the field of conservation and heritage management, in order to activate a protection network of cultural and natural heritage, endangered by conflicts and natural disaster events;

CAMNES and the Municipality of Florence (UNESCO Office) have constituted a Scientific and Organizing Committee, which met in Florence on June 28th with the specific purpose to define and organize this upcoming event. The project behind this conference is based on the fact that the scientific community of archaeologists of the Near East is able to make an active and important contribution in addressing not only academic and field research issues, but most importantly those related to prevention, conservation and enhancement of archaeological and cultural heritage in contexts currently affected by conflicts, more specifically Iraq and Syria.

For these reasons they felt necessary to bring together all the scholars of this discipline – currently active, involved or potentially interested in projects of excavations and research in Syria and Iraq - with the aim of producing concrete proposals and projects based on the following topics:

HERITAGE AT RISK: elements related to specific contexts and issues pertaining to the critical assessment of specialists. Analysis of specific issues regarding archaeological sites, architectural monuments and museums in the affected areas, as well as preventive mode of action.

LOCAL STRATEGIES OF PROTECTION / OPERATIONAL MODELS: identification and development - including a critical approach to the past – of new research and conservation methodologies, which satisfy the changing requirements of action and the necessities imposed by specific contexts. Already implemented best practices/projects to be disseminated and shared in integrated projects developed jointly by various actors. Rules, laws and bureaucracy issues, including questions related to the illicit trafficking in antiquities. 

ARCHAEOLOGIST AS A SOURCE OF INFORMATION IN THE CONTEXT OF CRISIS: archaeology, as a social science, is strongly connected with the contemporary society. Archaeologists as "cultural mediators" – between, on the one hand, cultures of the past and present and, on the other, between the Western culture and those of  host countries - in addition to the official relations with the local authorities, operate completely immersed in the socio-cultural areas in which they operate; archaeologists’ privileged position, rendering them both witnesses and sources of information in times of conflict and crisis.

PUBLIC ARCHAEOLOGY and COMMUNICATION: analysis of critical issues pertinent to the relationship with local communities ("Local perception of cultural heritage") for the protection and enhancement of heritage. Development of communication and dissemination strategies based on activities undertaken and planned by archaeologists on-site.

STAKEHOLDERS: avenues of interaction with the scientific community and institutions in host countries (regarding both excavations and museums). Issues relating to training of the local staff.

For a detailed list of the event's Programme as well as details on the Scientific and Organizing Committee please see the CAMNES website here.

Posted BY:  Summer Clowers

November 6, 2014

International Conference: Art meets Security December 4 & 5 in Bruges, Belgium

Conference ART meets SECURITY 4/5 Dec @ Bruges, BE | L. Albertson, ARCA | J. Bechmann, LACMA | H. De Witte, Musea Brugge | D. Drent, Van Gogh Museum
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International Conference


4/5 Dec @ Bruges

International Conference ART meets SECURITY

Top 5 reasons to attend

  1. Leading professionals will share their experiences and present their best practices for art related security risks
  2. Broaden your expertise with innovative security techniques and become aware of risk management solutions
  3. Discover new technologies and trends for 2015
  4. Network and uncover valuable partnerships
  5. Explore Bruges for yourself

Register here and share knowledge, discover trends and meet your peers at ART meets SECURITY taking place from the 4th until the 5th of December 2014 in Bruges, Belgium.

Visit the conference website

Top speakers

Top speakers

Lynda Albertson

Chief Executive Officer, Association for Research into Crimes against Art (ARCA)

Hubert De Witte

Deputy Director, Musea Brugge

Dick Drent

Business Owner/Director, OMNIRISK
The Van Gogh Museum

Jens Bechmann

Director, Pinkerton
The Los Angeles County Museum of Art (LACMA)


Conference ART meets SECURITY on 4 Dec.
  • 08:30 Registration and breakfast
  • 09:15 Opening the conference - Francis Van der Staey, Optimit
  • 09:30 Drawing the canvas - Hubert De Witte, Musea Brugge
  • 10:00 Could the biggest art crimes have been prevented? - Inge Vandijck, Optimit
  • 10:30 Art crime in war and armed conflict - Lynda Albertson, ARCA
  • 11:00 Morning break
  • 11:30 The art of museum security: what everyone needs to understand to do art security right - Jens Bechmann, Pinkerton
  • 12:00 Art crime, policing and investigation - TBA
  • 14:30 Government indemnity vs. private insurance: the BOZAR case - Hans Feys, Flemish Agency for Art and Heritage
  • 13:00 Lunch
  • 14:00 Predictive profiling of the art's adversary - Leen van der Plas, ArtSecure & Dick Drent, OMNIRISK
  • 14:30 It's not what you look at that matters, it's what you see: the art in video analytics - Dominique Debusschere, Avigilon
  • 15:00 Trends and technologies in security: the voice of the customer - Megan Miller, Siemens
  • 15:30 Afternoon break
  • 16:00 Your chances to interrupt the adversary: a delicate balance in deterrence, delay, detection and response - Paul van Lerberghe, Optimit
  • 16:30 Software to support art security risk management - TBA
  • 17:00 Panel and conclusions - Ibrahim Bulut, Optimit
  • 17:30 Cocktail reception
Optional art-historical and cultural program ART in BRUGES on 5 to 7 Dec with complementary 3-days Museum Pass.


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February 17, 2014

Dick Drent, Corporate Security Manager for the Van Gogh Museum, returns to Amelia to teach "Risk Assessment and Museum Security"

Dick Drent
Dick Drent, Corporate Security Manger for the Van Gogh Museum, will return July 12 - 16 to Amelia to teach "Risk Assessment and Museum Security" for ARCA's Postgraduate Certificate Program in Art Crimes and Cultural Heritage Protection.

Before joining the staff at the Van Gogh MuseumMr. Drent worked in law enforcement in the Netherlands for 25 years, mostly in teams fighting organized crime and for few years as a liaison for the Dutch police for the International War Crimes Tribunal in The Hague. During the last 13 years in law enforcement, he worked as a coordinator with the National Undercover and Sensitive Operations Unit. In January 2005, he started as the Director of Security with the VGM before being appointed eight years later as Corporate Security Manager of the Van Gogh Museum Amsterdam where he is responsible for the development and realisation of security related issues (like policy, strategy, operations, risk assessment and management within the whole of the enterprise). In addition, Mr. Drent has a security consulting company, Omnirisk, which has provided services on the new Vincent Van Gogh Museum opening in Arles in April 2014; the renovation project of the Noordbrabants museum in Den Bosch (opened in 2013); and the renovation of the Dordrecht Museum in Dordrecht (2008-2010).

What makes your course relevant in the study of art crime?

The relevancy of my course is actually the solution for fighting crime against art in general. This is a firm statement of course but solving a crime against art is re-active and not protecting the art or cultural heritage. In a sentence: It is a tool to get the bad guys and recover, preferably undamaged, the stolen items. The power and strength of protecting art lies within the pro-active phase. How do you protect and secure your items, whether they are paintings, objects or other parts of cultural heritage? How do you prevent that something or anything will happen to it? These are the questions that will try to answer in my course.

What will be the focus in your course?

The focus on my course is that by the end of this course students will have gained an understanding on:
• The reasons why security should be an intrinsic part of a museum or other cultural heritage organization;
• The structure necessary to secure cultural heritage by ways of thorough risks analysis, combined with security measurement and proper training of staff; 

• A working knowledge of how to conduct a facility check via an audit within a museum or cultural heritage organization.; and
• An overview of working in a security role in a museum.
Do you have a recommended reading list that students can read before the course?

In addition to various course materials, students will be asked to read my chapter "Security for Temporary Exhibitions: Regular, Customized, or Bespoke" in Art and Crime: Exploring the Dark Side of the Art World (Praeger, 2009) from the ARCA library. I recommend that students read Managing the Unexpected, resilient performance in an age of uncertainty by Karl E. Weick and Kathleen M. Sutcliffe (Jossey-Bass, 2007).

June 16, 2013

Amsterdam Diary: Visiting the newly opened Rijksmuseum is worth the stopover (and the day)

Inside the Rijksmuseum bike tunnel
by Catherine Schofield Sezgin, ARCA Blog Editor-in-chief

SUNDAY, Amsterdam - Saturday morning I avoided getting lost cycling through Amsterdam by using the Google maps I had printed out before I'd left home. I stopped by De Bakkerswinkel for thick buttered raisin bread and a latte for breakfast -- a crucial element as the newly renovated Rijksmuseum has only one cafe for food and drinks. A section inside is set aside for "picknicks" so visitors can bring in food and water (I never found any water fountains).

Crowd at Rembrandt's
 Night Watch extends all day
Visitors do have the option of leaving for outside venders and then re-entering the museum on the same ticket. I stopped for food and drink at about 1 p.m. after completing the 90-minute Multimedia Tour on the "Golden Age" of Dutch art (it took me twice the time since I looked at other works in passing). The line at the cafe was long, so I returned to the galleries for another audio tour that highlighted the collection. I spent another two hours looking at the art before returning to a less crowded cafe for a seat at a communal table and a recommended smoked mackerel tartare. The Rijksmuseum does accommodate long visits in the museum with plentiful sofas strategically placed in front of great art for relaxing views.

The crowd in front of the Vermeer paintings
The renovated Rijksmuseum offers improved lighting (large skylights augmented by lights by Phillips) and more room to display the collection. The crowds have increased in front of the four paintings by Vermeer, Rembrandt's Night Watch, and three paintings by Van Gogh. A couple of years ago on a Sunday morning my family and I had found ourselves almost alone with these same paintings. However, the galleries are well ventilated and climate controlled and a visible force of smartly uniformed security guards manage the increased number of visitors. I did manage to sneak a few good photographs of the Vermeer paintings and Rembrandt's masterpiece in the last 15 minutes before the museum closed.

Jan Asselijn (1610-1652),
The Threatened Swan, 1650
The art is incredible. In Southern California we have numerous examples of Rembrandt's work from The Getty to the Timken Museum in San Diego, but the artist's work at the Rijksmuseum against other great Dutch work highlights his genius. It's worth the trip to Amsterdam to gain a greater understanding of why Rembrandt has endured -- even the few etchings displayed are impressive -- and influenced so many artists.

Biblioteek open to public
One of the benefits of the renovation is that lesser known works can again be displayed. For example, paintings by father and son Jozef and Isaac Israels can now be seen after years in storage. And the Gallery of Honour highlights paintings in the vast collection for easy viewing. For years my husband had remembered a painting from his last visit -- that of a large white swan with opened wings -- and I was able to show him the painting via Skype and the free Wi-Fi provided throughout the Rijksmuseum.

The multi-story library (biblioteek) is open to the public with available seating at tables for reading current art periodicals. 

The Multimedia tour is available for five euros at the Rijksmuseum or you can download it for free on your smartphone.

A distinguished gentleman and Rembrandt's Night Watch before closing.

November 10, 2012

Eleven year old boy finds and returns stolen painting to artist in British Columbia

Mathew Claxton of the Langley Advance in British Columbia broke the story of an 11-year-old boy who recovered a stolen painting from a neighbor's garage sale.  Artist Reet Herder had 17 artworks stolen from an exhibit at an art gallery in Langley in August 2005.  Matt Hanna, bargain hunter and now probably our youngest art investigator, noticed a painting of sail boats in a cove titled "Harbouring Great Memories".  Hanna Googled it and discovered the painting had been reported as stolen.  I wondered if the boy had used any of the conventional stolen art databases so I too Googled the name of the painting and discovered a website named "Stolen Fine Art", a service of so I  emailed one of the website masters, Cam Anderson, who responded to my questions.  This is an excerpt:
The Story of Stolen Fine Art really starts with Reet Herder.  Reet was the first to let us know there was an issue. Reet wrote that she and others had suffered such a devastating loss. I shocked to hear just how bad it was. We always like to respond to artist request for features, or listen to their business issues, and look for ways we can assist. This practice has been wonderful for both the artists and for our development as a service. 
Peter Newell and I put our heads together and figured we could host the images of stolen art as a collection. The MyArtClub site was already set up to host artist groups, so we simply leveraged that as a way to focus on this awful issue.  What we did ask artists for was a police reference number of some kind and police and artist contact information.  We have a form for artists to fill out (available on our website). 
Over the years Reet has been really a founding member of our website and involved in creating the form. Karma has a way doesn’t it? She helped build a service that we host and hope it is of some use to artists, and voila – her art is the one found through the Internet! 
I telephoned Reet to congratulate her on the recovery. Reet is amazed at not only the painting’s recovery but the media attention! “All I did was paint it” she says. This was one of her earlier works, but she was happy with how it had turned out. It was based on a visit to Schooner Cove. The story continues: as might be expected the painting itself was not in the best of conditions. However with luck Reet had prepared to create giclees from this art, and so offered this kind family a giclee in return which they accepted. Reet says “ the giclee’s colours look better”.  She presents it tomorrow to the father at his work.
About us: My wife Heather Anderson and a neighbour Terry Newell, both artists, thought their husbands should get together and do websites for artists.  I was studying Internet Marketing and had many years in Sales and Marketing, and Peter Newell had many years in computer software and project management.
We created the site to be a fair deal. We believe artists deserve assistance with business issues, and we wanted on our part to give back to our community using our skills. Also we found and still do find so many who offer help to artists seem to be out to gouge them. Maybe that is reality – you have to charge high prices to survive, but as we have jobs, we don’t. But look at this example: in the year 2000 a company offered my wife an artist website with 10 images for $1,000. At the time too, most artist websites were static, artists had to repay the site creators to change an artwork. We wanted to fix that.  So we kicked off MyArtClub.Com in year 2000 ( such an early time! Artists then had no digital cameras, and used scanners to create images for their sites).
We set out to launch a service for what is now $45 per year that gives amazing value for an artist website. We had to follow our artist’s wives directive – they should be able to change anything they wished, anytime, instantly. In other words, be in total control.  However, just having a website is not the answer. You need traffic.  We advise artists what they can do to build traffic, and have through newsletters and our blog tried to keep them informed about ideas and opportunities.
We felt a “portal” into the art world would help visitors see more art, and drive traffic to artists’ sites. And yet we provide each artist a standalone website. We thought the name MyArtClub fit as we are here to help both artist and art patrons connect. We also know that many artist belong to collectives, sometimes called clubs although many feel that is a little beneath the professional artist. We decided MyArtClub even if controversial had the right motivations, and buyers liked the name, so we launched it.
While we appear to be local to BC, in fact we have artists who have posted art from all over the world. Some load a free 3 images, so they can link from our portal back to their website. It is our form of links. Others sign up for an artist website, we have many across Canada and some in UK, Australia, Europe even Asia. Sadly we have had very little take up in the USA. We have really not tried hard, but I think the out of country aspect maybe an issue. Anyway, big opportunity when retired!
We are here to help artists with their Internet marketing.  We give free presentations on what artists need to know.  We host a large database which we advertise to increase artists chances of being found online. We have researched the customer base to help our artists understand the who, what, where, when and why of art buyers, and we give this report free to all who ask.  All this and so far we have not taken a single dollar of commissions.
Either we are crazy, or we really do just want to help artists progress with their business.  

October 9, 2012

Tuesday, October 09, 2012 - ,,, No comments

The Journal of Art Crime, Fall 2012: "The Role of the Police in the Co-Production of Art Security in London" by John Kerr

In the Fall 2012 electronic edition of The Journal of Art Crime, criminologist John Kerr examines the role of the police in the co-production of art security in London in an article:
It draws on empirical research conducted on the under researched security network for art in the capital. In light of ‘new policing’ theses (McLaughlin 2007), the article investigates how the theory of nodal governance (Johnston and Shearing, 2003) can operate in an actual policing arena. With other government nodes and private stakeholders producing much of the art security, this article argues that a nodal governance framework is beneficial to the public police as it allows them to take an important role in the policing when they are best suited to doing so, and a lesser role in other areas when and where other nodes have greater capacity.
John Kerr is a lecturer in criminology at the University of Roehampton in London.  Until 2012, he was based at City University, London, and also lectured at London South Bank University.

Here's a link to the ARCa website and information about subscribing to The Journal of Art Crime.