By Edgar Tijhuis*

As part of ARCA’s ongoing effort to give prospective participants a deeper look behind the scenes of our Postgraduate Certificate Programmes in Art Crime and Cultural Heritage Protection, Edgar Tijhuis speaks with our faculty members about their work, their motivations, and the unique learning environment we create each summer in Italy.

This series aims to offer future participants a personal glimpse into the people who teach with ARCA, the community around it, and what to expect in the coming year.

My love for archaeology and the history of ancient art began a very long time ago. And I think it was a sign of destiny. You have to consider that I was born in Fano, the city where the bronze statue of the victorious athlete — looted and now at the Getty Museum — was found by our local fishermen. As a child I played with Roman amphorae found in the sea, some of which decorated the gardens belonging to friends of my father. When my family moved to Rome, I joined the youth group of the Gruppo Archeologico Romano, and one of our missions was the excavation and recovery of the necropolis of Cerveteri.

In Cerveteri I had my first encounter with the terrible phenomenon of clandestine excavations, and I decided that my future would be to fight to defend Italy’s cultural heritage. I remember that we would go into the tombs and steal the tomb robbers’ excavation tools! I continued like this throughout my life, defending my country, and I have had the honour of collaborating with the Ministry of Culture on many occasions.

Many years ago I met Noah Charney, who suggested that I join ARCA and organise specific visits to Cerveteri to teach about the trafficking of archaeological artefacts from the Banditaccia World Heritage Site. From that moment on, I combined my passion with that of ARCA's and now, together with Lynda Albertson (ARCA’s CEO), I also lead a course on open source intelligence, as well as serving as the docent to Cerveteri during ARCA's art law course. It is an extraordinary experience, because we can exchange knowledge at an international level with leading experts in this field.

Through these I am very happy to have enabled participants in the ARCA course to see firsthand how an Italian archaeological excavation takes place (and some students later returned volunteering to excavate themselves). I think this is a great experience to share, to understand even more clearly the collective importance of defending our cultural heritage.

From your perspective, what makes ARCA’s Postgraduate Certificate Programme truly unique and valuable?

How does the location in Italy — surrounded by centuries of cultural heritage — enhance the learning experience for participants?

The incredible history of Italy offers a one-of-a-kind life experience. Students who come from countries with different cultures will find in Amelia (and in all the nearby regions) exceptionally open with important testimonies of our past: Roman and medieval towns, castles, churches, museums, beautiful natural places, and much more.

I consider the visit—together with my lecture—in Cerveteri very important, because it is an extraordinary symbolic place for understanding the very serious problem of archaeological plunder and what fuels clandestine excavations. But it is also a place of rebirth and recovery: in fact, I take students to see the excavations carried out by our group and some works of ancient art that Italy has finally recovered from American museums. First among them is the fantastic Euphronios Vase, which is now the star of the museum in Cerveteri.

Moreover, we at ARCA are the only ones who can enable, in collaboration with the GATC, our students to take part in one or more days on an archaeological excavation such as that of the Roman town of Castrum Novum (a fascinating experience, which offers a great opportunity for cultural exchange among people of various nationalities).

What key skills, perspectives, or tools do you hope participants will gain from your course? In what ways can they apply these insights in their professional or academic paths?

First and foremost, I would like my course to convey my passion and love for the cultural heritage of our past and to teach how everyone can contribute to its defense, which is so important worldwide. Our course provides an excellent foundation for exploring the often problematic world of ancient and modern art and the relevant legal frameworks. 

One of the most interesting components is helping our students develop open-source intelligence (OSINT) skills, essential for anyone seeking to study or investigate art crime because so much evidence of illicit activity now exists in publicly accessible digital spaces. Trafficked artworks often surface in online auctions, social media posts, dealer catalogues, museum databases, and archival sources scattered across jurisdictions but learning how to tie them together is a skill.  

By honing these methods researchers can begin to trace the movement of cultural objects, identify networks of traffickers, verify provenance claims, and detect inconsistencies that may signal criminal activity, all of which can certainly help to find work and experience in the museum sector and in public, private, or foundation collections, or in the field of antiques and auctions. 

If someone is considering applying to ARCA’s 2026 programmes, what advice would you give them? And why do you think now is a meaningful moment to engage with this field?

Put all your passion into it and never stop in your search for knowledge: study books, but above all observe and experience every aspect of cultural heritage, and engage with the art trade through visits to archaeological and historical sites, exhibitions, and auctions. 

We are certainly living through a very important period for the recovery and return of looted works of art. In many countries, an awareness is developing of the need to safeguard their own history. Cultural heritage, moreover, is always in danger because of wars and sensational thefts. These are battles that ARCA specialists fight every day at an international level. Our students will thus be able to gain experience and develop their own areas of expertise in their own part of the world or in their own discipline.  Lastly, having met so many wonderful people, I never would have met had they not connected with ARCA, I can say that their life will be changed and they will experience fantastic cultural adventures which will enrich their life and their soul.

About Stefano Alessandrini

Dr Stefano Alessandrini is an Italian cultural heritage protection specialist with 30 years of object-based archival and forensic provenance research experience. He is a Subject Matter Expert for the Italian Ministry of Culture and an expert in archaeology and ancient art for the Court of Rome, supporting the court's legal trafficking dossiers and restitution cases.

Since 2010, he has lectured and conducted forensic research related to art and antiquities crime within ARCA, focusing on transnational crime mapping and cross-border intelligence. He holds advanced qualifications in cultural heritage protection (Roma Tre / MiBACT / Carabinieri TPC) and a degree in Art Heritage History and Conservation, graduating cum laude. His work bridges Italian cultural property law, cultural diplomacy, and practical restitution and repatriation efforts, and he has published on art crime and recovery strategies

* Dr Edgar Tijhuis is Academic Director at ARCA and is responsible for coordinating ARCA’s postgraduate certificate programmes. Since 2009, he has also taught criminology theory modules within ARCA's PG Certification programming. 

Welcome to ARCA’s PG Cert Alumni Spotlight Series, a collection of in-depth Q&A interviews conducted by Dr. Edgar Tijhuis*, highlighting the professional journeys, achievements, and ongoing contributions of graduates from ARCA’s Postgraduate Certificate Programmes in Art Crime and Cultural Heritage Protection. Through these conversations, we aim to showcase the diverse paths our alumni have taken—across academia, law enforcement, museums, research, policy, and the cultural heritage sector—and to share the insights, motivations, and experiences that continue to shape their work in safeguarding the world’s shared artistic legacy.

What motivated you to enroll in ARCA’s Postgraduate Program?                                                         I first discovered ARCA through a Google search and immediately knew I had to apply. I was at a point in my education and career where I wanted to continue expanding my knowledge of the arts. When I learned that there was a field dedicated to art crime and cultural heritage protection, I began researching how to enter it. From what I found, ARCA was one of the only, if not the only, program specializing in this field of study, so applying was an easy decision.

Can you describe a moment in the program that had a lasting impact on you—personally or professionally?

One moment that had a lasting impact on me was during the Museum Security course. We had the chance to visit a museum in Rome and perform a security risk assessment, looking for potential vulnerabilities. This experience stayed with me because now, every time I walk into a museum, I mentally assess its security, especially regarding theft.

What was your favorite course or topic, and why did it stand out?

My favorite course was the Art Forgery Masterclass taught by Dr. Noah Charney. It reminded me of art history, which is my specialty, but with a focus on historically successful forgers. I found the topic so fascinating that I decided to write my capstone on a related subject.

How did the international nature of the program influence your learning experience?

Learning in a classroom is one thing. Studying in a foreign country is something else entirely. Going to Amelia was my first time leaving the United States. Although I was nervous, I believe the location made the experience unforgettable. Immersing myself in the culture and slower pace of life in Amelia was a once-in-a-lifetime opportunity. Days felt peaceful, connections were meaningful, and it was the perfect place to spend the summer.

Did the program change or shape your career path? 

Yes, it did. I am still exploring what I want to do long-term, but I knew after the program that I wanted to pursue a career in cultural heritage protection. I am just still exploring how to enter the field. I currently work as an arts and engagement coordinator and also teach art history as an adjunct professor. I am now pursuing a PhD with an institution that holds international residencies twice a year.                                                                                    I chose this program because it reminded me of ARCA and the opportunity to study art in an international setting.

Can you share a memorable interaction you had with faculty, guest speakers, or fellow students?

As I mentioned earlier, the course with Dr. Noah Charney was my favorite. I was familiar with him before the program, so being able to attend his class felt surreal. He later became my capstone advisor and helped me publish my article in the Journal of Art Crime. Dr. Charney has also written letters of recommendation for me, including one for my PhD application, so I am grateful that our initial interaction turned into an ongoing mentorship.

What advice would you give to someone considering applying for the 2026 programmes?

Just go for it! I tend to hesitate and overthink, but with ARCA, I kept saying yes, and it turned out to be one of the best decisions of my life. It can be easy to talk yourself out of something that feels scary, but take the risk and trust that it will be worth it.

How has your understanding of art crime evolved since completing the program?

I learned so much during the program. Before ARCA, my knowledge of art crime was limited and based mostly on one of my favorite childhood shows, White Collar. At ARCA, I learned the real mechanisms of art crime and cultural heritage protection, and I continue to use that knowledge today.

In one sentence: why should someone consider joining ARCA's programmes?

ARCA’s programmes offer an unmatched combination of meaningful subject matter, unforgettable location, and a truly transformative experience, all while advancing your education and career.

About alumna Santana Nash

Santana Nash is an art historian and arts professional dedicated to expanding cultural engagement through the visual arts. She serves as the Artistic Residency and Student Programming Coordinator at Georgia Tech, where she curates arts initiatives that connect students and local communities with creative practitioners. Santana also teaches as an Adjunct Professor of the Arts in Atlanta, Georgia.

She holds a Master’s degree in Art History from Georgia State University and is pursuing a Ph.D. in Visual Arts at the Institute for Doctoral Studies in the Visual Arts (IDSVA), specialising in Philosophy, Aesthetics, and Art Theory. Her previous experience spans museum education at the High Museum of Art, curatorial work at the Georgia Museum of Art, and research in art crime, with published work in the Journal of Art Crime.

* Dr Edgar Tijhuis is Academic Director at ARCA and is responsible for coordinating ARCA’s postgraduate certificate programmes. Since 2009, he has also taught criminology modules within ARCA's PG Certification programming.

 

The Amelia Conference: 

Held in the beautiful town of Amelia, Italy, the seat of ARCA’s summer-long Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection, the Association’s 12th annual Amelia Conference will be held the weekend of June 23-25, 2023 with a networking cocktail opening the event for all Amelia Conference attendees and speakers. 

At the heart of the conference will be two days of panel sessions, on Saturday and Sunday, June 24-25, 2023, devoted to presentations selected through this call.

Geared towards international organizations, national enforcement agencies, academics, cultural institutions, and private sector professionals in the art and antiquities fields, the Amelia Conference follows a long-established commitment by the Association to examine contemporary issues of common concern in an open, non-combative, multi-disciplinary format in order to promote greater awareness and understanding of the need for better protection of the world’s cultural patrimony.

2023 Call for Presenters: Session Formats and Topics

Given the success of the Amelia Conference over the past decade, it is important to recognise the growing interdisciplinary and international nature of this emerging field, the growing complexity of art and heritage crime, and the disciplines and subject matter experts who follow along and contribute within their areas of speciality.  With that in mind, this year’s conference will build upon topic-specific sessions designed to stimulate discussion and share learning on a series of topics of common concern. Some conference panels may feature more active panel debate about a session topic, or present various and/or contrasting perspectives about a topic. Each panel session will last approximately 75 or 90 minutes and will include a number of oral presentations with some time dedicated for interactive discussion.

ARCA welcomes presentation proposals related to the conference’s art and antiquities crime theme from individuals in relevant fields, including law, policing, security, art history, art authentication, archaeology, or the allied art market.  Presenters with topics related to the following areas are particularly encouraged to submit a speaking proposal this year highlighting the following issues of common concern:

Strengthening international cooperation in the fight against illicit trafficking, Do MLATs and ILORS work? And is this formality always useful?

Organised crime and illicit trafficking.

Recent successes in the field and what we can learn from them collectively.

The Elephant in the Room: How museums can proactively address problematic art in their collections.

Consciousness raising vandalism as a form of protest in museums. 

Digital and technology-facilitated approaches to combatting illicit trafficking: Do automated web-scraping tools work for combatting art crime?

Solving societal issues using Open Source Intelligence (OSINT) – 

Open-source intelligence (OSINT) continues to grow in acceptance and use beyond the traditional military and law enforcement sectors. How has it been applied to combatting art and antiquities crimes.

Recent convictions: Art crime’s bad boys (and girls) and what we can learn from their prosecutions. 

Each selected presenter will represent a coherent and clearly focused presentation of 15 to 20 minutes maximum on a topic of common concern, that combined with presentations given by co-panelists, are designed to provide significant insights into the topic or theme and to stimulate thoughtful, not combative or antagonistic, discourse.

We very much look forward to receiving presentation proposals on the aforementioned or alternative art and antiquities crime topics, noting that panels may change or be altered based on speaker availability.

Abstract and CV Submission Deadline: March 30, 2023

Abstract Word Limit: 400 words, excluding abstract title, presenter/co-presenter names and affiliations

Abstract Selection Process

Each submitted abstract must be accompanied by a CV. The abstract review process will be conducted blind, i.e. all author names will be removed before the abstract before being sent out for peer review. The abstract itself will be reviewed and scored by independent reviewers who have expertise in the specific session’s identified subject area.

Peer Reviewers apply the following criteria to judge abstract submissions 

I. Quality and Originality (1 to 5)

Abstracts containing significant new findings or presenting concretised information or new approaches will be given higher scores than those that merely serve as a chronology of, or modifications to, older findings or routine topics of dischord.

II. Importance (1 to 5 pts)

This criterion addresses the importance of the presentation or research in terms of covering new ground and in advancing knowledge in the art crime and cultural heritage protection field.

III. Presentation (1 to 5 pts)                                                                              This criterion addresses how well the specific research question(s) and objectives, methods used, primary results, facts ascertained, etc., are explained, rather than simply titling the topical subject itself. A clearly written abstract follows a logical order (e.g. aims, methods, outcome of investigation or analysis).

FINAL NOTE 

All accepted participants are responsible for their own travel and accommodation expenses, however, accepted conference presenters will have their attendance fee waived and will be invited to be ARCA’s guest for the Amelia Conference icebreaker cocktail on 23 June 2023.