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’m a police officer, and at the time I was an instructor at the Toronto Police College.  I had been fascinated with art crime, having read anything I could find on the subject.  I took it upon myself to organize an art crime conference at the college and was amazed at the response.  While hosting this event I was approached by an ARCA alumni, Mark Collins, who was with the Ontario Provincial Police.  He encouraged me to look into ARCA. It was the natural choice because I studied fine art in university before police work, and so I have rudimentary knowledge in Art History and a passion for modern art.  The overlap between the elusive, semi-opaque art market, and organized crime networks, was too fascinating not to study.

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

There were several moments.  But I’ll speak to one: Having done the mandatory reading before starting the programme, The Medici Conspiracy, which was mind blowing – from the investigative journalists uncovering a highly organized criminal network, to the prosecution of most of the key players, the artifacts involved became epic in my mind.  The course scheduled a visit to the necropolis complex at Cerveteri – and walking among the dug-up tombs – a city of illegally excavated tombs – was impactful, to say the least.  But then to visit the Cerite National Museum of Cerveteri, that now houses the infamous Euphronios Krater, was the crystalizing moment for me, as a student of art and heritage crime, to see the physical result of that investigation, rightfully placed in the museum.

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

Course 1:  Lynda Albertson’s and Stefano Alessandrini’s “Progress, Prospects and Limitations of Databases for Stolen Art”, perhaps because it was the introduction to the entire course, it set the mood – content, yes, of course it delivered how these investigations go, how they can be started, what tools are out there, but on a personal level, the students were introduced to one another, and also the heart and soul of the program, which is represented by Lynda and Stefano, two individuals so passionate about their respective specialties – Lynda, an ace researcher/investigator, and Stefano, an archaeologist advisor to Italy's Ministry of Culture.  

It was an introduction to a world that I wanted to be a part of, because of their commitment to the topic, the work, the research, but also to them, the humans, who, at the same time are introducing the participants to Italy, to Amelia.  I can’t state how special the program is in its context of an ancient city so full of love and life.

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

There were students from Italy, Argentina, the Netherlands, the US and Canada, most of whom studied or worked abroad at some point – with instructors from all over Europe, as well as Syria, Australia, and the United States.  It makes for great discussions with so many perspectives.  The international examples that inevitably come up while discussing a variety of topics give wider depth and context to every learning point.  When one considers the bilateral agreements in place between archaeological or source countries and market countries, it’s nice to hear from relevant researchers, prosecutors or museum curators their relevant experience and perspectives.

Did the program change or shape your career path? If so, how? 

When I returned to Canada, and to the Toronto Police Service, there was immediate and extensive interest in the program, and what I learned.  No, my job title didn’t change, as it is a municipal service and has limited jurisdiction with international crimes, but I do consult on investigations nationwide, and I was also asked to create online training for all Canadian police officers, and based on a lot of what was learned at ARCA, there will be an Introduction to Art and Heritage Crime in Canada course, available on the Canadian Police Knowledge Network.  

This is the first of its kind, and I was proud to create the content for it.  I was also invited to join the Heritage Crime Task Force, under the Organization for Security and Co-operation in Europe (OSCE), and have now lectured on Canadian art frauds, and various case studies in Austria, Poland, and Finland, with more to come.  The opportunities to network and collaborate with international agencies that have come to pass because of the ARCA programme are many and varied.  I couldn’t be more pleased with this result.

What was it like to live and study in Amelia, Italy?

This is, by far, the best part of the program.  Amelia is a perfect postcard town, high in the hills, a walled and ancient city, with remnants of its Etruscan beginnings, a storied history, and with the most pleasant and welcoming people.  The cafes, the restaurants, and nightlife are still with me in my dreams.  It’s a short train ride to Rome, to Perugia, and the winding roads that lead to every picturesque village around, are tailor-made for car commercials.  Living and studying in Amelia has been the highlight of my life, put simply.

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

To this I’ll just say that the ARCA conference held every year in June, is by far, the best conference I’ve ever been a part of.  The setting is perfect, the highlight for me, was the Casablanca-themed gala hosted at a nearby castle overlooking the Umbrian hills.  All the participants dressed in the style or the characterization of the film Casablanca and networked on a patio with the attendees of the conference, as well as the participants of the ARCA program, with several alumni joining as guests from all over the world – this speaks to its appeal.  It remains the most naturally elegant and fun conference, and I’m still in touch with a great many people I met there.  

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

Just to trust the CEO, Lynda Albertson, and her staff, who couldn’t be better at organizing and running this program.  At no time did I have an issue that wasn’t immediately solved, by both ARCA, and Amelia.  It sounds daunting, to go to Italy for three months, or six weeks, depending on the programme, but it was quite seamless, thanks to the experience and resolve of the organization.

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

I’ve learned a great deal since the program, it’s true, as a participant in the training with the Heritage Crime Task Force, and with my consultations with Canadian based investigations. The world is changing quickly, as a different US government with different priorities was elected, and the conflict areas in the Ukraine, Gaza, and Sudan have changed the conversation in the last year, now without US aid.  

I also learned how much people don’t know about this topic.  I have endeavoured, in the last year, to increase awareness in my service, my country, on the topic with the hopes that our courts can at least enter into the conversation art and heritage crime investigations and criminal charges.  We’re still a long way away.  In addition to that, myself and my de facto partner in art crime fighting, Mark Collins, are doing our best to increase awareness amongst private collectors to consider repatriations of objects that rightfully belong to their source countries.

In one sentence: why should someone join ARCA's program?

There are probably different reasons for different people to consider ARCA.  For some, recent graduate students, or students in between degrees, a summer in Amelia studying art crime is the perfect opportunity to reinvigorate a passion for art and justice.  For those settled in a career, and I speak from experience here, one may find themselves either burning out from intense work, or, equally damaging, in my opinion, languishing.  To languish in a career that at one time fired you up, is normal, but there is an antidote: The Association for Research into Crimes Against Art.  For me, a city police officer who studied art in a past life, it reinvigorated a passion that married my experience and skills with my academic pursuits.  Also, I’m a big hit at parties.  I just start talking about ARCA and everyone is absolutely enthralled.

Alumni Bio:

Detective Constable Lionel Doe is an 18-year veteran of the Toronto Police Service, where he has served as an investigator, forensic specialist, and instructor with expertise in criminal investigations and cultural heritage protection. He holds a Master of Fine Arts from Concordia University, uniting a background in the arts with investigative law enforcement experience to bring a multidisciplinary perspective to art and heritage crime.

A lecturer and member of OSCE’s Heritage Crime Task Force, Lionel has trained law enforcement and cultural professionals across Europe, contributing to international efforts to combat art theft, forgery, and the illicit trade in cultural property. His work emphasizes the integration of policing, scholarship, and cultural stewardship.

Outside his professional and academic work, Lionel is also a singer-songwriter and guitarist with the Toronto-based Americana band So Dirty the Flamingos, whose recordings and performances explore the narrative edges of contemporary roots music.