Please let me introduce myself. In September 2009, I was named Managing Director of ARCA. As such, I'll be running the organization's daily operations, as well as helping to conceptualize, develop, and implement new projects. I hope to continue the great work founder Noah Charney and so many others have begun, but to do so, I will need your help.

Supporters like you have already allowed us to achieve a great deal in a short amount of time. In just the past year, ARCA launched the world's only Postgraduate program in Art Crime Studies, introduced the Journal of Art Crime, published the book Art and Crime, and consulted governments, law enforcement agencies, museums, places of worship, and other public institutions on art protection and recovery cases. In the next year, we will continue these endeavors and undertake numerous others, about which you'll be able to read in future posts on the ARCAblog.

There are many ways that you can become involved in this important work. Show your support by becoming a member, making a tax-deductible donation, subscribing to the Journal of Art Crime, purchasing Art and Crime, or studying in our Postgraduate program. Just as importantly, we need people to donate their time by volunteering or interning. And we are always looking for contributors to our journal, blog, and podcasts.

Thank you for your interest and support. If you have any questions or comments about our organization, I encourage you to email me. And you'll be hearing again from me soon on the ARCAblog.

I look forward to working with you!

Terressa Davis

director at artcrime.info

The Application (Due 15 Dec. 2009) and Prospectus for the 2010 Postgraduate Program in International Art Crime Studies are now available.

Once again, ARCA presents the first organized postgraduate program in International Art Crime Studies to be held June 1 - August 13. This program will provide in-depth instruction in a wide variety of theoretical and practical elements of art crime: its history, its nature, its impact, and what can be done to curb it. Courses are taught by international experts, in the beautiful setting of Umbria, Italy. Topics include art history and the art trade, museums and conservation, art security and policing, criminology and criminal investigation, law and policy, and the study of art theft, antiquities looting, war looting, forgery and deception, vandalism, and cultural heritage protection throughout history and around the world. It is the idea program for art police and security professionals, art lawyers, insurers, and curators, members of the art trade and post-graduate students of criminology, law, security studies, sociology, art history, archaeology, and history.

On 10 August 2009, ARCA Director Noah Charney was featured on CBC Radio's Q with Jian Ghomeshi. In the interview guest hosted by Jane Farrow, Charney discusses ARCA's Postgraduate Program in International Art Crime studies and he describes the importance of an interdisciplinary approach to art crime. Additionally, he answers questions related to what opportunities graduates can expect to pursue upon their completion of the program. For anyone interested in learning more about the MA Program this is a great place to start. To access the Q with Jian Ghomeshi podcast click the title of this post or click here.

Further inquiries can be sent to Mark Durney, Business and Admissions Director of the 2010 MA Program, at ma@artcrime.info .

ARCA is pleased to draw your attention to an excellent feature article in The New York Times (Wednesday, 22 July 2009) on ARCA's Postgraduate Program in the Study of Art Crime and Cultural Property Protection.

We at ARCA would like to clarify a few points raised by the article.

Among the speakers at the ARCA Conference this July 11 was a judge from New Zealand named Arthur Tompkins (not Ngarino Ellis, as listed in the article).

We wish to emphasize that ARCA is a non-profit, and the tuition for the Program goes exclusively to covering expenses. The tuition is on the low end for a similar European master-level programs, and the short, intensive nature of the program means that the total expenditure for all students is a fraction of the cost incurred by 9 or 12-month long postgraduate programs, when one calculates the living expenses for the year and the income lost by professionals who would need to take a year off of work. ARCA's ultimate goal is to run the Program, like its other activities, free of charge--but this target can only be reached if ARCA receives financial support through philanthropy and grants in the future. Further the Director of ARCA receives no monetary compensation for his work as Director.

Finally, the journalist inadvertently raised an excellent point about the lack of solid, comprehensive empirical data and statistics about art crime worldwide, when she mentioned that Interpol could not corroborate the statistics about art crime mentioned by various scholars at the ARCA Conference and discussed in ARCA's book, Art & Crime.

One of the greatest issues in art crime today is the lack of sufficient empirical data to back up experiential and anecdotal information provided by professionals in the field of art protection, the art trade, and policing. This is a point that we stress repeatedly in our book, Art & Crime, and in interviews with and lectures by ARCA staff. Based on discussions with prominent members of international police squads (including the Carabinieri, FBI, the Dutch Politie, the Slovene Policia, the Spanish Policia, Scotland Yard, and many more), art criminals, members of the art trade, museum security directors, archaeologists, art lawyers, and more, scholars such as those associated with ARCA have developed an understanding of the extent and impact of art crime that preceeds the availability of sufficiently extensive data to prove the widely-agreed upon speculation. Prominent informed sources have regularly listed illict art and antiquities as the third highest-grossing criminal trade (as in tradeable commodity) worldwide over the past forty years, behind only drugs and arms. This is a fair indication of the severity of art crime, and the involvement in art crime of organized crime groups, and the use of illicit art and antiquities to fund terrorist activities, are widely known. However the statistics have never been complete enough to draw the serious attention of most of the world's governments.

One problem has been the lack of data kept by police around the world. Most police are told to file stolen art along with general stolen property. This means that many art crimes go unreported by the police, as the theft of a Rembrandt is not filed in a manner distinct from the theft of a Buick or a DVD player. As a result, art crimes reported to the police are often lost, misfiled, and never reported to larger national police agencies, and therefore never reported to Interpol. But this issue is made more difficult by the fact that many art crimes go unreported by the victims. Museums and galleries may be loath to admit their own security failures, while private collectors may not have declared ownership of some objects in their collection, in order to avoid luxury tax. The result is that only a fraction of art crimes are reported and, as mentioned, those that are reported are likely as not to be filed in a way that makes it difficult to sort out art crime from general property theft. The looting of antiquities is another difficult component. Antiquities tend to be looted from remote sites, jungle tombs or coastal shipwrecks, that may go undiscovered for months or years, if someone comes across them at all. Even if an illegal excavation site is discovered, there will be no record of what was at the site to begin with, if the site was never before excavated. Therefore police may learn that a tomb has been opened, but have no idea what to look for, because the contents are known only to the thieves.

Police are too often unaware of the severity and nature of art crime for the very reason that good analyses of art crime are rare, due to the poor data available, which is itself caused by inadequate filing systems. The problem then becomes cyclical: with so little data available, professionals continue dismissing art crime as a trifling, and occasional misdemeanour, making good news stories and thrillers, involving the collectibles of the wealthy, whose affluence protects them from real misfortune. One of the goals of ARCA is to take a step outside of that cycle, by informing police and the art world about art crime, explaining how it functions, and why it is necessary to take it seriously.

This briefly illustrates the uphill hike that the united front of academics and art, police, and security professionals face in order to establish and develop this new field of the interdisciplinary and practical study of art crime. For more information and extensive discussions of this, please see Art & Crime (Praeger 2009).

In the most recent US News & World Report Ulrich Boser has written an article on the FBI Crime Team. While researching for this piece Boser referred to ARCA's Art Crime Facts page, and asked me why so many art crimes go unreported. In my response I discussed how objects from unknown archaeological sites have not yet been registered, studied, or cataloged prior to the theft and thus are left unnoticed. Museums may be reluctant to report art thefts because it highlights shortcomings in their security. An institution's and its leadership's respect and reputation are at stake as well.

Additionally, in my discussion I described how museums and cultural institutions are often wary of reporting thefts as it can discourage other institutions and individuals from loaning works of art for special exhibitions - the cash cow for many institutions. To confirm my suspicions that special exhibitions are a source of considerable income I examined the 2006-2007 financial reports of several high-profile art museums. For example, the Philadelphia Museum of Art reported an income of $1,839,449 from special exhibitions. This amounted to a shade over 29% of the museum's program service revenue ($6,281,637 - program service revenue is revenue from admissions, special exhibition ticket sales, concession sales etc., BUT not membership dues or government grants - usually the largest portions of an institution's total revenue). Another institution, the Wadsworth Atheneum reported that in 2007 its income from special exhibitions was more than double its income from regular admissions ($842,218 versus $401,527 respectively). Although special exhibitions can be great sources of income for museums, they are also instrumental in sustaining and attracting donors and grants.

While scrutinizing a number of institutions' balance sheets I found some other things of note regarding special exhibitions and an institution's spending. The Wadsworth Atheneum whose net assets total just a little over a tenth of that of the Art Institute of Chicago nevertheless tallies more in special exhibition expenses than the Art Institute ($1,066,435 versus 1,061,113 respectively). Evidently, the Wadsworth views special exhibitions as great opportunities for growth.

In recent days we have seen a number of high-profile art law suits, both criminal and defensive. Yale University filed for a defensive law suit, to secure its ownership of the star painting in its Yale Art Gallery, the iconic "Night Cafe" by Van Gogh (1888). There have been many headline-grabbing lawsuits brought by grandchildren of the victims of Nazi or Stalinist seizure of artworks, who have filed to have works restored to them, plucked out of museums and private collections. (The dramatic story of the restitution of Malevich paintings will be featured in the first issue of ARCA's Journal of Art Crime). Now we begin to see storied institutions donning legal battle armor in anticipation of a potential lawsuit.

The issue at Yale is with Pierre Konowaloff, the great-grandson of wealthy aristocrat Ivan Morozov, who owned Van Gogh's painting in 1918. The Russian government nationalized and appropriated Morozov's property during the Communist revolution--including the painting, which was later sold by the Soviet government. "Night Cafe" has been hanging in the Yale Art Gallery for more than five decades. In 2008, Konowaloff's attorney asserted his client's ownership title to the painting, and Konowaloff has publicly stated that he wants the title of the painting transferred to the Russian nation, and that he wants to receive financial compensation. Yale declared that it wishes to "remove any cloud over its ownership," pre-empting a suit on the part of Konowaloff to reclaim the painting.

Between an art theft from Yale's Slifka Center linked to a drug and arms dealer, a lawsuit from the descendants of Geronimo to reclaim the skull of the warrior chief that they claim was looted by members of the secret society Skull & Bones and is being used in the society for rituals, and this recent furor over "Night Cafe," Yale has provided a petri dish for the study of art crime over the past two months alone.

ARCA 2009 Award Winners

ARCA is pleased to announce the winners of its new annual awards. Each year ARCA will award individuals for their outstanding efforts for the protection and recovery of cultural heritage, and the study of art crime. Awards are voted on by ARCA’s Trustees and the Editorial Board for The Journal of Art Crime. 

The winners of the 2009 ARCA Awards are as follows:

Art Policing & Recovery: Vernon Rapley, Scotland Yard 

Art Security & Protection: Francesco Rutelli, former Italian Minister of Culture 

Art Crime Scholarship: Norman Palmer, King’s College London 

Lifetime Achievement in Defense of Art: Giovanni Nistri, Head of the Carabinieri Division for the Protection of Cultural Heritage 

ARCA honors these individuals for their exemplary work.

Summer Internship in Italy, 2009

ARCA offers a summer internship on location in Amelia, Italy (between Rome and Orvieto) during the Postgraduate Program that we run, from June 1-August 26. Applicants must be proficient in Italian. The work schedule is 25-30 hours per week. Duties include administration, research for our various projects, and aiding students, faculty, and the Dean during the program. Housing in Amelia for the summer and a meal allowance will be provided by ARCA. This presents an excellent opportunity for professional work training in the broad and interdisciplinary field of cultural property protection and work against art crime, while spending a lovely summer in Italy. If you are interested, please thoroughly acquaint yourself with the information about our Program on our website, and contact noah.charney@yale.edu .

ARCA Annual Conference

THE STUDY OF ART CRIME

11-12 July 2009

Amelia, Italy

The focus of this international conference is the academic and professional study of art crime, and how the study of it can help contemporary law enforcement and art protection. ARCA seeks to encourage scholars and students worldwide to turn their attentions to the understudied field of art crime and cultural property protection. The more minds working in the field, and the better the relationship between scholars and professionals (from police to security to the art world), the better protected art will be in the future.

ARCA welcomes submissions of papers for presentation at the conference. Papers should be 20 minutes in length, and should be related to the academic study of art crime or the collaboration between scholars and professionals for the prevention of art crime.

ARCA Members may attend the conference free of charge. A small attendance fee, in the form of a tax-deductible donation to ARCA, is required of attendees who are neither members nor presenters. Tickets may be reserved by email, with limited numbers available.

A complete schedule with further information on the conference, keynote speakers, and beautiful Amelia, Italy, will be available on our website. The conference will include presentation of the 2009 ARCA Awards, and a keynote speech from Col. Giovanni Pastore of the Carabinieri Division for the Protection of Cultural Heritage.

Please send submissions, ticket requests, and inquiries to conference@artcrime.info .