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.

 

Welcome to ARCA’s PG Cert Alumni Spotlight Series, a collection of in-depth Q&A interviews conducted by 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.

About Lionel Doe

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.

* 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.