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 13th annual Amelia Conference will be held the weekend of June 21-23, 2024 with a networking cocktail opening the event for all conference participants.

At the heart of the conference will be two days of panel sessions, on Saturday and Sunday, June 22 and 23, 2024, devoted to presentations selected through this call.  For more information about registering for this year's event, please see our link on the ARCA website here.

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.

2024 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 afterward.

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.  How have things changed in the last decade in terms of international cooperation?  

Organised crime's footprint on and in art market trade and transactions. 

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

Peeling back the obstacles: Why is it so hard for museums to proactively address problematic art in their collections and enact restitutions once those problems have been identified. 

Consciousness raising regarding vandalism as a form of climate or world issues protest in museums. 

Digital and technology-facilitated approaches to combatting illicit trafficking.

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

Recent hot topic and dramas in the field of forgery. 

Resolving art disputes in and outside of the courtroom.

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: April 15, 2024

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 conference fees waived and will be invited to be ARCA’s guest for the Amelia Conference icebreaker cocktail on 21 June 2024.

In 2009, when ARCA started the first of its kind, interdisciplinary, approach to the scholarly study of art crime, no one was being trained to look closely at the  underbelly of the art world.   Noticing that gap, represented a unique opportunity for the association, to provide  individuals interested in intensive training in a structured and academically diverse format, a summer-long postgraduate program developed  around the study of the dynamics, strategies, objectives and modus operandi of criminals and criminal organisations who commit a variety of art crimes.    

Turn on the news (or followARCA's art crime blog) and you will see over and over again examples of suspect acquisitions, museum thefts, forgeries, antiquities looting and illicit trafficking of cultural goods.  Intentional heritage destruction during armed conflict, once a modern-day rarity, now affects multiple countries and adds to regional instability in many areas of the globe.  

Looted art, both ancient and Holocaust-related, continues to find its way into the prestigious galleries of respected institutions, while auction houses and dealers continue to be less than adept at distinguishing smuggled and stolen art, from art with a clean provenance. Thus making dealing with art crime an unrelenting problem and one without any easy solution.

Taken incident by incident, it is difficult to see the impact and implications of art crime as a global concern, but when studied across disciplines, looking at the gaps of legal instruments, country to country, one begins to have a clearer picture of the significance of the problem and its impact on the world's collective patrimony.

The world's cultural heritage is an invaluable legacy and its protection is integral to our future. 

Since 2009, other short and long programs have come and gone, and yet, ARCA remains, the longest running, and most comprehensive programming of its kind. 

Here are 11 reasons why you should consider joining us this summer in Amelia, Italy for ARCA's 13th edition of our professional development program. 

At its foundation, ARCA's summer-long program in Italy draws upon the overlapping and complementary expertise of international thought-leaders on the topic of art crime – all practitioners and leading scholars who actively work in the sector. 

In 2023, participants of the program will receive 220+ hours of instruction from a range of experts actively committed to combatting art crime from a variety of different angles.

One summer, eleven courses.

For more information please see ARCA's website here.

To request further information or to receive a 2024 prospectus and application materials, please email:

education (at) artcrimeresearch.org

"part of the trend now dubbed “zombie statistics”—that is, pieces of information that are frequently cited by experts and institutions, despite having no basis in research or reality."

"a “belief” held by some experts—but gave no evidence to support that belief."

• $39,747 multiplied by 1500 kilos = $59,620,500

• $43,527 multiplied by 1500 kilos = $65,290,500

• $44,083 multiplied by 1500 kilos = $66,126,000 

The street value price point in Spain for cocaine is $67 per gram.  

• $67 per gram multiplied by 1000 grams (1 kilo) multiplied by 1500 = $100,500,000

The street value price point in Italy for cocaine is $92 per gram.

• $92 per gram multiplied by 1000 grams (1 kilo) multiplied by 1500 = $138,000,000

And finally, by some weird quirk, the street value price point averaged out across the all reporting EU countries for cocaine is slightly lower, at $84 per gram.

• $84 per gram multiplied by 1000 grams (1 kilo) multiplied by 1500 = $126,000,000

Which dollar value do you use?  Well, if you are law enforcement and want to validate the investigative successes of your detectives, you may elect to use the numbers related to your particular country.  If you are a politician coming up for reelection who wants to show a drop in crime during your administration, he/she may want to use the data that reflect the lowest dollar amount possible (to show a downturn in crime) or the highest number possible (to solidify a get tough on crime stance).  Lastly, if you are a journalist, well, bigger is always sexier right?  

Now imagine asking every law enforcement agency where drugs are seized which numbers they used when they gave their estimate to their governments, to news journalists, or to research academics.  And when asked to generate numbers on multiple seizures, confirming if anyone has bothered to specify which numbers they used or how they derived the figure. 

I can tell you form experience, many people are satisfied with just having any measurable number without exploring further where the statistical data was derived. 

All this to say that even with an illicit drug, which at least has a quantifiable price, and a finite weight, to determine a financial value, does not always give you a uniform formula for interpreting that data when left unspecified.

Heck, even with something as simple as counting the dead in the COVID-19 pandemic can give you skewed data, as some countries are keeping statistics which only count confirmed (i.e. tested) coronavirus deaths and leave out all the people who died before they could be tested.

But let's switch back to trying to establish financial numbers related to art crimes.  

Winding the clock back to September 2016 when two Van Gogh paintings, which were stolen from the Van Gogh Museum, were recovered in Italy.  

According to the New York Times, at the time of the theft, the estimated value of Vincent Van Gogh's “Seascape at Scheveningen” (1882) and “Congregation Leaving the Reformed Church in Nuenen” (1884/85), was 4 million euros, or about $4.5 million, according to Adriaan Dönszelmann, the managing director of the Van Gogh Museum. 

The UK's newspaper the Telegraph estimated that the two paintings were worth a total €100 million despite giving no explanation as to how they arrived at this exaggerated number.  

The Van Gogh Museum's administration at the time of the recovery gave no numbers whatsoever.  They stated only that the "art historical value of the paintings for the collection is "huge". 

And lastly, given that the paintings were never actually up for sale in the first place, nor would they ever appear on the licit market auction block, others argued that the works of art were "priceless".  

What quantitative financial figure do you give to a "priceless" work of art? 

So how would you quantify that one single theft when trying to create a total value of art thefts from museums for example?

In making a financial accounting of not-for-sale plundered antiquities accessioned into museum collections, what value would you put on the Getty Bronze?  The price the museum originally paid for it?  The sales price, plus the price for restoring and maintaining it?  All of the above plus the cummulative years of attorney fees spent to litigate over and over again for its return?  Or would this statue also simply be referred to as "priceless".  

Now quantify the "damages" to heritage originating from conflict countries.  What price can you put on undermining the cultural identity of the local communities, the sometimes absolute destruction of their cultural and religious monuments, or the theft of private property (as in World War II related claims) and national collections?  What price do you put on art as it relates to its tactical value, for insurgencies and terrorist groups, when they destroy art as a means of displaying control, and loot the objects of their perceived opponents for financial gain in an asymmetrical conflict?

Better still, try quantifying the smaller, portable artefacts deliberately stolen from archaeological sites, temples and museums which are on the market now.  Here we COULD in theory at least give a market value based on searching out the individual sales prices of confirmed suspect artefacts, but that type of drilled down research isn't being done comprehensively and it sure isn't being funded by countries or academic institutions, let alone by the market itself.    

So there you have it.  A total standoff, between the market making excuses for its own provenance opacity, standing behind the convenient loophole that data protection rules prevent full disclosure without consent, and the traditionally clandestine nature of the art market in and of itself, each of which pose further challenges to putting financial figures together to concretely assess "the cost" of looting and trafficking in an easily digestible, and truly accurate way. 

What we do know is that the illicit market in movable cultural property motivates looting in developing nations.  On a transnational level, it is indisputable the trade in illicit art has been proven to put money in the hands of everyone, from gallery dealers, an unemployed workman, farmers, petty criminals, organised crime syndicates and on some occasions military insurgencies and terrorist groups. 

I will close by saying, I too question statistics frequently.  But I do look at facts, even in isolation.  Facts which clearly illustrate that the problem of illicit art being bought and sold on the licit art market still presently exists and it is real.  

I am also open to admitting the difficulties of data and its inherent fallibility, but I'd like to also see a similar openness from the art market's dealer associations openly addressing that there are still problems among some of their stakeholders that they should be taking an active role in addressing, instead of merely downplaying the research of others while putting their collective heads in the sand that there is real work to be done in order to clean up the art market. 

If the Confédération Internationale des Négociants en Œuvres d’Art (CINOA) wants to critically judge the research efforts of ILLICID, then let them do so, but they should also turn a critical eye to the concrete proofs that there is an ongoing problem with tainted artworks circulating in the art market amongst some of their membership, despite old and new legislation and conventions.  In doing so they should also be more forthcoming with acknowledging that some of the market's current problems can be traced to individuals directly affiliated with their member associations.

I have yet to read a statement by a member of CINOA management which seeks to address what stance CINOA has taken towards dealers-members like Jaume Bagot Peix, under investigation in Spain, or Jürgen Haering who has been listed in the sales of an oinochoe, a lekythos, and an attic cup all tied to disgraced dealer Gianfranco Becchina.    

Nor has CINOA openly addressed the fact that suspect objects for sale or on consignment with some of its association members are (still) being seized in connection with law enforcement investigations; some as recently as TEFAF Maastricht 2018, TEFAF New York 2018, BRAFA 2020, and TEFAF Maastricht 2020.  

Those seizures may not always make for irrefutable, pretty bar graph with an eye-popping stats, but they happen with enough frequently that both BRAFA and TEFAF have clauses written into their Terms and Conditions documents which specify that the fairs cannot prevent and are not responsible for any legal seizure and/or custody of works of art. 

By:  Lynda Albertson