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January 16, 2011

January 14, 2011

Friday, January 14, 2011 - ,, No comments

Amelia, Umbria: A view from the Historic Center


by Catherine Schofield Sezgin

This view from inside the historic center of Amelia is of Via della Repubblica looking down to the Porta Romana, the main gate of the town. The street is lined with shops. A coiffeur salon just inside the Porta Roma extends like a well-lit cavern alongside the medieval walls. Continuing up the street are clothing and jewelry stores, a fabric store, a pharmacy with the town's longest lines in the morning and evening; a hat shop; and Giampiero's shoe store where he can be found most mornings greeting his friends and clients with a smile and "Ciao, Ciao!" When Giampiero is not too busy at the shoe store, he walks up two doors to help his brother-in-law Luciano Rossi serve lunch at Punto Divino. A deconsecrated church, San Giovanni Decollato, once the Ospedaletto, a hostel for pilgrims traveling to or from Rome, opens sporadically to display and sell art and crafts for charity.

January 13, 2011

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Amelia, Umbria: Porcelli's Beats Out Napoli Pizza



by Catherine Schofield Sezgin

One of the reasons for our fondness for the restaurants in Amelia is certainly due to the ubiquitous owners who have to close their eating establishments to get any time away from their businesses. Valda, as she is known by her customers, the smiling and gregarious owner of Porcelli's, arguably serves the best pizza in Amelia. Personally, I favor the gargonzola cheese with sliced pears and crushed almonds. My children love the nutella pizza that Valda often presents to regular customers at the end of a late meal. Then there's a salad that's only on the Italian menu that has greens, kiwi fruit, and walnuts dressed with a vinaigrette.

Many people prefer pizza from Napoli. However, when my family and I tried the pizza in Napoli, I had to agree with my husband -- even as I enjoyed a seven cheese pie -- when he said, "This pizza is not as good as our pizza." I understood he wasn't talking about pizza from Pasadena. Because after living in Amelia for a month, 'our pizza' had become pizza from La Misticanza or Porcelli's. The pizza in Amelia typically has a thin crust, with cheese topped with thin slices of toppings such as zucchini, eggplant, red peppers, prosciutto, or even truffles. Oil does not drip through the pizza boxes or congeal on the plate as in California. With whole pies selling from three to eight euros, we ate pizza daily.

Valda, with her trademark dark eyeliner and long eyelashes, opens her taverne in the evening and keeps it open for as long as her customers and musicians play. It's not unusual for someone to arrive at midnight. Porcelli's is carved into the hillside and has spacious dining rooms stretching into caverns whose walls are decorated with art by Valda's deceased husband. The space is perfect for musicians to perform long into the night without disturbing the neighbors. However, the customers smoking outside Porcelli's doors on Via Farratini may not be so accommodating if the party is particularly good. And the party, like the pizza, is always good.

January 12, 2011

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Amelia, Umbria: La Misticanza




by Catherine Schofield Segin

Two of my classmates, Lauren Cattey, a criminologist, and Katie Ogden, an art historian, and I were sitting at one of the many shiny metal bistro tables on the patio of Bar Leonardi overlooking the Piazza 21 Settembre, the large open space outside of the walls of historic Amelia. As students of ARCA’s Postgraduate Program in Art Crime Studies, we had by then survived three weeks of lectures, five days a week, five to six hours a day. Our course time had cut into prime grocery shopping time that on Thursdays in Amelia meant from about 8 a.m. to about 1 or 2 p.m. when the stores closed for the afternoon and the evening. Drinking espresso drinks and prosecco, nibbling on potato chips and nuts, we watched the Italians around us, smartly dressed in various hues of purple, the men with their man-bags which held their cell phones and cigarettes, the women who that summer flagrantly displaced purple or leopard bra straps. We considered our options for dinner – inexpensive pizza from the shop across the park – and then we ran out of ideas. We’d eaten lunch at Punto di Vino, as usual, and could return since it was the one place that always remained open.

Our counting of purple outfits – we often reached double digits – was interrupted by a tall man who exited from a car in a parking space in front of us and ambled over with a piece of paper. In either Italian or English, likely the latter as that is why he chose us, he asked how he could find La Misticanza. We were baffled. We'd lived in Amelia for more than three weeks and although it was a small town and we were always discovering a new food market or shop -- and sharing the information as to when they were open -- Porcelli's was closed on Tuesdays, Cansacchi was closed on Wednesdays and Le Colonne was closed on Thursdays -- we hadn’t heard about this Misticanza. The fair haired man, now we were guessing he was German, claimed that he was meeting friends so in helpful desperation I recalled a pretty sign with a floral motif outside a bar door across the road from Bar Leonardi and directed him around the corner to the left.

This bar we had sent the newcomer to seemed to be deserted during the day and yet attracted a boisterous crowd in the evening but we'd never been inside the open doors nor had we seen a menu. So, as soon as it grew dark, we crossed the piazza, stepped into the sit down area of a brewery and walked up to the cashier and then peered into a side door to find a crowded dining room overlooking the Porta Romana. Using our rudimentary Italian, we ordered what we thought was one plate of salami and cheese only to receive three large platters of antipasto. We were laughing by the time the pizza arrived but didn’t turn down what would become one of our favorite pizzas, the caprese, a puffy crust covered in slices of tomato and mozzarella with basil and drizzled with olive oil.

We would return a few more times, very careful to order just pizza, as the gregarious and talented chef could be creative with the menu and the bill. Many long evenings were spent in the place we came to know as “Crazy Johnny’s” where nothing is predictable except the excellent quality of the food.

Tomorrow’s post will highlight Porcelli’s, a pizza tavern inside the historic center.

Top Photo: View of the Porta Romana from La Misticanza
Middle photo: The dining room of La Misticanza
Bottom photo: Caprese pizza

January 11, 2011

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Amelia, Umbria: Punto di Vino's hospitality



by Catherine Schofield Sezgin

While Bar Leonardi is the prime meeting place in Amelia, Punto Di Vino, a wine shop and cafe operated by Luciano Rossi and his extended family within the medieval wall of Amelia, fed me, connected me wirelessly to friends and family, and fed my chocolate addiction with double chocolate biscotti.

My first day in Amelia in 2009, as one of the students in ARCA's Postgraduate Program in Art Crime Studies, fell on June 2, a national holiday to mark the end of the monarchy in 1946 and the beginning of the new republic. I lived in a new apartment above Bar Leonardi but when I stepped out of my door mid-morning into a rainy and windy day the piazza was empty. I would later learn that few people venture out into the rain. If you want privacy in Amelia, pick a Thursday afternoon (when the shops close each week) during a thunderstorm in the summertime when fewer people are out than at 3 a.m.

After drinking just one caffe latte at Bar Leonardi, I walked south and found a warm shop, Pizza & Company, with rotisserie chickens and platters of grilled and lightly fried vegetables and sheets of pizza which looks like what we call foccacia in the States. Still jet-lagged and fairly oblivious to what a national holiday meant in Italy, I purchased some grilled eggplant drizzled with olive oil and chives and a serving of roasted potatoes, thinking that I'd return to the shop in the afternoon (which did not reopen because it was also Tuesday).

I walked for hours through the town. It is not that big, but it is beautiful and I kept stopping to take pictures such as the one of the view through one of the gates of the town. After a visit to the duomo, viewing the cathedral's beautiful art and listening to the wind howl, I toured the Cisterne Romane where the Romans had stored the town's water, and then stood outside the doors of the closed archaeological museum until retreating into what seemed like the only open establishment in town -- Punto di Vino.

Luciano's son, Alessio, was likely working as he spoke English and oriented myself and the other students who wandered in that evening and throughout the night.

Although we would gradually discover other great eating establishments in Amelia, the hospitality of Punto di Vino was extended to us for lunch, during the afternoon siesta, and for dinner. Other restaurants may close once or twice a week in Amelia, but Punto di Vino stays open all the time during the summer. It is located on Via della Repubblica inside of the historical town so it's opened doors allowed visibility to everyone who came in and out of the city. In addition, Luciano, his son Alessio, and his daughter Francesca answered endless questions about the town, its customs, and provided fresh food such as salami and cheeses, risotto with fungi, and insalata di pomodore (a "divine" tomato salad with olive oil, vinegar and lemon).

After a day of grey clouds and cold, the warmth of Punto di Vino on that first day was the best of Italian hospitality which has never paled. The next day, a Wednesday, I was startled when I stepped out of my apartment onto the piazza to sunshine and hundreds of people milling around Bar Leonardi.

Tomorrow I'll write about how it took us three weeks to discover one of the best restaurants in town that was just across the road from Bar Leonardi.

Photo: Luciano and Alessio Rossio (standing) pictured with Robin Munro Tyner, Julia Brennan, and Colette Loll Marvin (2009 ARCA students).

January 10, 2011

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Amelia, Umbria: Everyone gathers at Bar Leonardi




by Catherine Schofield Sezgin

ARCA's Postgraduate Program in International Art Crime and Cultural Heritage Protection Studies will be held for the third year in Amelia, Umbria, in 2011. The deadline for student applications has been extended to January 21, 2011.

Amelia is a beautiful walled medieval town about an hour drive north of Rome. It can also be reached from Rome by taking a train to Orte, then taking either a bus or a taxi to Amelia. Most visitors directed to Amelia are instructed to meet their host where all roads leading to the old town converge: Bar Leonardi, an establishment across from the main entrance to the old town, the Porta Romana, and on a piazza adjacent to a park.

Bar Leonardi opens very early in the morning and stays open late and, most importantly, in Italy, it stays open all day. In the morning, customers typically pick up espressos and cornettos, read newspapers, and greet friends and business partners. In the afternoon, during siesta, the bar can be quiet except for customers dashing in to play the lottery or to pick up cigarettes. After siesta, people emerge and gather again, drinking prosecco and more coffee. Of course, only the Americans order lattes and cappucinos so late in the day and although the server may admit to a wry smile, he will bring the milk-based drinks that cease for Europeans by 11 a.m.

I have just a bit of advice for a regular customer at Bar Leonardi: be consistent. Espresso drinks are inexpensive and plentiful; however, the cashier, who is often the ever-present owner, prides himself upon greeting you by remembering your order and the whole charm of buon giorno will be marred if you have to correct him with your whim of the day.

If you like a cappucino, then a latte, and maybe an espresso later on, I recommend that you order a cappucino from Bar Leonardi, another from Massimo's Pattisserie across the street, then cross the piazza to the smaller bar run by the red-headed Amelia to order a latte, and when you're ready for your fourth drink, maybe another latte or cappucino in the afternoon, you can visit Caffe Grande inside the walls and their staff will prepare you anything and include an artificial sweetner if you prefer.

Decaffeinated espresso is always available in Amelia's coffee bars. My bartenders well remember me for my order of 'decaffinato doppio cappuccino, per favore' which was a unique request in Italy although not in California where I normally reside. In Amelia, the cappucino is one euro or less; in Los Angeles, it's $4 so you can understand my free-for-all on the decaffeinated drinks.

Another reason people go to Bar Leonardi: everyone in town eventually goes to or passes Bar Leonardi so you can just sit at an outside table and wait. If your friend doesn't walk by, someone who knows your friend will walk by, and you can inquire, have you seen so and so, and that friend will be able to say, yes, I just saw them in Punto di Vino or at the Biblioteca because it only takes about 15 minutes and a pair of strong legs to cover the commercial area of Amelia which offers a few grocery stores, a couple of great eating establishments, many takeout places, and boutique clothing stores.

Later we'll talk about procuring food in Amelia -- when restaurants are open and closed requires knowledge of the weekly schedule.

December 26, 2010

December 24, 2010

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Exclusive Update on the Madrid Picasso Theft

On 29 November 2010, thieves stole a truck which was carrying what sources claimed was 28 artworks by the likes of Picasso, Chillida, Tapies, and Botero, worth at least 5 million euros. Three hooded men stole the parked truck from a warehouse in an industrial zone in Getafe, outside Madrid. The works were en route back to six galleries in Madrid and Barcelona, after having been on loan for display in Germany. The truck was not armored. It was recovered, empty, by police on 30 November 2010.

But ARCA can report exclusively thanks to knowledgeable sources in Madrid a series of different details and new facts related to the case.

Police in Madrid confirmed that there were in fact 35 works stolen, not 28. 34 of them have been recovered. The last work was not discovered along with the others, and no information as to its whereabouts has risen. Initial reports from Spain, after the air cleared on over-enthusiastic reports as to the value of the stolen art (originally touted by the media at 5 million euros), claimed that the 28 stolen works were valued at 2.7 million. It turns out that the media reports were accurate, despite though through a lucky estimate. The new tally of 35 stolen works are now valued by Spanish police at 5 million euros.

The police are keeping their investigation to themselves, choosing not to inform the media as they are still hunting for the thieves.

There was some concern that the sculptures stolen, among them a work in iron and bronze by Eduardo Chillida, might have been destined for the scrapyard. A string of theft in 2005 of objects, from artworks to garden ornaments, were disappearing from across England. The theme was that the objects were made of bronze or copper, the prices for which had quadrupled in the preceding months due to a shortage emerging from mines, particularly in China. Henry Moore’s Reclining Nude, a ten-ton abstract bronze sculpture, was stolen by local gypsies from the Henry Moore Estate in Hertfordshire, England in 2005, and has never been recovered—it is feared that it was chopped into pieces, melted, and sold for scrap bronze, perhaps for as little as 2500 pounds, when as an artwork it was insured at 10 million. Thieves would not be distraught by having “lost out” on 10 million—it would of course be all but impossible to shop, transport, and cash in on a ten-ton sculpture. Thieves would rather consider that they had “worked” (as in, stolen) for about a half an hour, and came away with 2500 pounds. This rash of thefts continued, and in locations as remote as Slovenia bronze objects and sculptures were stolen, only to be found sliced into segments, destined for the smelter. This technique, grotesque as it is, benefits the criminals in that it destroys any traceable evidence of the stolen object, while still allowing them to cash in, for however small a fraction of the total value. When gold sculptures by Bill Reid were stolen from the Museum of Anthropology in Vancouver in 2008, it was feared that the gold would be sold for scrap value—for this reason a reward was offered for the recovery of the sculptures, set at a higher value than the scrap metal, in an effort to delay the melting of the works. The ploy in that case worked out, as police captured a gang of jewelry thieves linked to international organized crime syndicates, and recovered the works.

Last month, 200 Spanish policemen raided a slum in southern Madrid, and arrested a slew of drug dealers and Romanian gypsies working for various criminal gangs. The target of the raid was several tons of copper, stolen from an AVE high-speed train.

The transport company responsible for the truck from which the art was stolen has never had an incident of this type in the last two decades, further suggesting a one-off inside contact aiding the thieves. Details of the recovery of the 34 stolen artworks have not been released, but the Madrid police said that they recovered the works when the Chillida sculpture was offered to a scrap metal merchant for 30 euros.

December 20, 2010

Monday, December 20, 2010 - , No comments

ARCA extends deadline for Postgraduate Program 2011

ARCA is extending the official deadline for applications for the 2011 Postgraduate Program in International Art Crime and Cultural Heritage Protection Studies to January 21, 2011. In certain circumstances ARCA will consider late applications. Please contact Mark Durney at mark@artcrime.info if you wish to apply after January 21, 2011.

December 16, 2010

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Profile: Art historian Thomas Flynn


by Catherine Schofield Sezgin

In our continued series on ARCA lecturers, the ARCA blog is profiling returning lecturer Tom Flynn who will teach a course this summer in Amelia titled “Art History and the Art World” from June 6 through June 17, 2011.

Tom Flynn is a London-based writer and art historian with interests in sculpture history, art and business, museology, cultural heritage, the art market, and art crime. Flynn has a Masters in Design History from the Royal College of Art and a doctorate in Art History from the University of Sussex. He teaches courses on the art market and the history of museums at Kingston University, London and is the author of a number of books on sculpture, painting and the decorative arts. As a journalist Tom has written for a broad range of publications, including The Art Newspaper, Art & Auction, ARTnews, Art Review, Art Quarterly, Apollo, The Spectator, Museums Journal, The Sculpture Journal, etc. Tom blogs regularly on art world matters at www.artknows.co.uk. In 2009, he launched an art consultancy, The Sculpture Agency (www.thesculptureagency.co.uk) to promote contemporary sculpture. A list of his books can be found here: (http://www.tomflynn.co.uk/about.htm).

ARCA blog: What will be the scope of your course in Amelia?
Tom Flynn: The course aims to give students a thorough grounding in how the art market works and how its key institutions interact and relate to one another. The art market can often seem a somewhat mysterious and intimidating business environment with its own specific codes of communication and ways of conducting transactions and establishing price. The course sets out to dispel some of the myths and mysteries surrounding the rapidly globalizing market in an enjoyable way that will enrich and empower students in their future careers.
ARCA blog: Does your course focus on particular subjects?
Tom Flynn: Yes, the course works its way through the main public and private institutions that make up the modern art market, offering a historical perspective on the market’s evolution as well as plenty of contemporary analysis. Through a series of intensive but lively and interactive teaching sessions, we explore the history of collecting, the evolution of museums, the emergence of the auction houses and the art trade in the eighteenth and nineteenth centuries, and the development of the contemporary art market. We also investigate the impact of technology on the art trade and art investment, how the art media works, and the importance of art fairs in the global market. Finally, we also touch on topical themes such as deaccessioning by museums, the repatriation of cultural objects, and the impact of the Artist’s Re-Sale Rights Levy.
ARCA blog: How would you advise prospective students to prepare for your course?
Tom Flynn: A preliminary reading list is circulated in the weeks and months prior to the course and anything students can read from that list will be useful preparation for classroom discussion. I also urge students to try and visit at least one fine art auction sale before arriving in Italy and to stroll around the museums and art galleries in their home towns and cities, taking attentive note of how objects are exhibited and thinking critically about how business is conducted in those environments.
ARCA blog: Tom, you’ve taught twice in Amelia with the ARCA program, what kind of a student do you think benefits from this program and what do you think they would get out of your class?
Tom Flynn: Any student with a genuine desire to learn will benefit from this course. I don’t expect students to arrive with specific knowledge of the art world as my course is designed to offer a grounding in the key issues. However, students who already have some experience of art and its markets will benefit from an opportunity to think in fresh ways about familiar ideas and to challenge their own preconceptions. In my first two years of teaching the course I’ve also noticed how students benefit from each other’s knowledge and experience, exchanging ideas in a relaxing, friendly and stimulating environment.

I hope that answers your questions. And you’ll notice I haven’t even mentioned the excellent local wine!

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