Colette Loll Marvin, Paris

In the Spring 2011 issue of The Journal of Art Crime, art historian Danelle Augustin interviews a Miami artist about the influence of illegality in his works in the interview "A Different view of Art Crime."

Augustin, a professor and attorney who lives and works in Miami, Florida, discussed the artist's works titled "Dummy Crack Doppelganger", "Cough Syrup Play-doh Diorama", and "Canario".

You may obtain a copy of this issue through ARCA's website or Amazon.com.

In the Spring 2011 issue of The Journal of Art Crime, David Gill writes about "The Unresolved Case of the Minneapolis Krater" in his regular column Context Matters.

Gill, head of the Division of Humanities and Professor of Archaeological Heritage at University Campus Suffolk, at Ipswich, Suffolk, England (from October 2011) and author of Sifting the soil of Greece: the early years of the British School at Athens (1886-1919), answers the question of why the dispute over the krater needs to be resolved. The Athenian pot, decorated with a Dionysiac scene, was acquired in 1983 from the London-based dealer Robin Symes by the Minneapolis Institute of Arts. Although the collecting history for the krater claims that it had been private owned by collectors in Switzerland and Great Britain for 15 years prior to the purchase, the pot has been identified from the photographic archive seized in a warehouse facility held by Robert Hecht and Giacomo Medici, convicted in 2004 for dealing in stolen ancient artifacts.

To read more about this five-year-old dispute, you may obtain a copy of this issue by subscription through the ARCA website or through Amazon.com.

In the Spring 2011 issue of The Journal of Art Crime, editor-in-chief Noah Charney writes about "Mona Lisa Myths: Dispelling the Valfierno Con" in his regular column "Lessons from the History of Art Crime."

"The story in question regards a mythical character called Eduardo de Valfierno, an Argentine criminal alleged to have commissioned the theft of the Mona Lisa by Vincenzo Peruggia in 1911 in order to sell six forgeries of it to unsuspecting nouveau-riche criminal collectors," Mr. Charney writes. "The idea was that each of these 'collectors would believe that they had the stolen original, and they would be unable to advertise their acquisition of the Mona Lisa for the very fact it was stolen.

You may read more about this plan and its myth in the Spring 2011 issue of The Journal of Art Crime by subscribing through the ARCA website or by purchasing this issue at Amazon.com.

Lynda Albertson

by Noah Charney, Founder and President of ARCA

We at ARCA are pleased to announce the hiring of a new CEO.

ARCA is an international non-profit research group on the study of art crime and cultural heritage protection. With seats in the United States and Italy, ARCA acts as a bridge between world art police, museums, security professionals, art lawyers, archaeologists, and scholars studying this field, with the collective goal of promoting art crime as a distinctive field of study. Featured in The New York Times, Vanity Fair, and other publications, ARCA is a small 501c3 which runs academic, research, and publication-based projects.

ARCA publishes a twice-yearly academic journal, The Journal of Art Crime, the first and only interdisciplinary journal in this field.

ARCA runs an annual Postgraduate Certificate Program in Art Crime and Cultural Heritage Studies, held in Umbria every summer. This program is the first and only in the world to offer students a chance to study art crime from both a theoretical and practical standpoint, with visiting professors teaching alongside world-renowned art police and security directors.

ARCA run lectures, workshops, and engages in media outreach to better inform the public and professionals alike about art crime. It also publishes books, including the edited volume, Art & Crime: Exploring the Dark Side of the Art World (Praeger 2009) and the recent The Thefts of the Mona Lisa: On Stealing the World's Most Famous Painting (ARCA Publications 2011).

For more information on ARCA, please visit www.artcrime.info.

The Trustees of ARCA are pleased to announce the appointment of a new CEO, Lynda Albertson.

Ms. Albertson has a particularly well-suited suite of qualifications that set her apart. She comes to us from the post of Director of Programming at the American Institute for Roman Culture, which is, like ARCA, a US-registered 501c3 non-profit that functions in Italy which hosts students living and studying abroad and which runs conferences, lectures, and publications. This combination of direct experience in running an American 501c3 organization in Italy, and also experience dealing with students living abroad in Italy, combined with her location in Rome, her excellent contacts in Italy, her comfort functioning in an Italian context, and her Italian language abilities, make her an ideal candidate.

We at ARCA look forward to a long and fruitful period with Ms. Albertson at the helm. Ms. Albertson may be contacted at director "at" artcrime.info

In his regular column for The Journal of Art Crime, art law specialist Donn Zaretsky looks at the First Amendment rights of photographers in the Spring 2011 issue.

Mr. Zaretsky, an attorney with the firm John Silberman Associates and publisher of the Art Law Blog, asks the question "Can a state declare an entire subject matter off limits to photographers?" He questions the constitutionality of a proposed law recently introduced in Florida that would restrict digital or video recording of images taken by photographers without the written consent of the owner. "Clearly, what the legislature wants to do here is the one thing they cannot do: criminalize the PETA-style undercover farm videos," Zaretsky writes. "They can strengthen their trespassing laws, if they wish. But they cannot restrict speech "because of its messages, its ideas, its subject matter, or its content."

The Journal of Art Crime, edited by ARCA founder and president Noah Charney, is the first peer-reviewed academic journal on the interdisciplinary study of art crime. You may subscription to the Journal through ARCA's website (where you can also read guidelines for submissions) or   purchase individual subscriptions through Amazon.com.

Catherine Schofield Sezgin's article "The Skylight Caper: The Unsolved 1972 Theft of the Montreal Museum of Fine Arts" has been published in the fifth issue of The Journal of Art Crime (Spring 2011).

This article examines previously published articles on Canada's largest art theft, the 1972 unsolved theft of the Montreal Museum of Fine Arts, and compares the information with two principals involved with the museum and the investigation. It explores the ideas proposed in the last four decades as to who may have committed the theft and the alleged whereabouts of 39 pieces of jewelry and silver and the 17 missing paintings, including art by Rembrandt, Corot, Rubens and Courbet. This article describes the history of museum thefts in Canada, how the crime was committed, and some characteristics that may have made this museum and those paintings a target for theft.

Catherine Schofield Sezgin, a graduate from ARCA's Postgraduate Program in International Art Crime Studies in 2009, worked closely with Bill Bantey, retired journalist and director of public relations for the museum at the time of the theft, and Alain Lacoursière, retired Montreal police officer specializing in art crime.

You may read updates about the case on her blog, The Unsolved 1972 Theft of the Montreal Museum of Fine Arts.

The Journal of Art Crime is available via subscription through ARCA's website and from Amazon.com.