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September 16, 2012

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Movies "The Maiden Heist" and "St. Trinian's" offer fun comic twists on the art heist caper

Worcester Art Museum's Renaissance Court (WAM)
by Catherine Sezgin,
 ARCA Blog Editor-in-Chief

In Southern California from where I edit this blog, the hot weather here is a great time for cleaning out offices and watching art crime movies.  Here's this week's picks:

The Maiden Heist (2009, now on DVD) tells of how three bland security guards (played with dry humor by Morgan Freedman, Christopher Walken, William H. Macy) steal their favorite works of art which have been targeted to move from Boston to Denmark.  The art works featured were created for the movie.  The Maiden Heist is a love story about the personal magnatism of art and its ability to transform our lives by love as shown in the movie's subplot (Marcia Gay Harden plays the wife of Christopher Walken, a hardworking beautician with dreams of a warmer climate).  This heist movie was partially filmed at Massachusetts' Worcester Art Museum.  In December 2007 the Worcester Art Museum "allowed movie makers to transform its Renaissance Court and galleries into a set for the $20 million feature film The Maiden Heist" (ARCA Trustee Anthony Amore and journalist Tom Mashberg in their book Stealing Rembrandts (Palgrave Macmillan, 2011).

Forty years ago, on Wednesday, May 17, 1972, two men hired by Florian "Al" Monday entered the Worcester Art Museum late in the afternoon and removed four paintings from the walls 'in such a methodical manner' that museum 'visitors assumed the thieves were museum employees doing their jobs' (Stealing Rembrandts, page 42).   Then the two thieves 'remembered to pull down the blue-and-orange ski masks' (SR), placed the selected paintings into sacks, and walked to the main entrance of the museum.  Unfortunately, museum guard Philip J. Evans grabbed one of the thieves and was shot.  The four paintings (Gauguin's Brooding Woman and Head of a Woman, Picasso's Mother and Child, Rembrandt's St. Bartholomew) were later recovered.

The DVD for The Maiden Heist showed a trailer for St. Trinian's, a comedy about free-spirited girls who save their boarding school from bankruptcy.  Under the tutelage of a criminal played by Russell Brand, the students concoct a plan to steal Vermeer's The Girl with the Pearl Earring from the National Gallery in London (this painting is owned by the Mauritshuis in The Hague). The caper involves blowing up sewer gates, high wire climbing, and dancing through security beams. A copy of Vermeer's painting is sold on the 'black' market and the original is found by a couple of St. Trinian's schoolgirls.

Both movies can be viewed by middle-school and high-school students.

Other paintings of St. Bartholomew by Rembrandt can be found at the Timken Museum of Art in San Diego's Balboa Park and Los Angeles' Getty Center.

September 13, 2012

Thursday, September 13, 2012 - ,,, No comments

Documentarian Brent Huffman Warns of Dangerous Precedent Being Set in Afghanistan if Mes Aynak is destroyed in order to mine copper

Brent Huffman filming one of the temples
set for destruction (Frank Petrella) 
by Catherine Sezgin, ARCA Blog Editor

Documentary filmmaker Brent E. Huffman will return to Mes Aynak this December for what some archaeologists call the ‘funeral’ of the ancient site which will be cratered to extract copper (valued at over 100 billion dollars) underground, potentially setting a dangerous precedent for other ancient sites on top of gold, copper, oil and coal mines in Afghanistan.

“My documentary finishes in December which feels like the definitive end to the site,” Huffman said. “I started out with the goal of capturing what is there and to record the difficult process of salvaging objects. But I have come to hope that maybe I can help raise awareness to actually save Mes Aynak, or at least postpone its destruction.”

Huffman and German Camera Productions initially set out to record the Buddhist monasteries and stupas in “the red zone” of this ancient city before a Chinese state-owned company, China Mettalurgical  Group Corporation, (MCC) begins work on a 30-year lease (for which they paid $3 billion) to extract copper by demolishing the entire mountain range.


Abdul Qadeer Temore, lead Afghan archaeologist, working
on the large standing Buddhas. (Brent Huffman)
“My fear is that Mes Aynak will be a precedent and that every site with gold, copper, oil or iron underneath will also be dealt with by this same standard. This is what happens to cultural heritage. This Bronze Age site will be gone when the mountain range is destroyed and all the Afghans will be left with is a toxic crater that will pollute the river and the environment. The future of Afghanistan will be a rush job of leaving polluted craters that will destroy the environment and the cultural heritage.”


The December deadline to end rescue archaeological efforts is pretty firm, according to Mr. Huffman’s discussions with the Afghan Ministry of Culture and the U. S. Embassy. “But the big question is are the Chinese ready to start mining?”

The Mes Anyak archaeological site was rediscovered in the 1960s. Researchers now believe the site not only provides artifacts from the 1st through the 5th centuries but also going back to the Bronze Age. The 400,000 square meter site was never fully excavated or protected from looting during the decades of almost continuous fighting in Afghanistan.

A head sculpted in the Gandhara style. (Brent Huffman)
“Archaeologists are frantically performing rescue archaeology which is pretty destructive. Like looting, much of the context gets lost as archaeologists rush to salvage moveable objects,” Huffman said, explaining that DAFA, the French archaeological delegation, and Afghan archaeologists have worked intermittently over the past two years through harsh weather and dangerous war-zone conditions at this former Al Qaeda training camp.

“My understanding is that archaeologists were given three years to complete a project that should take up to 30 years,” Huffman said. “The area is so dangerous. Last summer a worker uncovered a land mind which blew up in his face.”

“This is an important project to a small group of Afghan archaeologists who have worked at the site for the past two years,” Huffman said. “International archaeologists have visited the site in an advisory capacity but the accessibility has been limited by ongoing military conflict.”

Local people from Logar province have been involved in the digging and the unearthing structures, according to Huffman.

Afghan archaeologists work with crude tools and often protection of the artifacts is limited to coverings by plastic tarps and wooden crates.

“Afghanistan is the Wild West with so much corruption,” Huffman said. “What I don’t like about the argument of mining ‘responsibly’ and ‘preserving’ cultural sites is that in the end it won’t be good for Afghanistan. The money will be lost in corruption, the high-level jobs will go to the Chinese, and the locals will get the low paid slave labor jobs. Plus, the toxins left over from mining will be in the ground permanently. Advocates for Mes Aynak have tried to get cooperation between the mining and cultural preservation but it doesn’t seem that anyone involved sees any value in the Mes Aynak site.” 

A Buddhist stupa from Mes Aynak (Huffman)
“The US Military will be pulling troops out of Afghanistan in 2014 which is not good,” Huffman said. “The World Bank has put in a lot of money to support the mining yet there’s a shortage of funds to support the archaeological work. For example, the Czech Republic promised $5,000 to the Afghan team for computers and digital cameras but I was told that the money was stopped from coming through.”

Huffman plans to return to Mes Aynak in December. “In October there will be some 3-D reconstruction work and I will send someone to film that if I can’t go. I will be there in December for what the archaeologists call the ‘funeral’ and I hope we can stop it from happening. There is something so disrespectful about blowing up the site. It’s troubling to have no reverence for the past as if someone is looting your grandparents’ cemetery.”

“In Mes Aynak, the silence gives me a sense of connection to the past,” Huffman said. “My mind floods with what life was like in this vibrant city. Recklessly destroying it is like erasing history.”

“The resilience of this site amazes me,” Huffman said. “It has been through so much as a major hub on the Silk Road. The murals and statues are so fragile and yet they have survived harsh winters, floods and snow and fighting amidst land mines and rocket attacks. Yet Mes Aynak still manages to survive and pull people in who fall in love with it and want to save it.”

“Most Afghans don’t know that this is happening because there’s been no coverage in the local media,” Huffman said. “Americans think of Afghanistan is terrorists or victims or terrorism but it’s not that – Afghans are warm, friendly and open-minded people. The Buddhist sites are a testimony to Afghanistan’s past. The Taliban are an external force that destroyed the Buddhas of Bamiyan and now the Chinese mining company will do the same thing at Mes Aynak. Afghans need someone like UNESCO to push back against these money deals that don’t care about cultural heritage, but this is not happening today.”

Here's a link to the petition to President Hamid Karzai to prevent the destruction of the archaeological site Mes Aynak and a relevant Facebook page, The Buddhas of Aynak.

Here's a link to the article Huffman wrote for the Asia Society on this subject.

September 11, 2012

Tuesday, September 11, 2012 - ,,, No comments

Mes Aynak's archaeological wealth from the Bronze Age to ancient Buddhists threatened by excavation of world's second largest copper deposit

An Afghan archaeologist examines
 a Buddha in Mes Aynak (Penn Museum)
by Catherine Sezgin,
ARCA Blog Editor

What are Buddhas doing in Islamic Afghanistan?

In addition to the gigantic Buddhas destroyed by the Taliban in 2001, another Buddhist site, Mes Aynak, in Afghanistan is being threatened by the country's desire to improve its economy by extracting natural resources.

Archaeologist believe Afghanistan may have been farmed by humans for as long as 50,000 years. Today's war-torn Afghanistan, with commercial centers and an art culture dating back to the Bronze Age, was controlled by numerous empires and dynasties -- Aryans and the Medes, Achaemenid invasion and Zoroastrianism, Greco-Bactrian rule, Maurya Empire, Sassanid Empire, and the Shahi dynasty. Darius the Great marched his Persian army into the region in 500 BC, almost two centuries before Alexander the Great defeated Darius III. The inhabitants of the area traditionally practiced Hinduism then Buddhism when it became part of the Kushan Empire in the first century.

Located 18 miles south of Kabul, the ancient site of Mess Aynak was rediscovered in the mid-20th century. Now archaeologists have less than four months to extract artifacts from Mes Aynak before a Chinese company begins mining the world's second largest copper deposit.

The Alliance for the Restoration of Cultural Heritage (ARCH International) explains in a video the cultural importance of the monasteries and fortifications of Mess Aynak and the other pottery and jewelry found at this 5,000 site. The organization asks that responsible mining methods be used to help preserve the most important archaeological sites.

Here in a CNN video, documentary filmmaker Brent E. Huffman also shows the archaeological digs at Mes Aynak which will be closed in December. According to Mr. Huffman, it would take 30-35 years to properly excavate this site.

A petition to President Hamid Karzai requests the preservation of the ancient site of Mes Aynak. Here's a link to the petition.

Another petition sponsored by the Association for Protection of Afghan Archaeology (APAA) with more than 13,000 signatures asks UNESCO to include Mess Aynak, Afghanistan, on the Endangered Sites and the World Heritage List.

Afghanistan ratified UNESCO's 1970 Convention in 1979.  Two cultural sites are listed on the World Heritage List: Cultural Landscape and Archaeological Remains of the Bamiyan Valley (2003) and Minaret and Archaeological Remains of Jam (2002).

Here's a link to the Penn Museum blog with a post about Mess Aynak.

September 9, 2012

Sunday, September 09, 2012 - ,, No comments

Postcard from LA: Street Art at La Brea-Beverly amongst chic fashions and Hasidic Jews

Street art tucked away in corner of car wash at La Brea and Beverly in Los Angeles.
by Catherine Sezgin, ARCA blog editor-in-chief

Graffiti and street art can be found in the Los Angeles neighborhood around the intersection of La Brea and Beverly Boulevard of expensive beauty salons and clothing boutiques amongst a community of Hasidic Jews.

Yesterday a gas station and car wash displayed a rumored Banksy work that has been covered up for years.  When I took a few photos with my phone camera, a worker told me, "Ten dollars for a photo." I laughed and he didn't push the point.

Another artwork reputedly by Banksy boarded up is proposed for an auction sale according to one consultant.

Boarded up Banksy may be sold at auction


For your fun, here are a few photos of designs visible on September 6, 2012.

"SMILE YOUR BEAUTIFUL" by WhIsBe posted on a utility box in front of a sidewalk portrait.

Art pasted on utility box

Sidewalk portrait


September 7, 2012

Friday, September 07, 2012 - ,, No comments

ARCA Opens Application for 2013 Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection

View of the civic tower from the garden of Palazzo Farrattini
The official application period for ARCA's 2013 Postgraduate Certificate Program in Art Crime and Cultural Heritage Protection has opened.

The Association for Research into Crimes against Art (ARCA) 2013 Postgraduate Certificate Program in International Art Crime and Cultural Heritage Protection Studies will be held from May 31 through August 12, 2013 in the heart of Umbria in Amelia, Italy.

This interdisciplinary program offers substantive study for art police and security professionals, lawyers, insurers, curators, conservators, members of the art trade, and post-graduate students of criminology, law, security studies, sociology, art history, archaeology, and history.

In its fifth year, this academically intensive ten week program provides in-depth, postgraduate level instruction in a wide variety of theoretical and practical elements of art and heritage crime. Students will explore its history, its nature, its impact, and what is currently being done to mitigate it. Students completing the program earn a postgraduate certificate under the guidance of internationally renowned cultural property protection professionals.

This program will expose participants to an integrated curriculum which occurs in a highly interactive, participatory, student-centered setting. Instructional modules include both lectures and “hands-on” learning from case studies, in situ field classes and group discussions. At the end of the program, participants will have a solid mastery of a broad array of concepts pertaining to cultural property protection, preservation, conservation, and security.

Students explore such topics as: art crime and its history; art and heritage law criminology; art crime in war; the art trade; art insurance; art security; law enforcement methods; archaeological looting and policy; cultural security; and art forgery.

At the close of the 10 week lecture portion of the program each candidate must complete a considerable piece of written work demonstrating original and significant research. ARCA assigns a supervisor to oversee the research. The supervisor provides final approval of a finished paper, which should be of publishable quality. After completion of all program coursework and the final paper a student is awarded ARCA’s postgraduate certificate in Art Crime and Cultural Heritage Protection.

Important Dates:

November 15, 2012 - Early Application Deadline
January 15, 2013 - Application Deadline
April 2013 - Advance Reading Assigned
May 30, 2013 - Students Arrive in Amelia
May 31, 2013 - Welcome and Orientation June 01, 2012
June 3, 2013 - Classes Begin
June 21-23, 2013 - ARCA Annual Conference
August 9, 2013 - Classes End
August 10-11, 2013 - Students Housing Check-out **
Nov. 15, 2013 - Research Paper Submission Deadline

**Some students stay a few days longer to participate in the August Palio dei Colombi, Notte Bianca and Ferragosto festivities.

For questions about programming, costs, and census availability, please write to us for a complete prospectus and application at: education@artcrimeresearch.org.

September 5, 2012

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40th anniversary of Canada's biggest art theft quietly passes

This painting by Rembrandt was stolen from
the Montreal Museum of Fine Arts
 in 1972 and remains missing. 
by Catherine Schofield Sezgin,
 ARCA Blog Editor

Forty years ago today three men robbed the Montreal Museum of Fine Arts -- they have never been caught and 17 of the paintings have never been found.

When three men stole 18 paintings by such well-known artists as Rembrandt, Corot, Courbet, Breughel and Millet from the Montreal Museum of Fine Arts on September 4, 1972 it was the largest art theft in North America.  The thieves have never been arrested for this art heist and the pictures remain missing but it was not the perfect crime.  The setting off of an old security alarm scared the thieves off and prevented them from stealing more art.  And the attempt to ransom back the loot, which also included 39 pieces of jewelry and decorative art, failed.

One of the difficulties of describing the robbery of the Montreal Museum of Fine Arts in 1972 is that the police do not show the crime's files to journalists or researchers since the case remains open.  Luana Parker's reporting after the heist for The [Montreal] Gazette under the headline "Art worth $2 million stolen from museum" provided the foundation for much of information about the thieves' physical description and how they stole the paintings and 39 pieces of jewelry and decorative art. Her work is footnoted in an academic article on this subject published in the Spring 2011 issue of The Journal of Art Crime. Five years ago, retired journalist Bill Bantey, the museum's director of public relations and the first official alerted to the art heist, wrote an article about the theft. In 2009, I met with Mr. Bantey and retired Montreal police officer Alain Lacoursière to piece together information about the theft.  Mr. Lacoursière discussed information he recalled from working on the case in the 1990s while investigating art crime.

Here's a synopsis of my version of the art heist nicknamed "The Skylight Caper" (by columnist L. Ian MacDonald writing "Montreal this morning" for The Gazette in 1975):

The Montreal Museum of Fine Arts was robbed in the early hours of Labor Day on September 5, 1972. The city had plenty of distractions that weekend. On Friday night, three men set fire to the Blue Bird Café and Wagon Wheel killing 37 people of the 200 trapped on the supper floor of the country western bar.  On Saturday night, Canada's national hockey team lost 7-3 to the "amateur" team from the Soviet Union which stunned overly confidant fans.  Sunday's newspapers were filled with stories about the victims from Montreal's fatal fire, otherwise Montreal residents were looking forward to a rematch against the Russians in Toronto the next day and marking the end of a summer exposition with fireworks.

The Montreal Museum of Fine Arts, the city's most prestigious art gallery was expecting a quiet weekend. The museum's director, its head of security, and even the president of the Board of Trustees were on vacation in Mexico and the United States. The 60-year-old building housing the art collection, created through donations from some of Canada's wealthiest residents, had a skylight under repair and was scheduled to be closed for a major renovation.

Early Monday morning a man wearing "picks" on his boots (similar to equipment worn by telephone and utility repair personnel) scaled a tree outside of the building on Sherbrooke Street to reach the roof. He found a construction ladder, slipped it down to the ground for two more men to join him on top of the museum building.  The three men walked over to the skylight under construction and opened it up. A plastic tarp laid down by the construction crew had de-activated the skylight's alarm. The thieves, who had a 12-pump shotgun and a .38 Smith and Wesson handgun, slid down nylon ropes at about 1.30 a.m. They ordered a security guard to lie down on the floor, when he did not move quickly enough, two shots were fired into the ceiling. Two more guards arrived and the thieves tied up the three guards.  While one man watched the security guards, the other two men gathered up paintings, jewelry and other valuable portable objects.  Luana Parker cites this description of the thieves from the police report:
They said they saw two long-haired men, about five feet, six inches tall, and wearing ski hoods and sports clothes.  One spoke French, the other English.  But they heard another French voice of a man they never saw.
The thieves planned to escape in a museum panel truck parked in the garage.  However, one of the thieves "tripped the side-entry alarm on his way out with the first load, the men ran out, taking what they could" (Parker).

While Parker reported that the thieves "escaped in a panel truck", Alain Lacoursière told me that the thieves ran out of the building, carrying only half of the paintings that they had selected.

Bill Bantey, the senior museum official on duty that weekend, received a phone call from the head security guard about an hour after the thieves had escaped.  He told the security guard to call the police, and then Bantey went down to the museum in the early morning hours.  Ruth Jackson, a long-time museum curator, also arrived at the museum, now a crime scene, and would describe later what she saw:
There was a sea of broken frames and backings, and smashed showcases.  Upstairs in the room where the major theft took place, it was just devastation.  They'd cleaned it out completely. 
For the second pile, they'd gone around selecting from various rooms.  I shudder when I think what might have been if they hadn't opened that door ... With what they'd proposed to remove, if they'd been undisturbed -- it was just like they meant a general clear out of the museum.
Mr. Bantey organized a press conference a few hours later and released information about the stolen paintings.  Only one painting was recovered a few months later.

You can read more about the theft on my blog here and see images of the stolen paintings.

August 31, 2012

Friday, August 31, 2012 - ,,,, 1 comment

Approaching 40th anniversary of Canada's largest art theft: Montreal Museum of Fine Arts, September 4, 1972


by Catherine Schofield Sezgin, ARCA Blog Editor

Forty years ago, someone was plotting the largest art theft in Canadian history.  The plan was to steal the Montreal Museum of Fine Arts’ masterpiece paintings over Labor Day Weekend.  Although the thieves aborted the job and ended up taking fewer paintings, the three men who entered the museum on September 4, 1972, have never been arrested or imprisoned for this robbery.

In 1972, the art collection was housed in a three-story building that was already 60 years old.  Workers had been on the roof repairing a skylight for weeks.  The thieves may have been one of the people who had sat in chairs on the roof seeking relief from the sweltering August heat.  They would have had the opportunity to watch the routines of the security guards, typically unarmed university students also charged with managing the parking and traffic around Canada’s oldest art institution.

Summers in Montreal are typically hot and humid and nearly empty.  Residents traditionally retreat to the Laurentian Mountains or south of the Canadian border to escape the heat.  On that weekend, the museum’s president of the board of trustees, its director, and security director had all fled to the United States and Mexico for their holidays leaving Bill Bantey, the museum’s director of public relations, the most senior museum official on duty that weekend.

Mr. Bantey, a political and criminal journalist who had also worked for two decades for the Montreal Museum of Fine Arts, was my mentor in 2009 when I traveled to Montreal to study this unsolved museum theft.  I was not allowed to read the police files on this still-open case although I met twice with a semi-retired Montreal police officer, Alain Lacoursière, who told me what he recalled from his investigation and his recollection of the information in the files.  Mr. Lacoursière appeared to have been the only one to investigate the case in recent years.  Both Mr. Bantey and Mr. Lacoursière had appeared in a film, Le Colombo d’Art, which identified a suspect in the theft who refused to confess or release information as the whereabouts of the stolen paintings supposedly by Rembrandt, Jean Brueghel the Elder, Jean-Baptiste-Camille Corot, Gustave Courbet, Honoré Daumier, Ferdinand-Victor-Eugène Delacroix, Narcisse-Virgile de la Peña, Thomas Gainsborough, Jan Davidsz de Heem, Jean-François Millet, Giovanni Battista Piazzetta, Peter Paul Rubens, and François-André Vincent.

The museum opened its archives to me and I spent days reading about the stolen paintings and jewels.  Many articles had been written in the more than 35 years since the robbery on the theft, the attempted ransom, and speculation on the whereabouts of the missing 17 paintings.  In separate conversations with me, both Mr. Bantey and Mr. Lacoursière believed that the paintings had not been destroyed and had probably been sent out of the country to a jurisdiction friendly to members of organized crime who spent Quebec’s cold winters in warmer southern climates.

On this anniversary I find myself wondering about the three thieves who climbed up onto the roof of a three-story building, opened up an unsecured skylight, and vaulted down ropes into the museum.  At least one of the three carried a gun and shot off a round when the first guard hesitated to drop to the floor.  Then the thieves tied up three guards and spent about one-half to an hour in the museum selecting 39 paintings, which also included works by El Greco, Picasso, Tintoretto, and a second Rembrandt.  The thieves piled up the paintings and then one of them opened the door into the garage where they had planned to use a museum van to escape.  However, the alarm to that door was engaged and frightened the thieves who did not know that the alarm was not hooked up to a source outside of the museum.  The thieves panicked, grabbed the paintings they could, and supposedly escaped on foot out of the museum down Sherbrooke, a major east-west boulevard that transverses the city from some of the wealthiest residential neighborhoods passed McGill University and the École des beaux-arts.

I think about the three thieves running supposedly unseen down the street with more than $2 million worth of insured paintings.  Was this their first theft? Did they steal again? Were they art students paid to rob the museum for an ‘art dealer’ who’s clients were willing to purchase stolen paintings?

In the 1966 art heist movie How to Steal a Million starring Peter O’Toole and Audrey Hepburn, two thieves rendezvous in the bar at the Ritz Hotel in Paris the day after committing the robber: “We did it! Did you see the paper and the television? Did you hear the radio? It’s the crime of the century, practically, and we did it!”

Who wants the bragging rights to having robbed the Montreal Museum of Fine Arts more than four decades ago?

You may read more about Canada's largest art theft on my blog here.

August 30, 2012

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Violence escalates in Bamiyan, killing 5 New Zealand soldiers in the last month, and threatening an ancient culture and people as troops plan to withdraw from Afghanistan

Last month on the ARCA blog we interviewed Oxford's Llewelyn Morgan, author of the book, The Buddhas of Bamiyan (published in the United States by Harvard University Press). Last week at City Lights Bookstore in San Francisco, I was fortunate to find a copy of this compact account of the history of how Buddhist statues survived for more than 1,000 years in an Islamic country. Today, Laurie King for the Los Angeles Times, reports escalating violence, including the deaths of five New Zealand soldiers in the last month, in the province of Bamiyan. (You can view the moving video of the Maori funeral Haka farewell dance at the funeral of three of the soldiers last week). Formerly considered a stable region, Afghan police died in bombing attacks in July, and last year the Taliban kidnapped and beheaded Jawad Zehak, Bamiyan's provincial leader. The two gigantic Buddhas, which overlooked a valley of commerce for centuries, survived Ghengis Khan and others until destroyed by the Taliban in the spring of 2001. Additional information about the history of the area and the archaeological importance of what remains can be seen on UNESCO's website on the Bamiyan valley; through the website of the Sacred Land Film Project; and through the website of the Association for the Protection of Afghan Archaeology.

Thursday, August 30, 2012 - ,,,, No comments

How Playing Cards Protect Archaeological Sites in Combat Zones

This summer 'Voice of America' reporter Nancy Greenleese discussed with ARCA's Writer in Residence Laurie Rush ("It's all in the cards Inside Europe") how the military uses images on the back of playing cards to protect archaeological sites located in combat zones. Here's a link to the radio broadcast and here's a link to the printed interview.

August 27, 2012

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"Q&A on Art Crime in Canada" in the Spring/Summer 2012 issue of The Journal of Art Crime

Editor-in-Chief Noah Charney features "Q&A on Art Crime in Canada" in the Spring/Summer 2012 issue of The Journal of Art Crime. You may read the rest of this interview in The Journal of Art Crime by subscribing through ARCA's website.
In 2008 the Sureté du Quebec, in collaboration with the Royal Canadian Mounted Police, established the first national art crime investigation team in Canada’s history. The four-man team is now led by Jean-Francois Talbot, who has worked since 2003 with Alain Lacoursiere, an art historian and retired member of the Montreal police. Lacoursiere, who has been nominated for an ARCA Award, helped in the development of an art crime team in Canada and a system called Art Alert, which is an email bulletin sent out to 25,000 subscribers in 75 countries, largely members of the art community and police departments. Between 2004 and 2008, a combined force of agents from the Sureté du Quebec and the Montreal police department investigated around 450 art crimes, made 20 arrests, and seized over 150 stolen or forged artworks, with a total estimated value of around $2 million. The newly-established art crime team handles an average of 90 art crime cases per year. ARCA interviewed the art crime team, including Alain Dumouchel, to learn a bit more about art crime and investigation in Canada.

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