"Conversation for Conservation" 

It is essential to tell a good story on a global level in an accessible manner through the various channels of digital media (e.g., FB, Twitter, Instagram), to foster conversation. This dialogue, in turn, leads to action, having a direct beneficial effect on sites and monuments because of the broad range of people and organizations involved through existing partnerships and participation."

During these months, overdue maintenance will be realised, the main entrance relocated, technical installations renewed, and the sustainability of the entire building shall be improved. The reconstruction works are jointly initiated by the Kunsthal, de municipality of Rotterdam – owner of the building – and architecture firm OMA. The board of the Kunsthal as well as the Mayor and Executive Board of Rotterdam have given their consent for the reconstruction works. 

Seen the scope of the renovation, it has been decided to extend the management of the Kunsthal with a business director, Bas den Hollander. 

The Kunsthal will be closed for visitors during its five months reconstruction works. Therefore, Friends of the Kunsthal and members of the Kunsthal Business Club are compensated and will receive a forthcoming letter with additional information.

Behind the scenes, the Kunsthal-team will continue to work on an exciting exhibition programme.

As from November 2013, we will be happy to welcome you in a beautiful renovated and sustainable building.

In 1990, two thieves dressed as Boston police officers told the museum night guards on duty that they were responding to a call. The thieves passed the sole security door. There was just one alarm button at the time; only motion detectors traced their movements. There were no cameras. A mere 81 minutes later, they were in possession of the masterpieces worth, today, half a billion dollars. The investigation is ongoing. 

The new building could have been a fortress. But that would have made the theft the focal point of how we would perceive the museum. Instead, the colorless glass entry, the brick walls, even the enclosed corridor that passes from the new building through a grove of trees into Gardner’s historic courtyard serve as practical access controls. There are no doors for the public to the original Gardner mansion. A thief would now have to walk through a transparent glass tunnel, into the new building, and out a security door for the easiest exit. Though counterintuitive, its openness makes it more secure. 

While the museum is watched by hundreds of cameras, the new structure is designed to relieve some of the stress from Gardner’s old home by shifting the burdens of exit and entry to the much more modern and secure building. “There is simply no place in the museum where a thief can just grab art and get outside,’’ Anthony Amore, the head of museum security and author of “Stealing Rembrandts,’’ said.

New computer at Afghan Archaeology Office in Kabul  (Photo via The Buddhas of Aynak on Facebook)

The China Metallurgical Group said in June it will close the site to archaeologists and begin preparing the area to make way for a massive copper mine that will bring in an estimated $100 billion in revenue, of which $3 billion will be paid to the Afghan government. Archaeologists fear that everything will be destroyed, including artifacts from undiscovered levels beneath the Buddhist monuments that may date back to 3000 B.C., during the Bronze Age. 

Though the mine will go forward no matter what, there is still a chance — a small chance — that the excavation site could exist alongside it.

“Miracles can happen,” says Kenoyer, which is one reason he agreed to travel for the first time to the heart of Taliban country to help make a dramatic case for preserving this vital piece of global heritage. 

Around the world, archaeological sites are threatened by war, environmental degradation, mining, dam-building, and even mass tourism. Rebellions in Libya, Syria and Mali have endangered not only the lives of millions of people, but thousands of years of human history. 

Archaeologists and anthro-pologists play an increasingly vital role in communicating not only the importance of what will be lost, but the potential benefits to tourism and culture if it can be saved. In the digital age, the impact of a well-crafted story, or petition, or documentary can resonate much further than it might have 15 years ago.

Oskar Kokoschka's "Portrait of Tilla Durieux" (1910) Museum Ludwig/Marcus Stroetzel via Bloomberg

“Portrait of Tilla Durieux” (1910) has been in the Museum Ludwig in Cologne since 1976. Flechtheim’s great-nephew Mike Hulton, a medical doctor based in California, filed a claim for the painting’s restitution in 2008, saying the dealer sold it under duress and didn’t get a fair price. The museum said Flechtheim was already in financial trouble before the Nazis came to power and sold the painting to pay off debts. 

“The view of the advisory commission is that this case cannot be exhaustively clarified,” the panel, led by former constitutional judge Jutta Limbach, said in a statement. “Because of an absence of concrete evidence, it is to be assumed that Alfred Flechtheim was forced to sell the disputed painting because he was persecuted.”

Francisco Goya's Witches in Air, 1798 Museo del Prado, Madrid, Spain

Three bare-chested characters wearing dunce caps hold a fourth, nude character in the air while another lies on the floor, covering his ears, A sixth figure flees, his head covered with a white cloth. With his hand, he makes the gesture intended to protect him from the evil eye. At the right of the scene, a donkey stands out against the neutral background.

Federal investigators have concluded that thieves armed with detailed shipping information were behind the removal of a Goya painting from a truck en route to the Solomon R. Guggenheim Museum from Ohio last week, law enforcement officials said Friday. 

The 1778 painting, “Children With a Cart,” was packed inside several nested crates aboard a locked unmarked truck used by a professional art transporter. The crated painting was removed from an outer shipping container in the truck while it was parked at a Howard Johnson Inn near Bartonsville, Pa. 

The two drivers checked into the hotel around 11 p.m. on Nov. 7, according to the motel manager, Faizal Bhimani. He said the white midsize truck was left in an unlighted parking lot adjacent to the hotel, out of sight of the hotel’s rooms and the main office. 

When the drivers returned to the truck at about 6:30 a.m. on Nov. 8, the locks had been broken and the painting, insured for $1 million, was gone, law enforcement officials said, speaking on condition of anonymity.

Robert K. Wittman, former head of the FBI's Art Crime team and now a security consultant in Philadelphia, notes that history's most infamous art thefts, including the 1990 Isabella Steward Gardner Museum heist in Boston, targeted works hanging on walls, not in transit. But he adds that art on the move is at its most vulnerable. 

Mr. Wittman helped recover a 1778 Goya masterpiece stolen off a truck in Pennsylvania in 2006 en route from the Toledo Museum of Art in Ohio to the Guggenheim in New York. In that case, its two drivers made the dumb decision to check into a motel for a nap. They returned to find their parked truck busted open and the unmarked Goya crate gone. The thief didn't know what he had, and said he wanted to get rid of it. He didn't destroy the painting because "it kind of grew on me." He had a lawyer contact authorities saying he had found it in his basement—there was a $50,000 reward—but wound up pleading guilty and being sentenced to five years in prison.