Panel VIII: Smart Collecting and Connoisseurship and When Art is Stolen

What’s wrong with this picture? Standards and issues of connoisseurship

Tanya Pia Starrett, MA HONS LLB, University of Glasgow

Solicitor

Crossborder Collecting in the XXI Century: Comparative Law Issues

Massimo Sterpi, Avvocato

Partner, Studio Legale Jacobacci & Associati 

Bicycles vs. Rembrandt

Martin Finkelnberg

Head of the Art and Antiques Crime Unit

Panel VII: Cultural Heritage and Armed Conflict, Reflections from Past and Present

File Zadar: New insights on art works taken from Zadar to Italy during World War II

Antonija Mlikota, PhD University of Zagreb
Assistant Professor of Art History, University of Zadar

IMCuRWG Blue Shield cultural assessment mission to Timbuktu

Joris Kila, PhD University of Amsterdam

Chairman of the ‘International Military Cultural Resources Work Group’ (IMCuRWG).

Universität Wien, Kompetenzzentrum Kulturelles Erbe und Kulturgüterschutz, Universität Wien, Alois-Musil-Center für Orientalische Archäologie, U.S. AFRICOM

A modern look at an Eternal Problem: Sixty years after the creation of the 1954 Hague Convention

Cinnamon Stephens, JD

Panel VI: The Mental Condition and its Role in Art Crime

'It's beyond my control' An historic and psychiatric investigation into the claim of bibliomania

Anna Knutsson MA (Hon) University of St. Andrews

Research Editor Smith Library

Art Vandalism from a Forensic Behavioral Perspective

Frans Koenraadt PhD

Professor, Universiteit Utrecht, Willem Pompe Institute of Criminal Law and Criminology

Two awards will be presented after ARCA's conference in Amelia:

Art Policing, Recovery, Protection and Security

Dr. Daniela Rizzo and Mr Maurizio Pellegrini, Soprintendenza Beni Archeologici Etruria Meridionale – Villa Giulia
(In) absentia to be presented in Rome in July

Past winners: Vernon Rapley (2009), Francesco Rutelli (2009), Charlie Hill (2010), Dick Drent (2010), Paolo Giorgio Ferri (2011), Lord Colin Renfrew (2011), Stuttgart Detective Ernst Schöller (2012), Karl von Habsburg and Dr. Joris Kila (Jointly – 2012), Sharon Cohen Levin (2013), Christos Tsirogiannis (2013)

Lifetime Achievement in Defense of Art Award

Anne Webber, founder and director of The Commission for Looted Art In Europe
(In) absentia to be presented in London this fall

The Tenth Islamic Manuscript Conference: Manuscripts and Conflict, 31 August-2 September 2014, will be held at Magdalene College, University of Cambridge, UK.

There will also be a special programme on 3 September 2014, including a workshop on disaster planning for Islamic manuscript collections. Please find more information about the conference programme online.

The Tenth Islamic Manuscript Conference will be an occasion to reflect on progress in conservation, preservation, cataloguing, digitisation and research relating to Islamic manuscripts and manuscript collections during the decade since the founding of the Association, and to look ahead to anticipated developments in these fields over the next ten years. The conference’s special theme — Manuscripts and Conflict — will also constitute a timely opportunity to consider the above subject areas within the intensifying contexts of acute social and political instability or military conflict. Invited keynote speakers, round table sessions, poster presentations and workshops will promote active participation in a cutting-edge discussion of these subjects.

Poster presentations

Students and other interested persons are encouraged to submit posters about their work with Islamic manuscript collections for presentation at the conference. Please find more information about this online.

On Saturday June 28 in Amelia, these presenters will make up the panel on fakes and forgeries at ARCA's Sixth Annual Interdisciplinary Art Crime Conference:

Would the real Mr. Goldie please stand up?

Penelope Jackson M. Phil, University of Queensland, MA University of Auckland

Director, Tauranga Art Gallery Toi Tauranga, New Zealand

Forgery and Offenses Resembling Forgery

Susan Douglas, PhD Concordia University

Lecturer (Assistant Professor) Contemporary Art and Theory, University of Guelph

In the Red Corner: “Connoisseurship and Art History”, and the Blue Corner: “Scientific Testing and Analysis” – Who’s right in determining Authenticity?

Toby Bull, Senior Inspector of Police, Hong Kong Police Force

Founder, TrackArt (Art Risk Consultancy), Hong Kong

By Camille Knop, ARCA '14 Intern

Professor Tom Flynn’s course, ‘The International Art Market and Associated Risk’, resumed last Monday with discussions on the tensions between the aesthetic and economic values of works of art. The class concluded two days later with the screening of Furcht, a 1917 German Expressionist film written and directed by Robert Wiene that explores the colonialist roots of collections and the magical haptic quality of works of art that moves one to possess them (even at the risk of one’s safety, in this case). In order to fulfill the course requirements, students composed a 1,500-word response to Gregory Day’s article, “Explaining the Art Market Thefts, Frauds, and Forgeries (And Why the Art Market Does Not Seem to Care).” This exercise allowed students to synthesize and expand on the consequences of the logic of art when put at odds (or not) with the logic of capital.

Professor Dick Ellis’ course (“Art Policing, Protection, and Investigating”) the second half of the week included student presentations on art-related crime, focusing on issues regarding due diligence, motivations, and legal and jurisdictional frameworks. Cases ranged from paintings stolen from private property, to an Egyptian pectoral stolen from a university library, to manuscripts smuggled out of Mali, to underwater archaeological looting. The weekend began with many students joining Professor Ellis at two local spots in Amelia: Bar Leonardi and Bar Vertigo.

Despite the forecast of heavy rain, students enjoyed various weekend activities without the stress of any coursework. On Saturday morning, a small group of eight went on an optional trip to Orvieto, which rests on a small plateau of volcanic tuff. After arriving at the foot of the city by bus at around 9:00 a.m., they enjoyed a ride up the funicular that took them right to the edge of the city walls. While some students visited a Roman double-helix well, others wandered around the city, which was preparing for an annual festival that afternoon. Eventually, everyone reunited in the Duomo di Orvieto, whose impressive exterior decoration drew them in like flies to bright lights. Luckily, the group left minutes before a large thunderstorm, which had been seen making its way through the valley towards the city.

By the end of the second week of the ARCA program, the initial nervous excitement of orientation and move-in had worn off, and students began to feel more comfortable as they established their daily routines. In my case, the owners of Caffe Grande, concerned with my poor Italian, have been helping me expand my vocabulary from simply “Grazie!” and “Ciao!” by teaching me alternative greetings through some very animated gestures and universal sign language. Although I was not yet prepared to help a lady who had asked me for directions that week, I was still ecstatic over the fact that I had even been asked! By the end of the second week of classes, ARCA students, including myself, have begun to feel (and apparently appear) less like newcomers and more like Amerini.

You may read about the first week of the program here.