Ryan Casey looks at "Analyzing Criminality in the Market for Ancient Near Eastern Art" in the Spring 2015 issue of The Journal of Art Crime, edited by Noah Charney (with Marc Balcells and Christos Tsirogiannis) and published by ARCA:

Similar to other criminally deviant transnational markets, the trade of Near Eastern artifacts involves powerful participants exerting influence over regulative and law enforcement systems in order to manipulate and exploit the market to their advantage. The emphasis in this paper is on the perceptual factors attributed to the power of these offenders and how that can be further manipulated to excuse and perpetuate criminal activity. By exploring criminological theories concerned with crimes of the powerful, neutralization techniques, and sociology theories based on the idea of philanthropic power crimes, we gain a clearer understanding of this criminal scheme. Through case studies specifically involving Near Eastern art, it becomes apparent that perceptual power sustains the illusion of social distinction and boundaries between those in the trade and academic field of Near Eastern art and those not involved, and also how these boundaries encourage a false sense of legitimacy and acceptance of deviant behavior.

On January 17, 1893, a group of influential American businessmen residing in Hawai’i staged a coup to overthrow the Hawaiian monarchy. The illegal occupation and subsequent annexation of Hawai’i by the United States threatened the Hawaiian culture with extinction. Today, three Honolulu museums – Bishop Museum, the Honolulu Museum of Art, and ‘Iolani Palace – are striving to right the wrongs perpetrated against the Hawaiian nation by reviving, promoting, and celebrating Hawaii’s unique history, culture, and art. Their efforts are helping to salvage an endangered heritage by educating the public, Hawaiian and non-Hawaiian alike, about Hawaiian culture. Each in its own way is inspiring a resurgence of Hawaiian identity and a newfound pride in a nation whose language, customs, and art had been nearly eradicated. Like the newly emerging “museums of social justice,” they are raising public awareness of controversial issues in Hawaiian- American relations and inviting dialogue over contentious topics. 

Carolyn EmBree and David A. Scott wrote on "The Multifarious Nature of Art Forgery in France:  Four Case Studies of Belle Époque Fakes and Forgeries" in the 13th issue of The Journal of Art Crime, in the 2015 Spring Issue, edited by Noah Charney (with Marc Balcells and Christos Tsirogiannis) and published by ARCA.

For the insatiable consumer culture that first appeared 19th-century France, fine art objects were among the luxury goods they coveted since these items served as markers of an elevated social status. While this situation certainly created a financial incentive for dishonest art dealers to supplement the elevated demand, issues surrounding art fakery and forgery during the Belle Époque were sometimes more complicated than economic forces during this period. In the pursuit of understanding these more complex issues relating to artistic authenticity, we hope to illustrate that in distancing ourselves from the simplistic notion that profit alone drives art crime, we are better equipped to appreciate the subtleties within the larger notion of art forgery itself. In this article, we present four cases: the Tiara of Saïtapharnès, Mailfert’s furniture, Schuffenecker’s alleged sunflower painting, and the Rodin sculptures of Guy Hain. We will focus on the hermeneutics involved in each of the examples in question, as well as the characteristics that challenge their authenticity. In doing so, we argue that the multifarious nature of these cases serves to further extend the ambit of art forgery, while simultaneously raising the issue of whether such an expansive conception of forgery can negatively color perceptions of the objects and artists it implicates.

Big things are happening for the Journal of Art Crime. After several years courted by a number of academic journal publishers, we have signed on with HeinOnline, a provider of e-edition journals to thousands of libraries around the world, making the JAC accessible via their subscription service to researchers the world over. It remains the more cost-effective method to subscribe to us directly, and the only way to receive print subscriptions, but our goal to disseminate the fine articles in this publication to as many researchers as possible made this a good move. We are also about to release an essay collection that features work published in the JAC, as well as more than a dozen new essays by over thirty leading international experts, many of whom have already appeared in these pages. The book, entitled Art Crime: Terrorists, Tomb Raiders, Forgers and Thieves will be published by Palgrave towards the end of 2015/start of 2016, and all proceeds from it support ARCA. We are also putting together new symposia for the fall and winter in the UK, so stay tuned for more good things to come.

Dear Colleagues,

The Islamic Manuscript Association, in cooperation with the Thesaurus Islamicus Foundation and the University of Cambridge and with the support of Harvard University, is pleased to announce an inaugural short course entitled Islamic Manuscript Collections in Conflict Zones: Safeguarding Written Heritage, hosted by the University of Cambridge from 5 to 7 October 2015.

This intensive, three-day course is intended for academics, policy makers, cultural experts, lawyers and military experts, and will also be of interest to conservators, librarians, art historians, and other researchers working with Islamic manuscripts and documentary heritage in conflict areas. Ten speakers will introduce the concepts and mechanisms that underpin cultural property protection in the present day and educate participants in best practices of managing, protecting, and preserving manuscript collections at risk. Individual case studies will concentrate on Bosnia, Iraq, Libya, and Mali, while presentations and roundtables will be structured around the themes of the legal aspects of cultural property protection, military involvement in cultural property protection, and the destruction of memory.

To register your interest, please fill the application form found at: goo.gl/qBDlIK.

Scholarship Opportunity: The Islamic Manuscript Association is also pleased to offer a scholarship for a place on the course. Sponsored by the Barakat Trust, this scholarship will enable a senior conservator, codicologist, librarian, art historian, curator, researcher, or any other scholar or specialist of Islamic manuscripts who resides in the Islamic world to attend the full course.

Best wishes,

Armin

------
Armin Yavari
Assistant Director
The Islamic Manuscript Association
c/o 33 Trumpington Street
Cambridge CB2 1QY
United Kingdom
T: +44 (0)1223 303 177
F: +44 (0)1223 302 218
E: armin@islamicmanuscript.org
W: www.islamicmanuscript.org

Michelangelo is known for masterpieces like the Sistine Chapel and the statue of David, but most people probably don't know that he actually got his start in forgery. The great artist began his career as a forger of ancient Roman sculptures, art scholar Noah Charney tells Fresh Air's Dave Davies. 

By the time Michelangelo's forgery was revealed, the Renaissance master was famous in his own right. But many other artistic forgers continue to copy the work of past artists in the hopes of passing their creations off as authentic. 

The art industry, says Charney, is a "multibillion-dollar-a-year legitimate industry that is so opaque you can't quite understand why anyone participates in it." In his new book, The Art of Forgery, Charney traces a tradition of fakes and forgeries that dates back to the Renaissance. 

In many instances, forgery is a question of economics; a forgery that is authenticated may be worth millions of dollars. But Charney says that many other art forgers are doing it as a "sort of passive aggressive revenge" against an art world that was not interested in their original work — but was too dim to tell forgeries from true masterpieces. 

Charney adds that the business practices of the art world provide a "fertile ground" for criminals: "You do not necessarily know who the seller is when you're buying a work of art. You might have to send cash to anonymous Swiss bank account. You may or may not get certificates of authenticity or any paperwork attributing to the authentic nature of the work in question. You may not be certain the seller actually owns the work. You might have gentlemen's agreements and handshakes rather than contracts — and this is normal in the legitimate art world."