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May 23, 2011

Monday, May 23, 2011 - No comments

ARCA 2011 Students Met In Washington DC Prior to Commencement of Summer Program

by Rez Hamilton, ARCA Class '11

Right on the heels of the NYC-ers’ meet-up at the MOMA, five individuals from the DC region got together at Jaleo, a tapas restaurant in Arlington, VA just outside of our Nation’s Capital. On that rainy afternoon, three new students, Kaitlin, Katherine (Kaitlin and Katherine have already been highlighted earlier in the ARCA Blog), Tanya, a returning student (yours truly) and Marc Masurovsky (last year’s ARCA conference presenter and mentor from the United States Holocaust Memorial Museum) had lunch and covered a lot of ground.

Everyone was quite animated in the discussions with question and answers, and the sharing of thoughts or observations. Discussions ranged from certain postings on this year’s Google Groups to antidote’s of Marc’s and my own time in Amelia to the latest art-related seminar held in DC earlier this month in which Katherine attended and Marc presented.  The topic of the seminar was on World War II Provenance Research. As a direct result from Katherine’s and Marc’s impression of the conference, the hot topic at lunch was about Provenance -- how it was being taught and how sometimes people thought it was being blatantly obscured by museums. Prime examples included some of the visiting exhibits in DC to some of the art installed in the permanent collections of the National Gallery of Art.

From our meeting, it seems like these new students for the ARCA Class of 2011 have an insatiable curiosity and a distinct love for the arts -- so do not be surprised to find that their future papers are published soon after Amelia! Don’t get left behind this summer as traveling is another love that these three share so I can assure you that they will be the first to travel outside of Amelia to bask in the wonders of art that can only be found in Italy.

May 22, 2011

Sunday, May 22, 2011 - , No comments

City of Paris Spends 8 million Euros to Revamp Museum Security One Year After the Theft at Musée d'Art Moderne de la Ville de Paris

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

The walls to the left held the stolen paintings  from the Musée d'Art Moderne de la Ville de Paris./Photo by CR Sezgin.
This morning the Museum Security Network sent an email alert about the 8 million euro revamping of the security for the 14 museums under the jurisdiction of the city of Paris.  The article in le Parisian is in French but with my new language crutch, Google Translate, I learned that since the theft from the Musée d'Art Moderne de la Ville de Paris, when a thief, or thieves, cut the lock and opened a not so secure window to steal five paintings valued at about 100 million euros, that the city has undertaken to reexamine the security at its museums.  The three security guards on duty at the time of the break-in apparently hadn't heard any alarms because the warning system had been offline, waiting many weeks for an apparently crucial part.  On my three visits to the museum I never considered the building so vast that this explanation made sense to me and as now no one has published an account that explains clearly how someone entered the building without any guard on patrol seeing them.  I have a nice photo here showing that if you stand on the stairs you have a clear view of the access to the walls that had supported the stolen paintings.

Le Parisien reports that the city of Paris began a reorganization program this year to strengthen supervision of security staff and to continue improvements in securing the museums through next year, including better communication about malfunctioning alarm systems.  It appears that the museum theft did strengthen the will to fund better security at the museums.

Fixed barred windows at Petit Palais
This past March, before I revisited the 'scene of the crime,' I did visit the Petit Palais, another city museum, where I found beautiful paintings by Cézanne, Gustave Courbet, and even a lower floor of vases from antiquity.  On a Sunday morning the museum was quiet with few visible security guards.  However, I noted that the permanent barred windows likely discouraged theft.  The Musée d'Art Moderne de la Ville de Paris has accordion wrought iron shutters securing its long windows.  In addition, the Petit Palais, instead of backing up against the Seine, is around the corner from a police station.

We'll follow this week with more information about the stolen paintings.  Meanwhile, you can read my fanciful guess about how the theft was committed here on the ARCA Blog.

May 21, 2011

Saturday, May 21, 2011 - No comments

ARCA 2011 Student Ariel Lavia Kern Attracted to ARCA's Interdisciplinary approach

Ariel Kern at the Egyptian Temple of Dendur at The Met
ARCA Blog: Ariel, what is your academic background and how did you come to commit to a summer in Umbria studying art crime?
ALK: I recently graduated from NYU’s Gallatin School of Individualized Study where I developed a major in Art and Social History, Law, and Literature. Through college I interned and worked in various fields, including a small museum, a library, an archeological dig, a law firm, and an auction house. 
A professor of mine told me about ARCA when I was starting to consider what I wanted to do after graduation. I soon realized that the ARCA Postgraduate program was perfect for me. I am comfortable with the interdisciplinary approach to learning I used as an undergraduate, and this program is the only way I could truly combine all of my interests to find the right career path for me.
ARCA Blog: The program culminates in the writing of a publishable article. What area of art crime or cultural protection would you like to research?
ALK: I am interested in researching the social motivations behind those who are involved with art crime. While there are obvious financial reasons, the social reasons are more obscure and not easily quantifiable. It is really an exploration of social perceptions and how those involved with the illicit end of the art world can use that to justify their actions. By understanding that we can begin to figure out ways of changing the ideas the wider public holds and cut down the justifications criminals use.
ARCA Blog: Do you have a current fascination with an artist or period of art?
ALK: It’s difficult to pick a specific artist or period, but I have always been interested in the decorative or practical arts like architecture, clothing and furniture. I originally realized I wanted to work in the art world when I first saw the medieval armor wing at the Metropolitan Museum of Art in New York. I was very young at the time, but my interests have not changed drastically since then.
ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?
ALK: I have not been to Italy before, so I am very excited to see all of the cities and sites that I have been reading about for years. With all of the running around, I would also like to immerse myself in the slower Italian lifestyle, so balancing my travel-bug with my wish to experience the culture will be interesting, to say the least.

May 20, 2011

Friday, May 20, 2011 - ,,,, No comments

Part Two: Alain Lacoursière, the Mercedes-Benz Commercial Video, and Madonna and the Yarnwinder

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Recently Alain Lacoursière’s favorite suspect for the unsolved 1972 theft of the Montreal Museum of Fine Arts sent the retired police officer a link to a Mercedes-Benz commercial video that fictionalizes the theft of a brief case from a bank vault. At the end of a high speed chase involving a very sleek German sedan, the brief case is delivered to a third party who later open to show that the contents of the brief case is a painting. The newscaster in the video reports under the headline: “Stolen Da Vinci Re-Emerges”:
The Paris National Art Collection was handed over a long-lost masterpiece by Leonardo Da Vinci today. The Da Vinci piece was being hidden for years by backers of the mafia in a safe deposit box. The FBI estimates the value of the Madonna of the Yarnwinder at approximately 70 million euros.
“The Madonna of the Yarnwinder is the subject of several oil paintings after a lost original by Leonardo da Vinci “(Wikipedia.org).

The Lansdowne Madonna
A copy of this painting, known as The Lansdowne Madonna, by the workshop of Leonardo da Vinci is in a private collection in New York. It was likely completed by another artist in da Vinci’s studio after another painting of the same subject. (Universal Leonardo)

Another version of this painting, The Madonna of the Yarnwinder (Duke of Buccleuch), and considered to have been painted under Leonardo, was stolen from the Duke of Buccleuch’s home in Scotland in 2003. Two men posing as tourists during a public tour of Drumlanrig Castle overpowered a female staff member and carried the painting out the window. The painting was valued at 30 million pounds.

Madonna with Yarnwinder
 (Duke of Buccleuch)
The painting was recovered four years later – but a month after the death of the 84-year-old Duke -- when police raided a meeting at a respectable law office in Glasgow who claimed to be an innocent third-party. The solicitors were eventually cleared of extortion. The painting is reportedly on display at the National Gallery of Scotland in Edinburgh however the website for the institution does not show the painting in either its permanent collection or as a loan.

The original is lost, but how do the experts describe these two ‘copies’? I found an interesting source here. Martin Kemp wrote about the paintings in 1992 (Leonardo da Vinci and the Mystery of the Madonna of the Yarnwinder (exhibition catalogue, Edinburgh: National Galleries of Scotland):
How much of the Buccleuch copy was painted by Leonardo was a matter of scholarly debate until recently. Scientific studies indicate that in addition to the work's underdrawing (with its pentimenti or small changes), the genius was most likely responsible for its overall design, the figures and the skillfully rendered rocky foreground. The landscape is uncharacteristic of Leonardo; it was probably painted a bit later by another artist, perhaps a workshop assistant. The flesh tones of Mary's face were executed using Leonardo's typical sfumato or smoky technique. A second brighter copy of The Madonna of the Yarnwinder belongs to a private collector.

May 19, 2011

Thursday, May 19, 2011 - ,, No comments

Part One: Suspected art thief uses the Internet to tease retired art crime investigator Alain Lacoursière about the location of the paintings stolen from the Montreal Museum of Fine Arts in 1972

Rembrandt's Evening Landscape stolen
 from the Montreal Museum of Fine Arts in 1972
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Alain Lacoursière, retired art crime police officer in Montreal, recently received a link to a video from a suspect involved in the 1972 theft of the Montreal Museum of Fine Arts that Lacoursière has perused for more than a decade./Alain Lacoursière, sergent détective responsable des crimes relatifs aux oeuvres d’art à Montréal, a récemment reçu un lien vers une vidéo produite par Mercedes Benz qui semble fermer les yeux sur un vol de banque. La vidéo a été envoyée par un suspect du vol de1972 au Musée des beaux-arts de Montréal que Lacoursière a pourchassé pendant plus d'un décennie.


The video, an advertisement for Mercedes Benz that appears to condone bank robbery, contains gorgeous scenes of Hong Kong but I won't spoil the ending today.  Tomorrow I'll add my comments and more information about Canada's largest art theft.


You can read more about the 1972 theft of the Montreal Museum of Fine Arts here.

Thursday, May 19, 2011 - No comments

ARCA 2011 Student Riley Meghan Kraft on Her Passions for Archaeology and Conservation -- and Her Hopes for Traveling Throughout Italy This Summer

ARCA Blog: What is your academic background and how did you come to commit to a summer in Umbria studying art crime?

Riley Meghan Kraft
August 2008, I came to Texas A&M University to study my passion for archaeology. May 2011, I graduated with a bachelor’s degree in Anthropology and minors in Classical Studies and Geology. Many of my interests, academics, and career goals have always been geared towards the field of archaeology, and during this past year at school I have discovered my increasing interest in conservation. While researching my options for what to do after my undergraduate career I came across the ARCA website and decided that an education in art crime studies would be beneficial for a future career in recovering and preserving ancient art and artifacts. Since the ARCA program is held only once a year in the summer, and my other choices require a much longer time commitment, I decided that going to ARCA now was the best move. Also, I figured some time abroad would give me the recharge I need to tackle what comes next in life.

ARCA Blog: The program culminates in the writing of a publishable article. What area of art crime or cultural protection would you like to research?
Riley Meghan Kraft: While I do love learning about art history and criminology, my greatest interest from the ARCA program is learning about investigation, security, and the art and antiquities trade. Since I know so little about these subjects, I believe I will spend most of my efforts trying to understand them through research.
ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?
Riley Meghan Kraft: In June 2008, I spent a week in Rome and visited Pompeii. As an aspiring archaeologist it was a dream come true! However, after these past few years studying Roman history, language, literature, and culture I realized how much I missed when I was there. When I’m not attending lectures in Amelia, I’d like to travel through as much of Italy as I can; seeing the art and architecture, learning the history, meeting the people, exploring the land, and experiencing the life.

May 18, 2011

Wednesday, May 18, 2011 - ,,,,, No comments

Journalist Jason Felch, co-author of "Chasing Aphrodite", reports for the Los Angeles Times from Sicily about the Unveiling of the Venus of Morgantina at its New Smaller Museum in Sicily ... and information about the Venus Italy Returned to Libya Years Ago

Aphrodite (Venus of Morgantina)/AP
by Catherine Schofield Sezgin,
ARCA Blog Editor-in-Chief

LA Times reporter Jason Felch, co-author of Chasing Aphrodite, write's in today's newspaper ("Getty officials on hand for Aphrodite statue's unveiling in Sicily") about the opening reception for the 5th century BC Venus from Morgantina to a room with a capacity of 150 people at the Aidone Archaeological Museum in Sicily.

Francesco Rutelli
In addition to two officials from the J. Paul Getty Museum, the ceremony was attended by Francesco Rutelli, Italy's former culture minister and former mayor of Rome (who spoke eloquently at ARCA's art crime conference in 2009); Italy's new culture minister, Giancarlo Galan; and possibly some of the very people who sold some of the various objects that the Getty had to return. Felch writes:
Among the citizens who turned out were several former "clandestini," the Sicilian term for looters, local officials said. For decades, looting has been a source of income for residents in one of the most impoverished corners of Italy's poorest region.
Aphrodite will join a collection of "Morgantina" silver previously returned to the museum.

The Getty Museum has paid more than $18 million for Aphrodite more than 20 years ago and agreed to return the statue in exchange for "long-loans" or Italian objects, Sharon Waxman wrote in her 2008 book, Loot: The Battle over the Stolen Treasures of the Ancient World.

You may find other examples of objects returned to countries of origin at the UNESCO website ("Recent examples of successful operations of cultural property restitutions in the world"), including the return in 2007 of a Venus statue from Italy to Libya (also see "Italy to Return Ancient Statue to Libya"). Of course this leads to another question about the safety of archaeology in Libya during the civil unrest and subsequent violent conflict but this morning I did not find any status report earlier than March ("Libya's 'extraordinary' archaeology under threat").  For now you may view the website of the National Museum in Tripoli here.

Wednesday, May 18, 2011 - No comments

ARCA 2011 Student Kaitlin Murphy on Venice, Italian culture, gelato and people-watching

Kaitlin Murphy
ARCA Blog: What is your academic background and how did you come to commit to a summer in Umbria studying art crime?
Kaitlin Murphy: My undergraduate degree is in Art and Art History from Colgate University. During my junior year, I spent a semester abroad studying in Venice, Italy. It was here that I developed a passion for not only the subject matter, but for the Italian culture as a whole. Being surrounded by “floating buildings,” I chose to focus my attention on architectural history for my thesis and continued my education after working for a couple of years to begin a masters program in Architecture at Boston Architectural College. After taking a direct hit from the housing and economy collapse, I took a teaching position at a high school where I taught art and art history. I was able to write my own curriculum and followed my curiosities in art crimes as part of the art history survey course. One of my students came across ARCA and as I checked it out, discovered the postgraduate program. The combination of art history, culture, art crimes, and Italy made committing to a summer in Umbria a no brainer for me.
ARCA Blog: Do you have a current fascination with an artist or period of art?
Kaitlin Murphy: Currently, I love Renaissance art as a time period in world history for the architecture and paintings and in many cases, the combination of the two. I appreciate the thoughtfulness of art in situ because it connects visually with architecture like a conversation. I appreciate the balance and architecture specifically of Andrea Palladio and laugh when I see his influence in American civic and residential architecture. As a bookend to renaissance art, I like to study ancient art as a source or foundation for the evolution of what we have become. It is amazing to see true originality and the “aha!” moment of the discovery of new techniques and materials frozen in the art like a photo.
ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?
Kaitlin Murphy: I lived in Venice (right by Piazza San Marco) in the fall of 2003 as part of my undergrad art history curriculum and have been back two more times since then as a tourist. I have been an amateur tour guide in Rome for my family and friends and a beach goer along the coast. My favorite thing to do in Italy is to sit, enjoy some gelato or local wine, and people-watch. While on the subject of food, I would like to learn a few tricks of the trade and expand my pallet to include some new recipes with fresh and local ingredients. To be able to explore a few towns off the beaten tourist path is also a very attractive use of my down time. My husband (Ryan) will be joining me later in the program and this will be his first visit to Italy so the pressure will be on to know the good places to eat, see, and travel.
ARCA Blog: Amelia has many venues for playing live music. Are you a musician?
Kaitlin Murphy: I am not a musician, but I thoroughly enjoy live music and look forward to these opportunities!

May 17, 2011

Tuesday, May 17, 2011 - No comments

ARCA 2011 Student Margaret Wade on Sculpture, The Third Reich and Art, and the 'Unregulated Aspect of the Art World'

Plaster cast self-portrait by Margaret Wade
 from her first art show
ARCA Blog: What is your academic background and how did you come to commit to a summer in Umbria studying art crime?
Margaret Wade: I began studying the theory and psychology of Art (specifically Sculpture) at a small, liberal arts school in Amherst, MA. This is how I came across my second major- The Third Reich. Hitler, an artist, understood that to truly destroy a culture, among other things, he must eliminate the very threads that unite a society- its expression. At my second school, Mount Holyoke, I dove into Art History in the Third Reich and Art Studio. It was here I realized that I cannot fix the past, but I can contribute to the future. All the Nazi looted art work deserves to be to returned to its rightful owner. Plus, when I grow up, I want to be Indiana Jones. 
I am also interested in the idea of containment and preservation. How do you encapsulate the moment, memory and effect of art? Databasing and cataloguing art will help with my second path- I am creating a "museum" out of the house I grew up in. Located in Birmingham, AL, I plan to share with my community a purple house with snakes and chairs on the ceiling, and its contemporary art.
ARCA Blog: Do you have a current fascination with an artist or period of art?
Margaret Wade: Any piece of art with a pulse will strike my interest. Historically, I enjoy Dadaism and Surrealism because of the boundaries Duchamp pushed the art world. As of right this moment in time, Street art gets my heart racing. I love the unregulated aspect of the art world. As an artist, I am constantly seeking out new areas of expression. Who owns art anyway?
ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?
Margaret Wade: In 2007, I had the pleasure of working with the Peggy Guggenheim Museum in Venice for three months. I got to experience the art world in ways an artist or art historian is not privy to. I believe to be truly passionate about an area of work, you must experience it all. Working in a museum, you come to understand the affect art has on its visitors- vandalism, utter amazement, disgust, indifference. It is this reason I plan to pursue, Why in the world would you steal an piece of art work? It is just an object -- an object that causes people to react in so many different way that I just want to know WHY. If I ever stop questioning and searching for answers, consider me dead!
ARCA Blog: Amelia has many venues for playing live music. Are you a musician?
Margaret Wade: HA! Absolutely not, I cannot carry a tune, but I can dance for hours HOURS on end. In fact, Karaoke is one of my biggest fears. That said, I appreciate all aspects of art- even the ones that highlight my flaws! I enjoy experiencing new sensations and getting lost in music. Life is a priviledge but art is a right!

May 15, 2011

Sunday, May 15, 2011 - No comments

"Introduction to Bella Amelia": A Post from the First Student of the ARCA Class 2011 to Settle in Umbria

South east side of Amelia's wall
Editor's Note: James Alex Bond, ARCA Class of 2011, arrived a month before the commencement of the program in Amelia. ARCA Blog asked him to contribute a post about his impressions.

by James Alex Bond, Amelia Correspondent

Amelia’s geography is just stunning. It sits on the northern end of a ridge that runs north and south with the north end of the ridge approximately 1,000 feet higher than the southern end. Every direction except south is a 60-80 degree slope downhill to the valley floor below where the Rio Grande River flows on the north and east side. I would guess that less than 3,000 people live within the walls of Amelia with the other 9,000 living in the surrounding hillsides.

Amelia is shaped like a big egg with its small end at the south where virtually all traffic enters and exits through Porta Romana which is faced by Piazza XXI Setembre directly outside the wall. There are three other Portas, two on the east side and one in the north west corner but Porta Romana is the commercial Porta to the city. During the day there is always a traffic jam at Porta Romana because it is barely the width of a car. Entering and exiting vehicular traffic alternate while intrepid pedestrians turn sideways and slip in and out, or wait for a break in the traffic flow when there is confusion as to who has the right of way. It is all very civilized and I have yet to hear anyone honk their horn. It is a small city where everyone knows everyone. The one show stopper is a Mother with a perambulator going through the Porta. Talk about tiger Moms, Italian Moms can stop a car with just a stare!

From the small end of the egg at Porta Romana, via della Republica heads north uphill into the city until it reaches the highest point in town where the Torre Civica (tower) is located in Piazza Lojali. Near the Piazza (open square) there is a small grassy area with a walkway around the edge for the magnificent views to the north, east, and south. From there you can see the other mountain ranges that rise up behind the cultivated hills surrounding Amelia.

There are eight Piazza’s in Amelia. They contain statuary, fountains, and space for parking. The balance of the town is roads, pathways, or buildings. The wall surrounding the town is fairly intact and still has guard towers built into it. I have tried to do a walk around the city just outside the wall but found that, at least on the east and north side, it was impossible because of the steepness and lack of a trail. The other day I did find a trail on the south east side that I followed out to a rocky promontory where I could watch the sunset. The picture I have included is of the wall on the south east side. I did not follow the trail past the promontory but suspect it connects to the road I had followed previously around the east and north side. That is my adventure for next week, to circumnavigate the city below the wall.

Visually the city is a blend of gray and brown, with red tile roofs and copper gutters. The piazza’s are a blend of greens, reds, and yellows depending on the plantings. Many people have gardens where you can see trellises with climbing vines and flowers. Outside the walls on the surrounding hillsides it is completely different with olive and wine orchards and cultivated fields interspersed with copses of woods and green pasture land.

One of my favorite things to do here is sit in my garden, close my eyes, and focus on what I hear. Birds singing predominate, with soft wind sounds in the trees as a background. Then hourly and on the quarter hour the domo bells ring. Three times this morning a unique two bell melody was played for about a minute from the domo, calling the faithful. I think this melodic bell ringing happens every Sunday. It is such a beautiful change from the perfect recorded bells played from the campanile and carillon bell towers in the US. The first two times the melody was the same. The third time it was different and the bell pullers got off rhythm. In my mind I could almost see them as they realized their rhythm was off and communicated either visually or verbally about what to do to correct it. Soon they did and in the end it seemed to me they improvised, and, like good jazz musicians, finished winners. The talent it takes to take two bells and play a unique melody reminds me of the Blue Man Group with their ability to percuss about anything and make it sound pleasing. Eighty feet below my wall I can hear the sounds of traffic on the road to Tearny.

Favala, my contact for the school, said she had slowly come to see the different areas of the world as either masculine or feminine after taking a trip to Israel and Palestine. The desert is masculine she said. “You have to be tough to survive. You just don’t go out for a walk in the desert. You make a plan, take supplies, and prepare yourself for hardships.” Italy she said is different “because it is feminine.” And so I have found it to be; soft, graceful, forgiving, fecund, and welcoming. You do not have to make a plan in Amelia you just have to be present.

May 14, 2011

Saturday, May 14, 2011 - ,,, 1 comment

ARCA 2011 Student Katherine Luer on Art History, Museum Security, Matisse, and Traveling in Italy

Katherine Luer inside one of the towers
of the Sagrada Familia in Barcelona.
ARCA Blog: What is your academic background and how did you come to commit to a summer in Umbria studying art crime?
Katherine Luer: I am just about to graduate from Georgetown University with my BA in Art History and minors in both Italian and Spanish. I've been interested in entering the field of art crime for several years now, and when I heard about the ARCA program about a year ago I knew it was exactly what I wanted to do after I graduated.
ARCA Blog: The program culminates in the writing of a publishable article. What area of art crime or cultural protection would you like to research?
Katherine Luer: I've worked as a security guard at a museum here in Washington and thus am highly interested in museum security. That being said, I someday hope to work with the FBI's Art Crime Team and so the history of such groups inside law enforcement (Scotland Yard, the carabinieri, etc) interests me as well.
ARCA Blog: Do you have a current fascination with an artist or period of art?
Katherine Luer: My great love has always been Matisse, but lately I've been enjoying the work of Modigliani, Munch and Klee as well. Any early modern work fascinates me.
ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?
Katherine Luer: I've traveled extensively all around the country and lived in the small town of Fiesole for several months. Regardless, I'd like to travel more, particularly in the south, and look forward to showing the other students some of my favorite towns!

Saturday, May 14, 2011 - No comments

ARCA 2011 Student Perri Osattin on Art History and Her Passion for Turkish Architecture and Art

Perri Osattin at Ephesus, Turkey
ARCA Blog: What is your academic background and how did you come to commit to a summer in Umbria studying art crime?
"I graduated last June from Williams College with a BA in art history, as well as a concentration in Middle East studies and a certificate in Spanish language and culture. I first became fascinated by art history during high school when I took a required art appreciation course and studied art in Spain for a month, both under the tutelage of enormously enthusiastic teachers. After ultimately scrapping my plan to study journalism, I arrived at Williams knowing that I wanted to pursue art history, in addition to my life-long passions for Spain and the sea (as a sophomore, I participated in a semester-long maritime studies program in Mystic, Ct.; unusual programs are clearly my forte). Precisely because it was not the most obvious place to continue my particular course of study, Turkey intrigued me from the start, but of course its art and architecture also reflect its unique position as the meeting point of 'East' and 'West' and of various religious and ethnic cultures.
"While studying abroad at Bogazici University in Istanbul, I discovered modern Turkish art and researched the architecture of the former capital's old Jewish quarters, and I was lucky enough to explore archaeological and religious sites throughout the country, including Cappodoccia, the eastern borders with Iran/Armenia/Georgia, the Black Sea region, and the Aegean coast.  
"As may be the case for many of the program's New York participants, the NY Times article about ARCA from a few years ago caught my eye immediately. I have worked at an art gallery, an art museum, a few history museums, and a historic site, but my mother was a criminal prosecutor and my father was an investigator of various kinds, so fighting crime is in my blood!"
ARCA Blog: The program culminates in the writing of a publishable article. What area of art crime or cultural protection would you like to research?
"I'm not positive yet, but I am very interested in the subtleties of modern museum security and how, at some institutions, it now takes its cues from sophisticated airport security models and uses other techniques which are commonplace in traditional law enforcement. I am also curious about the legal and political status of cultural patrimony in Turkey, particularly after visiting the ruins of Pergamum and learning that the site has experienced an Elgin-marbles type of situation with Germany."
ARCA Blog: Do you have a current fascination with an artist or period of art?
I'm always most interested in whatever I'm learning about at the moment, but since graduating (and fortuitously learning that a suite-mate of mine from Turkey shares my passion) my love for the work of Vladimir Kush has resurfaced. His paintings combine surreal and often ironic or humorous subjects with hyper-realistic technique, as well as some of the most richly saturated and iridescent hues I've ever seen.
ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?
"Strangely enough for an art history student, I have never been to Italy. I definitely plan to travel and see Italy's cultural heritage, in its various forms, and to sample some amazing food and wine. I am especially looking forward to perhaps attending my first real opera with some of the other program participants, and getting to know the people of Italy."
ARCA Blog: Amelia has many venues for playing live music. Are you a musician?
"I studied music for most of my life, but have not touched an instrument in several years. However, I still really enjoy the social, yet intimate vibe of local music joints and really love to dance, so hopefully my evenings in Amelia will be full of music!"

May 13, 2011

Friday, May 13, 2011 - , No comments

Canadian Company Specializes in Secure Art Hanging Systems Which Might Be Able to Deter Art Theft According to Hangit Systems Spokesman

After reading Ben Kaplan's article about art theft which had solicited a comment from ARCA in the January 29th edition of the National Post, Canadian security company Hangit Up Systems contacted us to talk about their product and their experience in speaking with the businesses in Toronto that had been robbed of art in the last year. Doug McCamley, a product specialist for the 6-year-old Brampton, Ontario company wrote:
Security set
"Our company specializes in Art Hanging Systems including security fasteners & security options for our systems. Please feel free to click on: www.hangit-up.com. I followed up with the parties mentioned in the article who had their art stolen, and neither restaurant was using any form of security fasteners, nor did they seem to know they existed."
I was curious about their product and sent him a list of questions which he answered this week:
"There are 2 types of Security Systems which we sell. The J-rail XL System provides security to the art on display, while still allowing the display to be adjusted laterally & vertically. The systems utilize steel rods & Allen head machine screws to prevent removal of art. The Security Set option provides security for art that is mounted permanently in a location. A special tool is required to rotate the fastener to release the work from the wall."
Hangit Systems sells both types of systems to schools, museums, retirement residences, art galleries, and public facilities. "Anywhere that facility owners do not want art to be removed from the wall by unauthorized persons can benefit from the systems," Mr. McCamley wrote.

The price range for their J-rail XL adjustable system is from $15.00/lineal ft. up to $80.00/lineal ft (Canadian funds) depending upon site specific requirements. The price of Security set is $15.00/set for hardware and $15.00 for the locking tool (Canadian funds).

"As you can see, the two options are reasonably priced and most individuals would likely spend the money to prevent their art from 'grab & run' thieves if they were aware of what we have available," Mr. McCamley wrote.

May 11, 2011

Wednesday, May 11, 2011 - No comments

ARCA 2011 Student Abigail Nora Clarke: Profile

Abigail Nora Clarke, ARCA Class 2011
ARCA Blog: What is your academic background and how did you come to commit to a summer in Umbria studying art crime?
I am a recent graduate from the University of Arizona with a BA in Art History and Italian/Religious Studies minor. I have worked in a small art studio/gallery and helped curate an exhibit at the Arizona Historical Society. I came across the ARCA program while doing research for a Museum Studies course; it was about different organizations that were attempting to curb art crime. After reading about ARCA I knew it was something I wanted to be involved with. I have been looking into and researching the program over a year before I was eligible to apply! I have never studied abroad before so the fact that this program happened to be in Amelia will offer me an ever more unforgettable experience!
ARCA Blog: The program culminates in the writing of a publishable article. What area of art crime or cultural protection would you like to research?
One aspect of art crime and cultural heritage protection that I find interesting is museum security. Throughout history (and especially in these hard economic times) valuable artifacts are preyed upon by many people involved with the criminal element; not just those who appreciate them for their cultural worth. Because of this, there is an ever increasing need to scrutinize museum security to preserve art and the integrity of legitimate works.
ARCA Blog: Do you have a current fascination with an artist or period of art?
One of my favorite periods of art is the Dutch Golden Age! There were so many genres encompassing this period ranging from beautiful landscapes to multiple styles of portraiture. I especially love the banquet pieces produced at this time. They are full of so much symbolism- both obvious and obscure so they are fun to decipher. I like anything Baroque! One of my favorite pieces is Bernini's baldacchino in Saint Peter's Basilica.
ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?
I traveled to Italy once before when I was 16. It was on a very strict and guided tour which really took away the sense of adventure. In Amelia I hope to experience living the Italian lifestyle! I want to try to visit as many museums as possible and become acquainted with Italy at a more leisurely pace. My first trip to Italy was really just to get a taste of the popular tourist destinations. Hopefully now I will be able to venture to some smaller, lesser known places.
ARCA Blog: Amelia has many venues for playing live music. Are you a musician?
I love playing my guitar and singing! I also play a bit of percussion and saxophone. I have been listening to a lot of Italian music to help keep up with the language skills. This way I can communicate with the locals in Italian as much as possible!
ARCA Blog: Welcome to ARCA, Abigail, and thank you for participating in this profile. 

May 9, 2011

Monday, May 09, 2011 - , No comments

MoMA Meet and Greet with a Few Members of ARCA's 2011 Class

By Mark Durney, Business and Admissions Director

This past Friday I met with five students from ARCA's 2011 International Art Crime and Cultural Heritage Protection studies class - Tim Delanty, Perri Osattin, Ariel Kern, Zach Mattheus, and Marc Balcells Magrans - for the Museum of Modern Art's Target Free Night. Earlier in the day there was a queue of people along 53rd St. and around the corner of 6th Ave. waiting for the free admission doors to open. Fortunately, we didn't have to wait at all when we met up only a few hours later. 

The students had been to the museum countless times before; however, this time they were greeted by LJ Hartman, the MoMA's head of security, who warned them not to steal anything! With that in mind, we carefully wandered through the museum's painting and sculpture galleries while discussing Modigliani and Daumier forgeries as well as recent WWII restitution cases. During our visit, Zach Mattheus, a Brooklyn-based graphic designer (http://zachmattheus.com/), asked if there had been any intriguing art theft cases from the MoMA over the years. At the time I could not recall any high profile thefts from the MoMA. But, after looking through my archives over the weekend, I came across a case of 42 Warhol drawings that mysteriously vanished from the museum following a 1988 retrospective of the late artist's works. According to a New York Times report, the museum's insurer settled for $1.1 million with the works' lender, the Andy Warhol Foundation for the Visual Arts, in November 1993.

The evening wrapped up with the students discussing their motivations behind pursuing an education and professional training in art crime studies over drinks at the bar Faces and Names. Onward to Amelia!

May 8, 2011

Sunday, May 08, 2011 - ,,,, No comments

Mother's Day and Art Theft: Remembering A Mother's Day Ruse Two Years Ago in a Brazilian Heist and the Mother Who Destroyed Art Evidence

Happy Mother's Day!
(Photo by Erin Sibel Sezgin)

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

In my household, my adolescent children laugh a lot about the difference between what their mother does and what the holiday cards say mothers do -- apparently my children do not see me as someone who washes their laundry or spreads butter on their toast -- but as the person who insists on seeing art museums in every city they have visited and is undeterred by their reluctance to see one more exhibition. My children's lives changed when they heard their mother say, "My dream is to go to Italy and study art crime." But as a mother, I do believe that art helps the children understand our communal link to the past and art crime of course is a narrative form that focuses our attention on those artworks.

So today, while my children sleep in, I searched online about "Mother's Day and art theft" and found two interesting examples.

Two years ago the blogger "Art Hostage" wrote "Stolen Art Watch, Brazilian Art theft, Overkill or What" commenting on an article in "El National" in Caracas, Venezuela that reported on a residential art theft executed by a gang of twenty art thieves in Brazil who entered the home after the delivery of flowers for Mother's Day.

The second story is about the mother of repeat offender and art thief, Stephane Breitweiser, who destroyed artworks allegedly stolen by her son to eliminate evidence.

The Guardian's Jon Henley in 2002 reported "Priceless art haul destroyed by thief's mother" that Mireille Breitwieser destroyed 60 Old Master Paintings including works by "Boucher, Cranach, Watteau and Breughel".

Her son was arrested last month, again for stealing more art, Le Parisien recounted that Stephane's mother had previously (according to Google translate) "abandoned a tapestry on the edge of a motorway, paintings in a chapel, while copper paintings, discovered in a forest by a farmer, had been found in the barn of the farmer."

She served 18 months in prison for destroying art. This is exactly why mothers should not clean up their children's messes.

Happy Mother's Day!

May 7, 2011

Saturday, May 07, 2011 - ,, No comments

Art Theft Suspect Arrested Last Month in Toronto; Paintings still missing

Rocco Agostino, partner and chef at Enoteca Sociale,
 would very much like his pug back. (National Post)
by Catherine Schofield Sezgin, ARCA Blog Editor-in-chief

In January, Ben Kaplan of the National Post telephoned me to discuss a few thefts of artwork from restaurants in Toronto ("Paint Misbehavin'". Three months later, we have reports from Ontario that artwork has been stolen from a Toronto gallery and that a suspect has been arrested.

Ogdon Wagner Gallery had a "smash and grab" on April 7 where three paintings with a total value of $73,000 were allegedly stolen by two men captured on video by a surveillance camera "Man charged in Yorkville art theft," Madeline White, Staff Reporter for The Star). One suspect has not been apprehended.
 None of the paintings have been recovered.

May 6, 2011

Friday, May 06, 2011 - No comments

Robert Lang's Lawsuit against Sarah Morris for Copyright Infringement on Origami Designs

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

The ARCA Blog email received an email from Bay Oak Law in Oakland, California, which Robert J. Lang in a copyright infringement case involving origami crease patterns and the artist Sarah Morris who has used them in her artwork.

Robert J. Lang summarizes the lawsuit on his website and with his lawyer's permission we are recycling the information here:
For several years, American artist Sarah Morris created a series of paintings on the theme of origami in which she took origami crease patterns by several international origami artists, changed the color scheme, and then sold and exhibited them internationally without obtaining permission or giving credit. Six of the origami artists whose work was so used have filed suit for copyright infringement against Ms. Morris in Federal Court in Oakland, California. 
Review the filed complaint, as well as the first and second set of exhibits. 
Why did the artists take this step? Among other reasons, under American copyright law, the original artist has the right to control derivative works of our original works. (“Derivative works” are those works that are based upon our original works, but do other things to them – such as colorizing them, in this case.) As the original artists, they have the right to decide what you can do with their artwork, not Ms. Morris. Although they published our crease patterns, that does not mean we gave up our ownership rights to the original art works we created. 
24 of her works (listed in the complaint) have been identified as unauthorized copies of origami crease patterns by modern origami artists. As of May 4th, Ms. Morris has not answered the complaint.
The lawsuit was filed on April 28, 2011.  In addition to learning about copyright issues, this case informs readers about the complicated world of origami design.

We here at the ARCA blog of course won't reproduce an image of either artists' work until we have permission.

May 5, 2011

Thursday, May 05, 2011 - 2 comments

ARCA 2011 Student Marc Balcells: Art Criminologist

Marc Balcells at The Met
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Marc Balcells Magrans is a Fulbright scholar, a Spanish criminologist, and a criminal lawyer. He currently lives in New York where he is completing a PhD in Criminal Justice. His research focuses on art crime and its relationship to terrorism and organized crime, as well as museum security and its connection to art crimes and theoretical criminology. He has taught several courses on International Criminal Law and Spanish Criminal Law and Criminology, he has published internationally, and he has served as a media consultant for art crime issues.

Marc Balcells’ research has led him to study the looting of the Baghdad Museum during the war; museum security; the value of art as a catalyst for looting throughout history; and a small ethnography on boredom of museum guards at the Metropolitan Museum.

He speaks Catalan, Spanish, English, Italian, French and German.

ARCA Blog: Marc, you are enrolled in this summer’s ARCA program for the study of art crime and the protection of cultural heritage in Amelia, Italy. What attracted you to the program and what are your expectations about the courses, the instructors and the students? And have you ever lived in Italy or in a medieval city in Umbria?
Marc: I think I can be pretty straightforward when I say I am really excited to spend all summer learning about art crime in all its facets! What really attracted me to the program is the fact that it is so unique and one-of-a-kind: I agree with the fact that art crime needs sound research, and to me, this program really delivers this foundation to the students, thanks to experienced faculty members. I am looking forward to all courses that are criminologically oriented (where I already feel comfortable, due to the fact that I have already taught in this field), but also the ones related to art or the art world, because at least in my case I'm venturing into, to some extent, uncharted territory. Regarding the students, we have been communicating between us, and you can feel a great comraderie even one month ahead of the start of the program! And regarding Italy, I have lost track of how many times I have been there, albeit I must admit it is my first time living in an Italian village and I am looking forward to blending with the locals!
ARCA Blog: As a frequent visitor to museums, I have been curious about the people who guard the art. In the United States you studied the museum security guards at the Metropolitan Museum. What did you learn from that study?
Marc: That small study, which I hope one day will develop into an academic article, was made out of ethnographical fieldwork. Of course, contrary to statistical research, it implies that the knowledge that it is being generated may not be generalizable anywhere else (another museum may show different results), but the depth of the detail produced by the observations is amazing. People tend to think about this passive museum guard staring into the void (which was, actually, the title of the project): I was also misguided by this myth, and actually it all originated as one ethnography regarding boredom. And well, yes, some of them may be there for the peace and solitude of the job, but then I found an amazing group of guards, trained in the arts or not, who cared a lot for what they were protecting. Some of them even launched a magazine! There were observations (I passed as a visitor taking notes) that were, simply put, amazing! However, it is sad that their voices are not often heard when addressing security concerns. At least, with my project, I tried to put a voice to their role.
ARCA Blog: The guards who left the biggest impression on me were those employed by the archaeological museum in Napoli. The impressive collection of mostly artifacts from Pompeii are housed in a sprawling building with large French doors which were flung open in the hot July afternoon I visited. The guards wore thick rubber sole shoes and appeared casually dressed. They didn’t appear to be a threat to anyone. However, then we remembered that Napoli is protected by organized crime and thought only a fool would steal from that museum. What makes an effective security guard?
Marc: Well, this example is perfect to realize that in certain parts of the world, organized crime has a palpable presence and blends with other legal activities. I would not label them as the effective guard (after all, it is well known that, after receiving a bonus in cash from visitors, they took some of them to some restricted areas). The effective guard should receive both training in art (again, as it was commented by the Met guards I interviewed, if you care about what you are protecting, your job becomes more engaging) and also, a training similar to the one received by guards in airports and other transportation hubs, where they are used to spot suspicious persons. This approach is already implemented in museums (see Ahern and Amore’s article, in ARCA’s book “Art and Crime”) and there is an interesting article by Charney in The Journal of Art Crime (“Ten Cost-Effective Steps to Improve Security at your Museum”, fall 2009) that proves it is not only not costly, but also should make guards more proactive and engaged in their line of work.
ARCA Blog: What is situational crime prevention and how did you relate it to museum security?
Marc: Situational crime prevention, along other theories, constitutes what is called environmental criminology. These theories differ from other criminological theories in the fact that they do not seek to answer why the offender did it (what motivations did he or she had in mind), but rather to prevent crime from happening by analyzing the physical surroundings of where crime takes place. Situational crime prevention, therefore, seeks to make the criminal act more difficult by adding barriers and difficulties, in a nutshell. We live, actually, surrounded by this theory: airports, ATMs… But not every measure is based on situational crime prevention, and this is the point I try to prove. These theories follow a method: you have a theoretical foundation, a methodology, a set of measures and, once implemented, you evaluate their success. Science, then, drives situational crime prevention, which is very different from simple prevention techniques with no effective and serious research behind it.
ARCA Blog: In places of civil unrest, museums like the National Museum in Baghdad are raided and the objects sold on the secondary market outside of the country. What can countries do to protect their cultural assets in these cases? What was learned from the looting of the Baghdad museum?
Marc: Even though it will sound utopic, as a criminologist I believe that in order to reduce effectively crime, better social policies play a fundamental role. However, the country must be able to enact them, and it may not be possible in developing countries. Many criminologists refer to anomie as this pressure on achieving goals through illicit means if all licit alternatives are blocked to you, in a very simplistic reduction of these theories. I analyzed the looting of the National Museum of Baghdad in this perspective: first of all, according to several sources and reports, the biggest amount of looted objects came from regular people (which is, per se, quite indicative). It must be noted that, theoretically and practically, the solutions we will be looking for differ radically from the ones that should be applied to professionals that were targeting the museum and waiting for their opportunity to break in and take profit of all the chaos, while at the same time spotting the most valuable items. What would I propose, therefore, for citizens tempted to break into a museum in times of unrest? Better social policies are basic (after all, they are revolting to claim for a better way of living) to eliminate temptations to resort to illicit activities. But it is also basic that these are also followed by educative measures teaching pride on your heritage: look at the Egyptians protecting their sites, for example.
ARCA Blog: You speak numerous languages and studied Classics in Humanities before focusing on criminology. What do you envision for yourself as a dream occupation after you have completed your studies?
Marc: In my studies, I always “go international”, as I put it! That is, I am always looking at several countries, comparing, analyzing... Hence, my dream job would be working at UNESCO. And, if I may ask, some time to teach art crime and criminology to others!

May 4, 2011

Wednesday, May 04, 2011 - ,, No comments

ARCA 2010 Alum Leila Amineddoleh Establishes the Art Law Group at Lysaght, Lysaght & Ertel in New York

Leila Amineddoleh inside a church in Cappadocia
This year ARCA 2010 Alum Leila Amineddoleh founded the Art Law Group at Lysaght, Lysaght & Ertel in New York. The group specializes in visual art and intellectual property. The acquisition and ownership of artwork involves many complex transactions, Ms. Amineddoleh told the ARCA Blog.
“The Art Law Group at Lysaght, Lysaght & Ertel counsels clients on all legal issues related to the acquisition, retention, and disposition of fine art, and rights to works of artistic creation. The firm handles litigation, alternate dispute resolution, and transactions that concern works of art, the art market, and the art world. It assists clients with the purchase, consignment, sale, and auction of art, organizing and implementing major exhibitions, structuring business agreements, drafting contracts, complying with customs procedures, recovering stolen work for collectors and insurance companies, and advising clients on criminal matters.”
The partners at Lysaght, Lysaght & Ertel approached Leila about joining the firm after she had returned from her studies with ARCA.
“The members of the firm have had great success in both litigation and transactional work, including recovering large monetary judgments in complex litigations. In addition, the founding partners of the firm are avid art collectors and involved in the art markets in both New York City and Chicago.”
ARCA Blog: What has been the most challenging part of forming a new practice group at a law firm?
Leila: The most difficult task is marketing the group. There are a few very well-known law firms in the US that have wonderful art law groups, and naturally clients turn to those firms first. Being the new kid in town is challenging, but we’re hoping that members of the art community will begin to recognize LLE as one of New York’s top art law firms.
ARCA Blog: What advantages does a smaller firm like LLE offer?
Leila: Because we’re a smaller firm, we have lower operating expenses, meaning that we’re able to charge less for our services. Clients will be able to get high-level work, but for lower prices.
ARCA Blog: How does an art law group function?
Leila: Basically, the same as any other group. Clients call us with questions about their legal situations, ranging from negotiating contracts between galleries and artists, litigating for the sale of paintings, filing trademarks, or dealing with criminal investigations regarding provenance. Clients can be very emotional about their legal issues, and it’s our job to analyze their situations rationally to find the best solution for each unique situation. We do our best to use legal tools to properly advise our clients and protect their interests.
ARCA Blog: Are your clients concerned about the provenance of their artworks? Are you ever asked to substantiate the ownership of an object or painting against claims of theft?
Leila: Clients are concerned about the provenance of their objects. Collectors are beginning to realize that provenance is extremely important. If they do not complete their due diligence of provenance research, they could have much bigger and more costly problems later down the line. In order to substantiate ownership, LLE works with provenance researchers in the US and Europe.
ARCA Blog: Do you see any issues regarding Holocaust-era art restitution?
Leila: I haven’t yet worked on any Holocaust-era art restitution cases, but it’s an area that I’m deeply interested in, and I would love to work on a matter related to World War II looted art.
ARCA Blog: Would you advise clients to document the history of ownership of their objects?
Leila: Certainly, it’s very necessary, and it’s a rule that I follow myself. As an art collector, I always research a piece’s history, and I keep dated receipts and information about where I purchased an object. It is necessary for clients to research the history of an artwork. If there isn’t a history attached to the piece, then purchasers should keep all current records: receipts, information about the seller of the object (whether it be a business card or name of the seller), etc.
ARCA Blog: In negotiation contracts between galleries and artists, what are some of the main concerns that have to be addressed?
Leila: As you can imagine, the artists are most concerned with their art. They need to be guaranteed that their art will be safe and protected against theft, fire, and damage. In addition, they need to be ensured that they will have unsold items returned and that they will receive proper credit for their work. And artists need to feel comfortable with their agents and galleries—they must know that these individuals respect their art and their craft.

On the other hand, gallery owners are most concerned about having products delivered to them. Artists have the reputation of being unreliable, and gallery owners need contracts that specifically set out dates and deadlines to ensure that artists deliver their works safely and securely with enough time for the galleries to properly organize shows.
To read more about LLE, you may visit their website: http://www.lysaghtlaw.com/.

May 3, 2011

Tuesday, May 03, 2011 - ,, No comments

Venice in Peril Fakes and Forgeries Lecture (Part II)

This podcast features Part II of Noah Charney's "The World Wishes To Be Deceived: A Brief History of Art Forgery" delivered as a part of Venice in Peril's 2nd Exclusive Art Crime Lecture held on April 5, 2011 at the Royal Geographical Society in London. In the lecture, Charney discusses the differences between fakes, forgeries, and copies as well as highlights a few of the most interesting cases from the past 500 years. Access the podcast at ARCA's iTunes page or by clicking this link.

May 2, 2011

Monday, May 02, 2011 - No comments

Osama bin Laden and Smuggling Antiquities -- as reported by Stolen Vermeer's Turbo Paul, the Art Newspaper, Matthew Bogdanos in the Associated Press, and (almost a decade ago) Wall Street Journal Reporter Daniel Pearl (Himself Kidnapped and Murdered by al Qaeda)

WSJ Reporter Daniel Pearl
 wrote about smuggled gems  funding
 al Qaeda months before his death
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

The news of the death of Osama bin Laden and his burial at sea prompted a curiosity about any relationship between terrorism and the trafficking of antiquities. "Googling" the subject found interesting "fragments" of information supporting the overall perception that the smuggling of antiquities (and precious gems) does fund terrorism:
The blog, Stolen Vermeer, has a very elaborate discussion about Osama bin Laden, the operation that succeeded in tracking him down and killing him, and includes some graphic photos not recommended for all audiences. The author, "Turbo Paul", was featured as a highly-charged character in Rebecca Dreyfus' 2009 documentary, Stolen, about the 1990 theft of the Isabella Stewart Gardner Museum. 
The Art Newspaper reported in January 2010 that "9/11 hijacker attempted to sell Afghan loot" to pay for lessons to fly an airplane. 
In 2008, the Associated Press reported that U.S. Marine Reserve Colonel Matthew Bogdanos said that the link between trafficking in antiquities and terrorism was "undeniable" and that looted objects from the National Museum in Baghdad helped to finance al Qaeda in Iraq.   
An earlier post from June 2001 in The Art Newspaper, prior to the September bombing of American planes and targets, specifically identifies the types of objects that may have been involved in funding terrorist activities. 
In a rather poignant article by Wall Street Reporters Daniel Pearl (kidnapped and beheaded by Al Quaeda in February 2002) and Robert Block titled "Underground Trade: Much-Smuggled Gem Called Tanzanite Helps Bin Laden Supporters" in which a Tanzanian government official is quoted as saying that the "smuggling of rough stones" "through Kenya to the bazaars of the Middle East" "are connected to Osama bin Laden."
For more information about the reaction to the death of al Qaeda leader Osama bin Laden, you may read about it on the front page of the Los Angeles Times or online here as reported from New York by Geraldine Baum, Nathaniel Popper, and Tina Susman, my former colleague at The Daily Aztec at San Diego State University.

Monday, May 02, 2011 - ,, No comments

ARCA 2010 Alum: Lauren Toleikis

Lauren Toleikis
by Catherine Schofield Sezgin, ARCA Blog  Editor-in-Chief

ARCA Blog: Lauren, how did you become interested in art crime? What did you learn during the program that surprised you?
Ms. Toleikis: I came from Canada to London to do a masters degree in Art History and Business at Sotheby's Institute. My thesis focused on restitution policies in the United Kingdom, the United States and Russia. Through research and interviews I became highly interested in art restitution. I began to work in a modern British art gallery and continued to read art market related cases, becoming interested in theft and forgery. A family friend recommended I take the postgraduate program at ARCA. The course enabled us to be taught by experts in each of the fields including policing, law, insurance, security, criminology and members of the art trade. I was impressed with how many professional branches are involved in art crime related cases. This is a unique field where numerous expertise are required. Living and learning in Amelia was a great exposure into true Italian culture.
ARCA Blog: What was your field of study?
Ms. Toleikis: For my thesis at ARCA, I focused on theft from national heritage homes within the United Kingdom. Burglaries are an issue with numerous heritage homes in the UK. I combined data based upon the type of entry and what was stolen from the heritage homes in conjunction with prosecution rates within the English legal system. Building on previous cases I analyzed approach of the current legal system in regards to burglary. Notorious groups such as the Johnson family, a group of travelers, targeted heritage homes throughout the country for years prior to being apprehended and charged. Although there has been a recent rise in theft of porcelain, collections of sliver and other antiques have been targeted as well. In 2005 a large Henry Moore statue was taken, garden architecture is also targeted as it does not involve entering the house. While it may appear that items taken consist of primarily small works this is not the case as seen in the theft of a Henry Moore statue in 2005.
ARCA Blog: You are currently working in an art gallery and a law office in London. After completing the program, how so you view these jobs differently?
Ms. Toleikis: In regards to the gallery, since the course I have become much more aware of the prints and paintings we handle. We complete provenance research for our clients and while many of the paintings may have had only one previous owner prior to the artist, it is important to have this information available for our clients. As we acquire a number of works through auction it is important that we complete our own analysis of the work prior to bidding. In Autumn last year (2010) we had an exhibition of one of our artists work that was outside the gallery, in a different location within London. One night, someone broke in and took some of the paintings. As a result we put the works up on the Art Loss register. It is important to remember that while the painting removed may not be a Picasso or a Van Gogh, all forms of art can be a target for thieves. When working in a gallery it is important to document all the work, even a simple photograph, size and title of the work will help in locating the work in the future.
For the legal office, I work for a barrister completing research on art related cases of Nazi looted theft and restitution. I have also helped in writing and reviewing books in both legal and non legal related fields. Working for the legal office in art related claims is an amazing opportunity as I am able to combine my interest in restitution policies and long term loan programs for museums and other institutions, while furthering my knowledge through legal cases.
ARCA blog: The gallery you work for attends numerous national and international art fairs, is art crime an issue at these fairs?
Ms. Toleikis: All fairs, whether national or international are vetted prior to the opening of the fair. The art in each of the stands is examined by a panel. If there are any questionable pieces of art the galleries are asked to remove the work from the fair. They are then able to handle issues of looted or fake work within their company. It is rare that a gallery would allow this to happen as it would project them in a bad light. In larger international fairs such as TEFAF, where there are paintings, antiques and jewellery theft can be an issue. In 2008 a group of people entered the fair and tried on jewellery. They then came back the next day and stole a large amount of it. While security is on hand at art fairs, there are often so many people coming through that it is difficult to regulate each individual.
ARCA Blog: What is next for you in the field of art crime?
Ms. Toleikis: Upon completing my law degree I hope to move towards working with restitution based cases or ownership disputes. I am interested in helping establish long-term loan agreements or other forms of compensation for ownership. I also hope to expand my knowledge to help smaller institutions as well such as galleries and local museums to provide a system of how to handle or what to do when legal claims are brought against an institution whether it be copy right issues, damage or theft.

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