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March 22, 2010

March 10, 2010

March 6, 2010

March 3, 2010

Wednesday, March 03, 2010 - , 3 comments

What happens after ARCA's Postgraduate Program in International Art Crime Studies?

As Business and Admissions Director of ARCA's Postgraduate Program in International Art Crime Studies, I have had a number of prospective students, current students, figures in the field, and others pose this question to me. Many have often queried, "Where are the opportunities in the fields related to art crime?" While not everyone can, or will, become a private art investigator, there are still opportunities within the fields related to art crime. This is the first post in a series on life after the MA in International Art Crime Studies. The first student profiled is Julia Brennan '09.

Julia has worked in the field of textile conservation for over twenty-five years (in practice). She established Textile Conservation Services in 1995 to serve private collectors, galleries, museums, and institutions. Early training included six years in a private atelier specializing in the conservation of 16th-20th century tapestries, Oriental carpets, Asian textiles and American samplers and quilts. Ms. Brennan helped establish the textile storage and conservation facility at the Philadelphia College of Textile’s Paley Design Center, and was the editor for a manual of conservation stitches. In 1989 she received a Getty Research Grant focusing on the analysis of dyes in historic Thai textiles, as well as treatments for oriental carpets. During her five years as Assistant Conservator for Exhibitions at the Textile Museum in Washington, she prepared over 30 exhibits, and was the guest curator of a contemporary textile show on Faith Ringgold.

She does regular contract work and maintenance of textile collections for The John F. Kennedy Center for Performing Arts, The Daughters of the American Revolution Museum, George Washington's Mount Vernon and Smithsonian Institution Museums. For more info about Julia's work see her site "Caring for Textiles". Recently, she contributed a chapter on teaching preventative and textile conservation in Asia and Africa in Frances Lennard and Patricia Ewer eds. Textile Conservation: Advances in Practice. Butterworth Heinemann. March 2010, pp 336.

March 1, 2010

Monday, March 01, 2010 - , No comments

ARCA Trustee Anthony Amore Featured at IFAR's Twenty Years and Counting: The Isabella Stewart Gardner Museum Theft

Twenty Years and Counting: The Isabella Stewart Gardner Museum Theft
Anthony Amore - Director of Security, Isabella Stewart Gardner Museum
Rebecca Dreyfus - Producer/Director "Stolen," a PBS Independent Lens Production
Brian Kelly - Chief of the Public Corruption & Special Prosecutions Unit, U.S. Attorney's Office, Boston
Geoffrey Kelly - Special Agent, Violent Crimes Task Force, FBI, Boston Division

Program Location:
"10 on the Park" at the Time Warner Center; 10th floor, 60 Columbus Circle, New York

In March 1990, in the early morning after St. Patrick's Day, thieves masquerading as policeman stole 13 works, including 11 paintings, from the Isabella Stewart Gardner Museum in Boston. Among the paintings were Vermeer's Concert and Rembrandt's only seascape. Twenty years later, the theft remains the most significant U.S. art theft in history, and it is still unsolved. This special program, organized with the cooperation of the Gardner Museum and both the FBI and US Attorney's Office in Boston, is a rare opportunity to learn more about the case from the people closest to it. It is a follow-up to the program IFAR organized -- also with the help of the FBI -- on the 10th anniversary of the theft, in March 2000.

Monday, March 01, 2010 - ,, No comments

ARCA Call for Papers

Call for Papers
2nd Annual ARCA Conference in the Study of Art Crime
Amelia, Italy
10-11 July 2010

ARCA (The Association for Research into Crimes against Art), an international non-profit think tank and research group dedicated to the study of art crime and cultural property protection, is pleased to announce a Call for Papers for its second annual conference. Papers are welcome from scholars and professionals in any field relevant to art crime and protection, including law, policing, security, art history, conservation, archaeology, and criminology. Please submit a title and abstract (up to 250 words) as well as a professional biography (up to 150 words) by email to director@artcrime.info by May 1.

The conference will be held in the elegant Zodiac Room of Palazzo Petrignani, in the beautiful town of Amelia in the heart of Umbria. The conference will feature the presentation of the annual ARCA Awards to honor outstanding scholars and professionals dedicated to the protection and recovery of international cultural heritage. The goal of the conference is to bring together international scholars, police, and members of the art world to collaborate for the protection of art worldwide.

Please direct any queries and submit papers to director@artcrime.info. For more information on ARCA, please visit www.artcrime.info.

February 25, 2010

February 12, 2010

Blood Antiques

Recently, a variety of news sources carried stories that made reference to an article in the Fall 2009 issue of the Journal of Art Crime by Judith Harris, which discussed the many connections between looted archaeological artifacts and terror. For a both more in-depth study and visual supplement be sure to check out "Blood Antiques," a Belgian documentary by Peter Brems and Wim Van den Eynde featured on Linktv.org.

From LinkTV,
"The European art trade, synonymous with wealth and glamour, has always involved a degree of stolen and smuggled art. Now, Afghanistan’s rich cultural heritage is financing terrorism and the Taliban. From Afghans scrabbling in the sand for treasures, to the dazzling show rooms of unscrupulous dealers and private collectors – ‘Blood Antiques’ uncovers one of the most outrageous illegal trades since blood diamonds."

January 19, 2010

Crackdown on Culture Crime: Italy’s Proud Carabinieri Art Squad


by Judith Harris

ROME –The message: it works! Italy’s campaign to crack down on thefts of its treasures of art and archaeology has borne fruit, and the proof is in the statistics in the year-end report, released January 14 in Rome by General Giovanni Nistri, head of Italy’s crack Carabinieri art squad. Cultural heritage thefts were down by 14.5 percent in 2009 over the previous year. In addition, some 60,000 looted artifacts—from ancient to modern paintings, preciously inlaid Baroque furniture, archaeological artifacts, fine items of church décor and rare books—were recovered during 2009 for a total estimated value of almost $240 million. During the three-year period 2007-09 all crime has decreased, with thefts of cultural heritage dropping from 1,031 in 2008 to 882 in 2009.

Two of the most important recovered items—a Roman-era fresco painting hacked out of a wall and a precious black-figure decorated ceremonial Greek pot with handles (krater)—stolen from Italy but turned up recently at the auction house of Christie’s in New York.

Most recently the campaign to protect the nation’s cultural heritage has showcased the ongoing trial in Rome of two Americans, former Getty Museum curator Marion True and the elderly Paris-based dealer Robert Hecht. As a result of this highly publicized trial, the Getty Museum, the Boston Museum of Fine Arts and the Cleveland Art Museum have all returned items which the Italians demonstrated were looted from its territory. This three-pronged effort to throttle clandestine looting and sales involved the successful coordination with the Culture Heritage Ministry, the Carabinieri, and prosecutors and magistrates.

The advent of the Internet has both helped and hindered the illicit traffic. Specialized and general-interest web sites frequently sell looted items, but at the same time the Carabinieri-created website showing illustrations of stolen artifacts has been a successful tool. An example is the Pompeian fresco which had been stored for decades in a museum warehouse. No one knew when it was removed from storage, but in 1997 it was declared missing, and, thanks to the Internet, was found at Christie’s before it could be stolen.

One disappointing setback: a father-so team Lebanese art restorers working in Switzerland, known as the Burki, were implicated with Robert Hecht. Some 500 archaeological items were seized from them but bureaucratic delays with justice officials in Switzerland meant that the statute of limitations ran out, and all the artifacts had to be returned to them. At present, according to the Carabinieri, of the 500 items, only 137 remain in the Burki possession.

Archaeological theft is particularly important because by definition the looted items have no provenance certification, as would be required for selling, say, master works by Renaissance artists. For this reason independent experts like Prof. Noah Charney estimate archaeological thefts to amount to about three-quarters of the total. To address this, the Carabinieri now patrol the territory in helicopters and low-flying airplanes, which allow them to see, literally, the clandestine digs that would otherwise be invisible. As a result, on two sites looters were caught red-handed, and four arrests made.

Put another way, both supply side and the demand side are under attack. Stolen archaeological items are harder to sell because collectors are frightened, and the more skillful sleuthing means that the number of known clandestine excavations has fallen by a stunning 76% in just one year as a result.

Perhaps as a result, the number of counterfeit objects—“and particularly works of modern art,” said General Nistri—seized has risen enormously, by 427 percent in just one year. The problem remains, obviously, and especially in Central Italy (Lazio, Campania Regions), Tuscany and Lombardy.

State-owned museums are better protected today than in the past, as the statistics also show. Museum thefts are down by 29% across the board. Relatively few take place in the larger museums, whereas the smaller, city-owned (and hence less protected by high-tech security) museums account for half of all museum thefts.

Thefts from private collections, religious institutions of all kinds and historic archives remain a major concern. Church thefts dropped by almost 12% over 2008, but that year had seen a small boom in looting, and thefts from religious institutions of all kinds still account for 44.5% of the total. The relatively large number of archival materials recovered suggests that combatting this type of theft remains a priority.