The Other Art World

Total Page:16

File Type:pdf, Size:1020Kb

The Other Art World THE OTHER ART WORLD MONA LISA CURSE MONA LISA CURSE Typical View of Mona Lisa at the Musée du Louvre Paris, FR President, J. F. Kennedy, Jacquelyn Kennedy, Vice President, L. B. Johnson with French Cultural Minister and wife. January 9, 1963 National Gallery, Washington. DC At the Met February 1963 “Mona Lisa” 1963 Metropolitan Museum of Art New York, NY February 7,1963 March 4, 1963 Total Viewers 1,077, 521 Total Number of Viewers Single Day Record Number of Viewers 63,500 “The “Mona Lisa” painting made the leap from artwork to an icon of mass consumption” "The entanglement of big money with art has become a curse on how art is made, controlled, and above all - in the way that it’s experienced." “Apart from illegal drugs, art is the biggest unregulated market in the world” “Art Critic, Robert Hughes 2006 Art Theft THE Art Fraud Art Provenance OTHER Art Authentication ART Art Auctions Art Fairs WORLD Art Dealers Freeports BUYER BEWARE ART THEFT “I GOT CAUGHT BECAUSE DIDN’T HAVE THE MONET TO BUY DEGAS TO MAKE THE VAN GOGH” The Thomas Crown Affair (1999) Denis Leary’s cop character essentially absolving Thomas of guilt in a speech that’s basically about how his crimes are not a big deal because… “it’s all just a bunch of rich people fighting over some splashes of paint on a canvas”. ART THEFT MONA LISA THEFT 1911-1913 ART THEFT MONA LISA THEFT 1911-1913 Trial of Pablo Picasso, Guillaume Apollinaire Pablo Picasso Guillaume Apollinaire 1880-1918 1881-1973 1912 ART THEFT MONA LISA THEFT 1911-1913 Lisa del Giocondo (Gheradini) Vincenzo Peruggia (1881-1925) (1479-1542) ART THEFT MONA LISA THEFT 1911-1913 ART THEFT Isabella Stewart Gardner Museum Theft March 18, 1990 Isabella Stewart Gardner Museum Theft ART THEFT Isabella Stewart Gardner Museum Theft 1990 NAZI ART THEFT 2006 Movie NAZI ART THEFT Herman Goring and Adolf Hitler NAZI ART THEFT Jan Van Eyck “Ghent Altarpiece” 1432 Gustav Klimt 1907 “Lady in Gold” Baldin Collection Moscow Baldin Collection - Moscow NAZI ART THEFT Rolf Nikolaus Cornelius Gurlitt Arrested, Berne, SUI 2010 ART THEFT ART THEFT “The Scream” Edvard Munch (1863-1944) Versions stolen twice -1994, 2004 from Munch Museum, Oslo ART THEFT Italian Art Police The Carabinieri – est. 1969 recovers up to 2000 works of Art and Antiques, annually valued at 200-300 million Euros Offices in 14 Italian Cities 200 employees ART FORGERY (FRAUD) From sources with specific knowledge on the certification of the authenticity of collections in various art museums that 25% of all holding are fraudulent. ART FORGERY ART FORGERY 6 Copies were made, sold to American Collectors for $150K each ($900,000 2010) ART FORGERY “Man with Golden Helmet” 1650 Formerly Attributed Rembrandt Gemaldegalerie Berlin ART FORGERY Hans Van Meegeren and his fake Vermeer, Jesus among the doctors, 1945. ART FORGERY Fake Giacometti's by Robert Driessen ART FORGERY John Myatt with a replication by ‘Van Gogh’ Accomplice John Drewe created 250 Fakes ART FORGERY French painting expert Eric Turquin poses on April 12, 2016 in Paris with Judith cutting off the head of Holofernes, presented as being painted by Italian artist Caravaggio (1571-1610), while experts are still to determine its authenticity ART FORGERY French painting expert Eric Turquin poses on April 12, 2016 in Paris with Judith cutting off the head of Holofernes, presented as being painted by Italian artist Caravaggio (1571-1610), while experts are still to determine its authenticity In an 2005 opinion piece for the New York Times, former Wall Street banker, William Cohan described the “Art Market” as… “Utterly unregulated” and “a very dangerous place, populated by any number of unscrupulous figures.” Provenance and Authentication Andy Warhol (1928-1987) “Brillo Boxes” 1964 $300.00 Stable Gallery Recent Auction Results 2016 $3 million each Authentication “From Antiques Road Show” 1. Give the Art Work a “once-over” 2. Identify the Artist 3. Check if there is a Catalogue Raisonne and Research Work 4. Find an Expert 5. Prepare for the Moment of Truth Provenance “a record of ownership of art or antique used as a guide to authenticity or quality” Andy Warhol with Gerald Malanga 1967 Andy Warhol Factory 1967 Catalogues Raisonnēs Published 2002 Price as of 2021 $2975.00 plus shipping Catalogues Raisonnés AUTHENTICATION BOARDS JOSEPH CORNELL (1903-1972) AUTHENTICATION RESEARCH International Foundation for Art Research (IFAR®) 500 Fifth Avenue, Suite 935, New York, NY 10110 ART AS AN ASSET CLASS “To please the eye” vs “future value” Banks and Insurance Companies are employing in-house art experts to assist in evaluating art Bank Provided Services art advisory services art lending art investment services. ART AS PRESTIGE ART AS PRESTIGE ART DEALERS “never underestimate how insecure buyers are about modern and contemporary art” Notable Art Dealers and Art Gallerists Daniel-Henry Kahnweiler Irving Blum Pierre Matisse Mary Boone Peggy Guggenheim Arne Glimcher Sidney Janus Betty Parsons Leo Castelli Larry Gagosian Ileana Sonnabend Bruno Bischofberger Warhol Basquiat Bischofberger Basquiat Bischofberger “Dustheads” 1982 Bischofberger Gagosian “BOOM” May 2019 ART AUCTIONS ART AUCTION Owns 1000 Warhol Artworks Jose’ Mugrabi (1939) Estimated Value at $6 Billion “Without art auctions , the art market wouldn’t have the financial value it has. Auctions give the illusion of liquidity” Primary Market Vs. Secondary Market Primary Market “Quality Material” 1966 John Baldessari b.1931 Sold 1968 $1200.00 Secondary Market “Quality Material” 1966 John Baldessari b.1931 Christies Sold 2007 $4,100,000.00 Major Art Auction Houses Christie’s – London, UK, New York, NY and Offices Worldwide Sotheby’s – London, UK, New York, NY and Worldwide Phillips de Pury, London, UK, New York, NY and Worldwide Bonham's, London, UK and Worldwide Los Angeles Modern Auctions (LAMA), Los Angeles, CA Online Auction Services ART AUCTION HOUSES The Sotheby’s/Christie’s Scandal 1992 “The Art of the Steal” Christopher Mason 2005 “THE SCREAM” EDVARD MUNCH 1893 MUNCH MUSEUM, OSLO “THE SCREAM” AUCTIONED, 2012 -WINNING BID $119 MILLION “$119.6 million for a 20” x 28” piece of paper with various pastel chalk marks on it” WINNING BIDDER Leon Black ON “PERMANENT LOAN” AT METROPOLITAN MUSEUM OF ART NEW YORK CITY Art Fairs Art Fairs Art Basel Miami Beach Frieze – London, UK Art Basel Buenos Aires ARCO, Madrid, SP Art Basel Switzerland India Art Fair, New Delhi Art Basel Hong Kong The Armory Show, NYC Art Biennales Venice Biennale Yokohama Biennale San Paulo Biennale Singapore Biennale Berlin Biennale Whitney Biennale, NYC Shanghai Biennale Manifasta Europe Freeports Freeports Freeports Freeports Freeports Freeports Art World Players • Art Schools • Art Dealers Art • Art Galleries Collectors • Art Critics • Art Reviewers Art • Art Magazines Art • Art Historians Work • Art Museums Investors • Art Curators • Art Appraisers • Auction Houses Art • Art Consultants Viewers • Art Fairs • Art Competitions MFA PROGRAMS MUSEUMS DEALERS ART SCHOOLS TOP RANKED MFA PROGRAMS IN US YALE UNIVERSITY – NEW HAVEN, CT BARNARD COLLEGE, COLUMBIA UNIVERSITY, NYC RHODE ISLAND SCHOOL OF DESIGN – PROVIDENCE, RI PRATT INSTITUTE - NYC SCHOOL OF THE ART INSTITUTE OF CHICAGO – CHICAGO, IL MARYLAND INSTITUTE COLLEGE OF ART – BALTIMORE, MD CALIFORNIA INSTITUTE OF THE ARTS – VALENTIA, CA OTIS COLLEGE OF ART AND DESIGN-LOS ANGLES, CA PARSONS NEW SCHOOL – NYC MASSACHUSETTS INSTITUTE OF TECHNOLOGY – CAMBRIDGE, MA CRANBROOK – BLOOMFIELD HILLS, MI THE ARTIST Art Galleries U. S. Cities With Multiple Modern and Contemporary Art Galleries Chelsea, SoHo, and Williamsburg, Brooklyn, New York City. River North Gallery District, Near North Side, Chicago. West Loop, Chicago. Design District, Miami, Florida Wynwood Art District, Miami, Florida Worth Avenue, Palm Beach, Florida Bergamot Station, Santa Monica, California Gallery Row, Downtown Los Angeles, Los Angeles. Art Museums “one of the functions of museums is to make art worthless again. Art is taken out of the market and put in a place where it becomes part of the common wealth” Robert Storr, Curator, 2006 Venice Biennale Notable Art Museums Worldwide MOMA, NYC Louvre, Paris Guggenheim, NYC Musee d’Orsay, Paris. FR Whitney, NYC Pompidou, Paris, FR Metropolitan M of A, NYC Prado, Madrid, SP Brooklyn Art Museum Sofia, Madrid, SP Boston MFA Hermitage, St Petersburg Art Institute Chicago Moscow Museum of Art National Gallery, Washington National Gallery, London Philadelphia M of A British Museum, London Baltimore Art Museum Tate Modern, London Detroit Art Museum Academia, Florence, Italy L.A.C.M.A. Los Angeles Ufizzi, Florence, Italy Getty, Los Angeles Rijksmuseum, Amsterdam Seattle Art Museum Van Gogh Museum, Amsterdam Notable Art Critics Modern Contemporary Lawrence Allway Terry Barrett Michael Fried Lucy Lippard Clement Greenberg Rosalind Krauss Robert Hughes Hilton Kramer Jerry Salz Harold Rosenberg Roberta Smith Linda Nochlin Leo Steinberg The Art Scene Art Openings Is anyone looking at the art? MET GALA 2019 “5 reasons why is art so damn expensive?” Prestige Factor Dollars are easier to measure than beauty Culture dollars are more valuable The Thrill of the Hunt and Bragging Rights New money skews the market THE BRICS .
Recommended publications
  • This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
    This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Touching the Void: The museological implications of theft on public art collections Jillian Seaton Ph.D. University of Edinburgh 2014 Abstract Of central importance to this thesis is the way security measures contradict the process through which museums have been seeking to divest themselves of theoretical hierarchies and value judgments in recent years. A context for investigation is established that considers how a perceptible increase in art theft, complicated by the escalating value of individual objects and the proliferation of museums as represented by a rise in attendance figures has produced a climate of vulnerability for arts collections around the world. In response, museums are installing unprecedented levels of security that are having a significant impact on established viewing conditions and redefining museum space. Further hindering this situation is the disparity between the fields of museology and museum security.
    [Show full text]
  • How to Plan a Successful Art Heist: a College Student's Contingency
    How to Plan a Successful Art Heist: A College Student’s Contingency Loan Repayment Plan and Backup Career Explained By Samara Diab As an English major and prospective law student attempting to conceptualize six-figure debt, my life has morphed into a deafening series of what ifs, an overwhelming collection of worst-case scenarios. What if I can’t find a job after graduation? What if I drop out and am stuck with debt but no degree? What if I regret all the life choices I ever made and have to pay for them for the rest of my life? It would be nice to have a Plan B, one that could repay all my student loans and still leave me with a nest egg to jumpstart the next chapter of my life. Then I could stop worrying about money and actually enjoy my education. So naturally, I began to research backup careers. The problem is that I am not yet jaded. I still walk through life with my eyes wide, smile wider, thinking I can do something great and leave my mark on the world. If I am going to have a backup career, my one requirement is that it be something great. Something fascinating and unique, intellectually stimulating and creative. Something serious, and purposeful and just a little bit sexy. My backup career should be the Mona Lisa of backup careers, a stunningly nuanced masterpiece with a smile that leaves you wanting more. Or maybe instead of crafting a career in the image of Leonardo da Vinci’s Mona Lisa, I could just steal it.
    [Show full text]
  • Los Angeles Police Department
    L OS A NGELES P OLICE D EPARTMENT STOLEN ART Bulletin 97-9 Lost and Stolen Art, Antiques and Collectibles Page 1 of 4 BRONZE SCULPTURE RECOVERED hen a West Los Angeles couple returned to their home in March of 1996, they discovered they were the victims of theW theft of their Henry Merwin Shrady bronze sculpture of a buffalo entitled Monarch of the Plains. The bronze had been in the family since the 1930s and had always been kept outdoors near the back door. Later, the family was amazed to learn that another statue from the same cast was auctioned at Christies in New York for $123,500 in December of 1996. There were no witnesses, clues or physical evidence at the time of the theft and the investigation languished for more than a year. However, an art dealer who was visiting a gallery thumbed through an art newsletter containing a description of the stolen bronze and remembered seeing it at a thrift shop in Mar Vista a year Shrady's Monarch of the Plains earlier. This tip resulted in the arrest of the suspect and the recovery of the statue by the Art Theft Detail. Career criminal Henry Benton Lightfoot III originally came in contact with the victims by going door-to-door, offering to paint house numbers on curbs. He was hired to perform additional painting and maintenance jobs around the house. The victims knew that Lightfoot had been in jail in the past but wanted to aid him in his rehabilitation by providing him with honest work.
    [Show full text]
  • Applying a Strict Discovery Rule to Art Stolen in the Past Tarquin Preziosi
    Hastings Law Journal Volume 49 | Issue 1 Article 4 1-1997 Applying a Strict Discovery Rule to Art Stolen in the Past Tarquin Preziosi Follow this and additional works at: https://repository.uchastings.edu/hastings_law_journal Part of the Law Commons Recommended Citation Tarquin Preziosi, Applying a Strict Discovery Rule to Art Stolen in the Past, 49 Hastings L.J. 225 (1997). Available at: https://repository.uchastings.edu/hastings_law_journal/vol49/iss1/4 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Applying a Strict Discovery Rule to Art Stolen in the Past by TARQUIN PREZIOSI' Introduction There is a great deal of confusion both within and among jurisdic- tions as to when and how the statute of limitations for an action to recover stolen art begins to run. This Note proposes both a retrospective and a prospective solution to the inherent problems in determining when an ac- tion to recover stolen art is barred by the statute of limitations. Art that was stolen in the past would be subject to a "strict" discovery rule-one which does not focus on the true owner's "due diligence"-so that the statute of limitations will not begin to run until the owner becomes aware of the identity of the possessor of the artwork. Future victims of art theft, in accordance with both current practices in the art world and academic proposals, would be required to register their stolen works with an art theft database in order to toll the statute of limitations.
    [Show full text]
  • An Avenue for Fairness: Disclosure-Based Compensation Schemes
    AN AVENUE FOR FAIRNESS: DISCLOSURE-BASED COMPENSATION SCHEMES FOR GOOD FAITH PURCHASERS OF STOLEN ART TABLE OF CONTENTS I. INTRODUCTION ......................................................................................................................... 2 II. ART THEFT GENERALLY ........................................................................................................... 4 III. THE UNITED STATES ART MARKET .......................................................................................... 5 IV. THE LAW APPLICABLE TO GOOD FAITH PURCHASERS OF STOLEN ART .................................... 7 A. VOID TITLE ............................................................................................................................ 7 B. DEFENSES .............................................................................................................................. 8 1. New York: Demand and Refusal. ..................................................................................... 9 2. The Discovery Rule ........................................................................................................ 11 C. EXEMPLARY CASES ............................................................................................................. 13 1. Diligence on the Part of the True Owner ........................................................................ 14 2. Diligence on the Part of Good Faith Purchaser ............................................................. 15 V. ART TITLE INSURANCE ..........................................................................................................
    [Show full text]
  • The Nazi Art Theft Problem and the Role of the Museum: a Proposed Solution to Disputes Over Title
    THE NAZI ART THEFT PROBLEM AND THE ROLE OF THE MUSEUM: A PROPOSED SOLUTION TO DISPUTES OVER TITLE RALPH E. LERNER* I. INTRODUCTION It was part of the established policy of the Nazi regime to con®scate works of art from Jewish families during World War II.1 Some of these works of art found their way into the stream of commerce and are now in the possession of museums and individuals in the United States. They were acquired by good- faith purchasers who paid fair value for the artwork or re- ceived the artwork as a donation, as is often the case for a mu- seum. This Article deals primarily with the resulting tug-of-war that now exists between two innocent parties: an American museum holding a work of art that may have been stolen by the Nazis during World War II and the heirs of the original owner who perished at the hands of the Nazis during the War. This Article reviews the legal principles raised in title dis- putes involving artwork stolen during World War II. The dis- cussion recognizes the dif®culty of resolving ownership dis- putes that arise more than ®fty years after an event, when evi- dence is often lacking and claimants may be deceased. Legal problems are further magni®ed by the passionate feelings aroused by attachment to a work of art, as well as by over- whelming revulsion to the horror of the Holocaust. The Arti- cle concludes that the Holocaust was an event so catastrophic that established legal concepts do not clearly resolve the issues at hand, and suggests an alternate method of resolution.
    [Show full text]
  • Prudent Provenance - Looking Your Gift Horse in the Mouth
    UCLA UCLA Entertainment Law Review Title Prudent Provenance - Looking Your Gift Horse in the Mouth Permalink https://escholarship.org/uc/item/62k4v2sd Journal UCLA Entertainment Law Review, 8(2) ISSN 1073-2896 Author Foster, Shirley Publication Date 2001 DOI 10.5070/LR882027016 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Prudent Provenance - Looking Your Gift Horse in the Mouth Shirley Foster* I. INTRODUCTION The frustrated Seattle Art Museum (SAM) returned a two million dollar Henri Matisse painting that it had held in public trust for nearly a decade, yet emotions were bittersweet because SAM knew it was doing the right thing.1 Donors had purchased the valuable painting in 1954 from a reputable New York art gallery, Knoedler & Co., and it had remained in the state of Washington since then. "The Seattle Art Museum received Odalisque in 1991. With the conclusion of [exten- sive] research, evidence indicated that Odalisque was one of the paintings that the Nazis stole from Paul Rosenberg, a prominent Jew- ish art dealer in Paris at the time, and that it was never returned to 2 him." Much to the shock of Seattle citizens, the Seattle Art Museum has displayed Nazi war booty for nearly a decade. The horrors of the Nazi period are well known. From the time the Nazi regime came into power in 1933 through the end * J.D., Willamette University College of Law. Mimi Gardner Gates, SAM Director, "It was important for the Seattle Art Mu- seum to restore the painting to the Rosenberg heirs and to have pursued questions relating to its provenance on behalf of our donors.
    [Show full text]
  • Redalyc.Pablo Picasso, Art Thief: the “Affaire Des Statuettes” and Its Role
    Arte, Individuo y Sociedad ISSN: 1131-5598 [email protected] Universidad Complutense de Madrid España Charney, Noah Pablo Picasso, art thief: the “affaire des statuettes” and its role in the foundation of modernist painting Arte, Individuo y Sociedad, vol. 26, núm. 2, 2014, pp. 187-198 Universidad Complutense de Madrid Madrid, España Available in: http://www.redalyc.org/articulo.oa?id=513551291001 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Pablo Picasso, art thief: the “affaire des statuettes” and its role in the foundation of modernist painting Pablo Picasso, ladrón de arte: “el caso de las estatuillas” y su papel en la fundación de la pintura moderna NOAH CHARNEY Professor of Art History, American University of Rome and Founder and President, ARCA (Association for Research into Crimes against Art) [email protected] Recibido: 28 de agosto de 2012 Aceptado: 23 de enero de 2014 Abstract When the Mona Lisa was stolen in 1911 by the Italian handyman Vincenzo Peruggia, both Pablo Picasso and Guillaume Apollinaire were brought in by the Paris police for questioning. They were in- nocent of having stolen the Mona Lisa, but they were in fact guilty of having stolen other art from the Louvre—for in Picasso’s dresser lay hidden several ancient Iberian statue heads that had been stolen from the Louvre in 1907 by Apollinaire’s secretary, Honore-Joseph Gery Pieret, almost certainly on commission from Picasso himself, who may also have assisted in the theft.
    [Show full text]
  • The Criminal Dynamics of Art Crime in the European Union
    The Criminal Dynamics of Art Crime in the European Union. Naomi Oosterman City University London Art, Crime, and Criminals: Painting Fresh Pictures of Theft, Fraud, and Plunder. PANEL: Are existing security measures able to protect public and private art theft? Queen Mary University of London, 21st June 2016. Overview presentation • Introduction • Research Design • Research Focus • EU policy art crime & Databases • Methods • Preliminary Results Research Design RESEARCH FOCUS • What are the criminal dynamics of art crime in the European Union? METHODS • Art crime database - Social Network Analysis • Law enforcement - Interviews/Secondary data analysis • Museum (professionals) - Interviews/ Observations LOCATION(S) • United Kingdom • The Netherlands • Italy - COMMON DENOMINATOR Research Focus – EU collaboration • What are the criminal dynamics of art crime in the European Union? Becker, 1982 / Bourdieu, 1993 / Griswold, 1994 / Ericson, 2007 Networks and collaboration Division of labour Cultural Diamond Police as ‘information broker’ Relevant EU Presidency’s The Netherlands 2004 France 2008 Poland 2011 The EU regarding art crime Relevant EU presidency’s • 2004 – The Netherlands - Member states should (in any aspect) have an art crime database - Implementation of a non-binding agreement that every member state should set up and maintain an art crime database. • 2008 – France - Call for a European database of stolen art - EU Council adopted a non-binding conclusion on the fight against the illicit trafficking in cultural objects - Called
    [Show full text]
  • NGA | 2012 Annual Report
    NA TIO NAL G AL LER Y O F A R T 2012 ANNUAL REPort 1 ART & EDUCATION Diana Bracco BOARD OF TRUSTEES COMMITTEE Vincent J. Buonanno (as of 30 September 2012) Victoria P. Sant W. Russell G. Byers Jr. Chairman Calvin Cafritz Earl A. Powell III Leo A. Daly III Frederick W. Beinecke Barney A. Ebsworth Mitchell P. Rales Gregory W. Fazakerley Sharon P. Rockefeller Doris Fisher John Wilmerding Juliet C. Folger Marina Kellen French FINANCE COMMITTEE Morton Funger Mitchell P. Rales Lenore Greenberg Chairman Frederic C. Hamilton Timothy F. Geithner Richard C. Hedreen Secretary of the Treasury Teresa Heinz Frederick W. Beinecke John Wilmerding Victoria P. Sant Helen Henderson Sharon P. Rockefeller Chairman President Benjamin R. Jacobs Victoria P. Sant Sheila C. Johnson John Wilmerding Betsy K. Karel Linda H. Kaufman AUDIT COMMITTEE Robert L. Kirk Frederick W. Beinecke Leonard A. Lauder Chairman LaSalle D. Leffall Jr. Timothy F. Geithner Secretary of the Treasury Edward J. Mathias Mitchell P. Rales Diane A. Nixon John G. Pappajohn Sharon P. Rockefeller Frederick W. Beinecke Mitchell P. Rales Victoria P. Sant Sally E. Pingree John Wilmerding Diana C. Prince Robert M. Rosenthal TRUSTEES EMERITI Roger W. Sant Robert F. Erburu Andrew M. Saul John C. Fontaine Thomas A. Saunders III Julian Ganz, Jr. Fern M. Schad Alexander M. Laughlin Albert H. Small David O. Maxwell Michelle Smith Ruth Carter Stevenson Benjamin F. Stapleton Luther M. Stovall Sharon P. Rockefeller John G. Roberts Jr. EXECUTIVE OFFICERS Ladislaus von Hoffmann Chief Justice of the Diana Walker United States Victoria P. Sant President Alice L.
    [Show full text]
  • Art Theft, Art Vandalism, and Guardianship in U.S. Art Institutions
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 8-2018 Art theft, art vandalism, and guardianship in U.S. art institutions. Katharine L. Salomon University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Criminology and Criminal Justice Commons, and the Fine Arts Commons Recommended Citation Salomon, Katharine L., "Art theft, art vandalism, and guardianship in U.S. art institutions." (2018). Electronic Theses and Dissertations. Paper 3028. https://doi.org/10.18297/etd/3028 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. ART THEFT, ART VANDALISM, AND GUARDIANSHIP IN U.S. ART INSTITUTIONS By Katharine L. Salomon B.A, Transylvania University, 1990 M.S., University of Louisville, 2008 A Dissertation Submitted to the Faculty of the School of Interdisciplinary and Graduate Studies of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Interdisciplinary Studies School of Interdisciplinary and Graduate Studies University of Louisville Louisville, KY
    [Show full text]
  • Criminal and Victim Profiles in Art Theft: Motive, Opportunity and Repeat Victimisation Simon Mackenzie, Dept of Criminology, Keele University
    AXA Art Conference Rogues Gallery: An Investigation Into Art Theft Criminal and Victim Profiles in Art Theft: Motive, Opportunity and Repeat Victimisation Simon Mackenzie, Dept of Criminology, Keele University In 1994, criminologist John Conklin published a book on a topic he noted to have ‘so far escaped the attention of criminologists: crime that involves works of art’. 1 The material he focussed on in the book, which remains one of the few sources for criminologists interested in art crime, was largely drawn from the media: ‘Because there was little social scientific research to draw on for this book, most of the raw material comes from newspapers, art magazines, and a newsletter published by the International Foundation for Art Research’. 2 It remains the case a decade later that there is little social scientific research on which to draw in relation to the phenomenon of art theft. There have, however, been developments in three areas, which suggest that returning to Conklin’s work and updating it may prove useful. These three areas are: advances made in techniques of criminal profiling; the generation of a considerable amount of criminological literature on patterns of repeat victimisation; and of course the additional raw data of the various art thefts which have occurred since Conklin published in the mid-nineties. Conklin used the framework of Routine Activities Theory (RAT) to explain art theft. RAT was developed by criminologists in the late 1970s and early 1980s to explain, in highly practical terms, geographical patterns of crime. 3 The theory proposes that crime is likely to occur where three factors are present: a suitable target; a motivated offender; and an absence of capable guardians.
    [Show full text]