ARCA 2013 Annual Conference Programme

7/15/2019 ARCA 2013 Annual Conference Programme

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ARCAART AND CULTURAL HERITAGE

CONFERENCE 2013

JUNE 21-23



The Association for Research into Crimes against Art (ARCA) has o

Friday, June 21

18.00 Opening Cocktails at Palazzo Farrattini

Conference is held at Chiostro Boccarini

Saturday, June 22

9.00 Conference Opening

9.15-10.40 Panel 1

10.40-11.00 Coffee Break

11.00-12.30 Panel 2

12.30 – 13.30 Lunch in the Cloisters

13.30 – 14.30 Stefano Alessandrini and Derek Fincham discussion on the Fano

Athlete/Getty Bronze

14.30 – 16.00 Panel 3

16.00- 16.20 Coffee Break

16.30 – 18.30 ARCA Award Presentation

20.00 Conference Dinner at La Locanda

Sunday, June 23

9.15 – 11.00 Panel 4

11.00-11.20 Coffee Break

11.20 – 13.00 Panel 5

13.00 Closing

2013 Conference Schedule



9.00 Conference Opening

9.15-10.40 Panel 1Panel 1 will be moderated by Marc Balcells Magrans, a Fulbright scholar, Spanish

criminologist, and a criminal lawyer. He currently lives in New York where he is completing aPhD in Criminal Justice.

***

Toby Bull, Senior Inspector, Hong Kong Police Force

Senior Inspector Toby Bull has been in the Hong Kong Police Force since 1993. He holds adegree in Fine Arts and is a qualified art authentication expert. He is published and has

lectured extensively on the subject of art crime in the Hong Kong and China region.

Recently, he founded TrackArt, an Art Risk Consultancy, which is based in Hong Kong.

“Property of a Hong Kong Gentleman, Art Crime in Hong Kong - Buyer Beware” Believed to be one of the largest illegal business in the world, the black-market antiquitiestrade ranges from the impoverished tomb-raider via organised criminal networks through tothe dealers and auction houses in Europe, America and Asia.

Looted antiquities are typically smuggled across porous borders, often acquiring fictitious

provenance along the way. Documents claiming false authenticity and providing assurancesthat the items have not been looted, as well as outright fakes of antiquities are also commonoccurrences.

The worldwide popularity and high prices for Chinese archaeological artefacts haveencouraged illegal excavation and smuggling of cultural property. Although Chineseauthorities have intensified their efforts to crack down on smuggling and illicit excavation, itcontinues practically unabated. This huge demand for Chinese cultural artefacts has causedserious damage to China's cultural heritage.

A distinctive feature of the trade in Chinese antiquities is the important role played in themarket by the transition ports such as Hong Kong. Hong Kong is seen as the way station for

much of China's exported artefacts on their journey to collections abroad.

This talk will look at the nature of the Hong Kong market, the extent of the problem of lootedartefacts, as well as addressing the issue of fakes that enter the local Hong Kong market. Italso looks at whether greater due diligence or some form of regulation amongst the localdealers could be brought in to help diminish and eventually stop the trade in illicit antiquities .

***

Saturday June 22nd



Ruth Godthelp, PhD Candidate Vrije Universiteit of Amsterdam, Senior Police

officer art related crime, Amsterdam Police.

Ruth Godthelp is a senior police officer art related crime at the serious and organized crime

department of Amsterdam Police (The Netherlands). After a legal career as both a judicial

assistant of the Public Prosecutor and as a lawyer she joined the police and became the first

official national police officer combating art related crime. Besides she recently started a

PhD in Criminology (VU University Amsterdam) purely based on police registrations

regarding art related crime to purify the basic discussion about the actual scope and nature

of art related crime in the Netherlands.

“The nature of crimes against Arts, Antiques and Cultural Heritage: A description of art related crime in the Netherlands based on police registrations.” Although the last decade art related crime acquired increased attention within the policingand academic field, a description of the phenomenon is often made based on theoreticalpossibilities and only a few case studies. The question therefore arises whether these limitedsources of information give an accurate reproduction of the actual nature and scope of artrelated crime. This presentation presents provisional outcomes of an ongoing researchproject uniquely using police-registrations of art related crime in the Netherlands from 2007till 2012 and aims to provide more insight in the offense itself (1) the suspect (2) and (3) thevictims of art related crime.

For this study 4000 registered art related crimes were extracted from the Dutch nationalpolice database and submitted to set definitions and operationalisation approaches whichnarrowed the dataset down to 1100 registrations. These will be analyzed from theaforementioned angles (offense, suspect and victim). A first finding shows that a large number of registrations are registered in such a restrictedway that, although valuable art, antiques or (international) cultural heritage is involved, any

indication regarding further investigation is lacking; which leads to limited useful information.Further the paper discusses the type of offense occurring in the dataset and show us mainly(targeted) burglaries from private houses, involving quite a share of modern art-objects. Butalso cases with constructions of money –laundering within the commercial world of art,museum thefts, illegal import of cultural heritage, fraud and high quality forgeries andrecurring suspects are discussed.

Although research based purely on police-registrations also has restraints (such as theeffects of black number and priority based information) this innovative survey offers thepossibility to purify the basic discussion about the actual scope and nature of art relatedcrime. In addition it could serve as a starting-point for further required empirical research andpriority setting within law enforcement.

***

Saskia Hufnagel, Research Fellow, ARC Centre of Excellence in Policing andSecurity.Dr Saskia Hufnagel is a Research Fellow at CEPS, Griffith University, Australia and aLeverhulme Fellow at the University of Leeds. Her book Policing Cooperation AcrossBorders: Comparative Perspectives on Law Enforcement within the EU and Australia(Ashgate, 2013) came out this year. Together with Duncan Chappell she is currently editing Contemporary Perspectives on the Detection, Investigation and Prosecution of Art Crime

(Ashgate, 2013).



"Shifting Responsibilities — The Intersection of Public and Private Policing in theArea of Art Crime” Art crime is not a ‘special’ type of crime. Most common forms encompass theft, fraud andforgery offences and are, or should be, policed by local police agencies. However, mostart crime is not detected without special knowledge. Whether a stolen painting or statutequalifies as ‘art’, needs to be discovered either by the victim, or the investigator. In fraud cases, police need to be able to determine who the actual author of a particular work of artis. Many officers would not be able to make these distinctions, having no specialised trainingon these matters and – in the case of Australia – not even a special national unit to refer these cases to. Art crime is hence often referred to ‘experts’ with special knowledge andeven their own ‘intelligence’ databases. A prominent example for the privatisation of intelligence in this field is the art loss register, which investigates predominantly art theftcases, either commissioned by private institutions or working together with police all over theworld. The present paper will examine historically the interaction between public and privatepolicing in the area of art crime intelligence with a view to common law jurisdictions, such as Australia, North America and the United Kingdom. It will be assessed whether a shifttowards private intelligence has actually occurred, why a shift might have been necessary,

and what dangers private intelligence brings for the art market.

***11.00-12.30 Panel 2

Panel 2 will be moderated by Rene M. Du Terroil who currently directs theinternationalisation initiative for the Italian and Spanish campuses of the Instituto Europeo di

Design (IED) He has developed and managed heritage and culture-based educationalprograms in Italy for over fifteen years and teaches in the fields of European public policy

and Italian studies. His primary area of interest is diaspora heritage and legacy in theMediterranean basin.

James Moore, retired trial lawyer and student of Caravaggio.Jim Moore is a retired lawyer who practiced with a law firm in upstate New York for 45 years.He is a graduate of Cornell University (BS '61) and the Cornell Law School (LLB '64). He is aFellow of the American College of Trial Lawyers and was the president of the New York State Bar Association. Mr Moore was an officer in the US Army and spent a year in Vietnam.During the past decade Mr Moore has studied Northern Italian artists and in particular, thegreat Caravaggio. He has written articles and lectured about the artist.

“The Outrageous Theft of Caravaggio's Masterpiece "The Nativity with Saint Francis

and Saint Lawrence”

In 1969 a thief (or thieves) entered the Oratory of San Lorenzo in Palermo and removed

Caravaggio's stunning 1609 painting of the Nativity. The painting has been valued at morethan $20M. In spite of a wide ranging hunt for the painting involving would class specialistsin art theft and a reward in the millions, the painting has never been found. Retired US triallawyer and amateur art historian James Moore will present an illustrated discussion of theartist, the missing painting and the efforts to recover it.

***

James Bond, ARCA Alumnus, Certificate 2011Bond, James Alexander Bond, graduated from the ARCA Masters in Art Crime program in2011 and presently teaches and lectures about art crime. In previous lives he was a general contractor, a student of global affairs and a Special Agent in the United States Air Force. He presently lives in the United States in Asheville, North Carolina and Savannah, Georgia.



“The Theft of Rare Books from the largest Home in the United States” The Biltmore House, built by George Washington Vanderbilt II at the end of the 18th century,is still the largest home in the United States. The library contains in excess of 20,000volumes of rare and unique books collected by Mr. Vanderbilt. In 1979 and into 1980 a welleducated and possibly habitual biblioklept stole at least 101 volumes( and likely many more)before he was caught, convicted and sentenced. The story of how this crime came to be,how vulnerable the Vanderbilt and other libraries are to biblioklepts makes for anentertaining and educational lecture. It is accompanied by a Prezi Presentation.

***

Judith Harris, author and free-lance journalist, regular contributor to the New York monthly ARTnewsJournalist Judith Harris is the author of Pompeii Awakened, The Story of Rediscovery (I.B.Tauris, 2007) and is a regular contributor to ARTnews monthly of New York and to the on-line magazine www.i-italy.org. She frequently writes about problems of conservation.

“The Role of Collectors”

Because today’s U.S. and European museums, following the tsunami of restitutions frommuseums like the Getty et alia in the US, now cautiously insist upon provenance before

buying, that market has declined. And yet antiquities are still being stolen, including from

Italy; consider the looting of some 1,500 precious antiquarian books in the historic

Oratoriana library in Naples, sold – thanks to a corrupt director – to private collectors

including to politician Marcello Dell’Utri, a close collaborator of former Premier Silvio

Berlusconi. Among the missing were St. Thomas More’s Utopia of 1516 and Gian Battista

Vico’s De Rebus Gestis.

Like museums, private collectors are asked to adhere to legal norms and to “due diligence,”

but, as the library thefts show, collectors sense of diligence can be casual. This iscomplicated by globalization: No less than 500 of the stolen books from Naples were found

and confiscated in a Munich auction house.

A first consideration is why these less-than-diligent collectors go on buying, no matter what.

***

13.30 – 14.30 Afternoon Discussion

Stefano Alessandrini and Derek Fincham lead the discussion on the FanoAthlete/Getty Bronze

Dr. Fincham is an Associate Professor at South Texas College of Law where he teaches artlaw and legal writing. He earned his PhD from the University of Aberdeen, King's College, for his dissertation examining the response of the United States and United Kingdom to the illicittrade in art and antiquities. He holds a JD from Wake Forest University, and a BA in Historyfrom the University of Kansas. He has lectured on ARCA's Postgraduate certificate programin art crime and cultural heritage protection since 2009. He regularly blogs on heritageissues at www.illicit-culturalproperty.blogspot.com

Stefano Alessandrini has worked for more than 30 years to preserve Italy’s cultural heritageand he has earned international repute as an expert in his field. He was the expert retained

http://www.illicit-culturalproperty.blogspot.com/






by the legal representatives for the national association Italia Nostra in the trials against BobHecht, Marion True and Gianfranco Becchina.Many artworks subsequently recovered by the Carabinieri were identified and tracked byStefano during the many years that he has worked in this field. He was the consultant withthe Advocate General for many cases and negotiations with American museums. Stefanoholds a Magnum cum Laude degree in Art History and the Conservation of the CulturalHeritage.

14.30 – 16.00 Panel 3Panel 3 will be moderated by Judge Arthur Tompkins. Judge Tompkins is a District Court

Judge in New Zealand. He has taught Art in War for the past four years, as part of ARCA'sPostgraduate Certificate Program. (He is also presently training to run, cycle and paddle a

white-water kayak a gruelling 243kms across the South Island of New Zealand as acompetitor in New Zealand's iconic Coast to Coast multisport event. Most recently, he hasheld a starring role in Dan Brown’s latest book ‘Inferno’ as a consulting expert in art crime.

***

Joris Kila, Senior Researcher at the University of AmsterdamJoris D. Kila is researcher at the University of Vienna and reserve Lieutenant Colonel in theDutch army. He holds degrees in art history and classical archaeology from LeidenUniversity and a PhD in cultural sciences from the University of Amsterdam. In addition, heis board member of the World Association for the Protection of Tangible and IntangibleCultural Heritage in Times of Armed Conflict in Rome. He is a member of the ResearchForum on the Law of Armed Conflict and Peace Operations in the Netherlands and a guest lecturer and researcher at the Netherlands Defence Academy. Joris Kila received the ARCA Award for Art Protection and Security in 2012.

“An update on Armed Conflict and Heritage”

***

Nicholas M. O’Donnell, Partner with Sullivan & Worcester LLPNicholas M. O’Donnell is a litigation partner at Sullivan & Worcester LLP in Boston and New York. His practice focuses primarily on complex civil litigation, with particular experience inthe German-speaking world. He also represents collectors, dealers, artists and museums,and is the editor of The Art Law Report, which can be found at www.artlawreport.com

“American Wartime Art Restitution Litigation in the 1990s and Beyond—Has it AllBeen Worth It?” Litigation in the 1990s ignited an awareness of wartime art restitution for the first time indecades, and a belief that things had changed dramatically. Two cases solidified thisperception: the Portrait of Wally affair, and the Supreme Court’s retroactive application of theForeign Sovereign Immunities Act to reinstate Maria Atlmann’s claims against Austria.

Those perceptions turned out to be illusory. While the FSIA has been applied broadly toconfer jurisdiction, courts have consistently dismissed claims based on statutes of limitations. Whereas in the 1990s claimants could plausibly argue that they could not haveknown of their rights, the immense publicity received by this issue in the last 15 years nowcuts against those very claimants’ arguments for being allowed to bring claims based on

decades-old events. Moreover, if an object has been immunized from seizure by the StateDepartment, victory does the plaintiff no good. Worse, the ongoing defiance by Russia to

http://www.artlawreport.com/






return the Chabad library raises the very real possibility that no defendant would ever complywith an FSIA judgment again.

This presentation will review the foregoing history, and look ahead to what future litigation,legislation, and diplomacy in the United States might look like.

***

Jerker Rydén, Senior Legal Advisor Royal Library of SwedenMr Rydén has wide responsibilities at Sweden's leading research institution. He isimmediately involved in complex copyright developments in the European Union, and he hasworked closely with assistant United States attorney Sharon Cohen Levin U.S. Attorney'sOffice for the Southern District of New York and the Federal Bureau of Investigation to helptrack and recover unique and valuable historical works that had been stolen from the library collections. He has been a judge, a lawyer in private practice, and a national delegate tointernational copyright proceedings as well as senior legal advisor of the National HeritageBoard of Sweden.

“Skullduggery in the Stacks: Recovering stolen books for the Royal Library of Sweden”

***

16.00- 16.20 Coffee Break

***



ARCA is pleased to announce the winners of its annual awards for 2013. ARCA presents four annual awards. Nominations are made by ARCA staff, trustees, and

members of the editorial board of ARCA’s peer -reviewed publication, The Journal of

Art Crime. The winners are decided by a vote of the trustees, and are presented at

the annual conference.

ARCA Art Policing & Recovery AwardSharon Cohen Levin, Chief of the Asset Forfeiture Unit in the US Attorney'sOffice for the Southern District of New YorkPast winners have included: Vernon Rapley (2009), Charlie Hill (2010), Paolo

Giorgio Ferri (2011), Ernst Schöller (2012)

Sharon Cohen Levin is the Chief of the Asset Forfeiture Unit in the Criminal Division of the

United States Attorney’s Office for the Southern District of New York, where she has served

as Chief since 1996. Under her guidance, the Asset Forfeiture Unit handles all criminal and

civil forfeiture actions in the Southern District of New York.

As the Chief of the Asset Forfeiture Unit, AUSA Levin pioneered the use of federal forfeiture

laws to recover and return stolen art and cultural heritage property. The SDNY Asset

Forfeiture Unit has initiated dozens of proceedings under the forfeiture laws -- seizing and

returning artwork and cultural property to the persons and nations who rightfully own them.

Notable examples include the forfeiture and repatriation of stolen paintings by Lavinia

Fontana and Winslow Homer; drawings by Rembrandt and Duhrer; an Etruscan bronze

statue dated circa 490 B.C. and an Ancient Hebrew Bible owned by the Jewish Community

of Vienna and stolen during the Holocaust and most recently, a Tyrannosaurus Bataar

skeleton looted from the Gobi desert in Mongolia.

In 2001, AUSA Levin was awarded the Attorney General’s John Marshall Award for

Outstanding Legal Achievement for Asset Forfeiture for her use of the federal forfeiture laws

to recover and return stolen art and cultural heritage property. AUSA Levin was also

awarded the Attorney General’s Asset Forfeiture Award in 2006, 2007 and 2010 for her work

in the forfeiture of fraud proceeds and their restoration to victims. In 2009, she was awarded

the Department of Justice’s National Asset Forfeiture Award for Sustained Exceptional

Service by an Individual. In 2011, AUSA Levin received the Henry L. Stimson Medal

presented to the Outstanding Assistant U.S. Attorney, Criminal Division, Southern District of

New York. In addition, in 2011 she was awarded the Women in Federal Law Enforcement

Outstanding Federal Law Enforcement Employee Award. In 2012, AUSA Levin was a

recipient of the Immigration and Customs Enforcement Director's International Achievement

Award for her contributions to Immigration and Customs Enforcement’s Cultural Property, Art

and Antiquities Program.

***

2013 Award Recipients



ARCA Art Protection & Security AwardChristos Tsirogiannis, Archaeologist, Illicit antiquities researcher, Universityof Cambridge

Past winners: Francesco Rutelli (2009), Dick Drent (2010), Lord Colin Renfrew(2011), Karl von Habsburg and Dr. Joris Kila, Jointly (2012)

Christos Tsirogiannis is a forensic archaeologist at the University of Cambridge, completing

his Ph.D thesis on the International Illicit Antiquities Network (“Unravelling the International

Illicit Antiquities Network through the Robin Symes-Christos Michaelides archive and its

international implications”). As a Reserve Officer of the Greek Army, he discovered two

Archaic period settlements and a Classical period cemetery, for which he has been

decorated with the Army Commendation Award (2003). For other discoveries throughout his

career (antiquities, fossils, weaponry) he received letters of appreciation from the Greek

Ministry of Culture and the War Museum in Athens. His thesis is a result of his extensive

experience as a forensic archaeologist at the Greek Ministry of Culture (1998-2002 and

2004-2008), the Greek Ministry of Justice (2006-2007) and as the only forensic

archaeologist at the Greek police Art Squad (Home Office, 2004-2008, having participated in

more than 173 investigations cases and raids). His participation in a 6-member core of the

Greek Task Force contributed to the successful claim of looted and stolen antiquities from

institutions and individuals, such as the Getty Museum (2007), as well as the Shelby White

and Leon Levy collection and the Cahn Gallery in Switzerland (2008). Among many cases,

he considers most memorable the raids at the summer residence of Dr Marion True (former

curator of antiquities at the Getty Museum) and at the premises of the top illicit antiquities

dealers in the world, Robin Symes-Christos Michaelides, in the Cyclades, where the famous

archive was discovered.

Over the last five years (2007-present), Tsirogiannis has been identifying looted and ‘toxic’

antiquities at the most prominent auction houses (e.g., Christie’s, Sotheby’s and Bonhams)

and galleries (e.g., “Royal- Athena Galleries”), as part of a project with the renowned

academics Professor David Gill (University Campus Suffolk) and Dr Christopher Chippindale

(University of Cambridge). Some of the results of his research have been already

demonstrated in The Journal of Art Crime (“Polaroids from the Medici Dossier: Continued

Sightings on the Market”, 2011:27-33, with Professor David Gill). This part of his research

has contributed to the withdrawal of antiquities (e.g., Bonhams case, April 2010) and to the

disclosure of many scandals in the field (e.g., Christie’s June 2010, April 2011, December 2011). Tsirogiannis’ primary aim is to notify governments to retrieve their stolen cultural

property and to raise public awareness regarding antiquities trafficking, through media

coverage of these cases.

***



ARCA Art Crime Scholarship AwardDuncan Chappell, Professor, Faculty of Law at the University of Sydney,AustraliaPast winners: Norman Palmer (2009), Larry Rothfield (2010), Neil Brodie (2011),Jason Felch and Ralph Frammolino, jointly (2012)

Duncan Chappell, an Australian lawyer and criminologist now based at the Faculty of Law at

the University of Sydney, has had a long-standing interest in art crime which dates from the

period during which he was the Director of the Australian Institute of Criminology (1987-

1994). Since that time he has been engaged in research and publishing on a range of art

crime topics but with a particular focus on patterns of illegal trafficking of objects of cultural

heritage in the South East Asian region.

Chappell’s publications include two co-edited texts- Crime in the Art and Antiquities World.

Illegal Trafficking in Cultural Property (2011) Springer: New York (With Stefano Manacorda)

and Contemporary Perspectives on the Detection, Investigation and Prosecution of ArtCrime (In Press) Ashgate: London (With Saskia Hufnagel). He has also had published a

number of journal articles and book chapters on various aspects of art crime including fraud

and fakery in the Australian Indigenous art market; the impact of corruption in the illicit trade

in cultural property; and the linkages between art crime and organised crime.

In addition to his research and writing on art crime Duncan Chappell has acted as an

expert in regard to court proceedings involving art crime and also been a strong supporter

of measures to enhance public awareness of the evils of looting behaviour and to

strengthen the engagement of law enforcement agencies in investigation and prosecuting

those responsible. In his present capacity as Chair of the International Advisory Board of

the Australian Research Council Center of Excellence in Policing and Security he has

sought to foster a far more proactive approach to the prevention and detection of art crime

both in Australia and its neighbouring countries within the South East Asian region.

***

ARCA Lifetime Achievement AwardBlanca Niño Norton, Consultant Petén Development Project for the

conservation of the Maya Biosphere Reserve

Past winners: Carabinieri TPC collectively (2009), Howard Spiegler (2010), John

Merryman (2011), George H. O. Abungu (2012)

Blanca Niño Norton is the founding president of ICOMOS Guatemala and the former vice

president of the ICOMOS Scientific Committee on Vernacular Architecture. She presently

serves as a member of the Academic Advisory Committee of the Council of ICCROM, an

intergovernmental organization (IGO) dedicated to the conservation of cultural heritage

which exists to serve the international community as represented by its 132 Member

States.

Blanca Niño Norton is an architect and an advisor to the Guatemala Minister of Culture

and a former member of the faculty of the School of Architecture of Francisco Marroquin

University, Guatemala.



Ms. Niño Norton has coordinated and promoted workshops on a variety of cultural themes

and lectured on topics in including vernacular architecture, intangible heritage and illicit

trafficking of cultural property. Her interest

in the latter led her to create the Illicit Traffic Unit in the Guatemala Ministry of Culture. Ms.

Niño Norton consults on national and international cultural heritage projects and is aProject Officer for Cultural Programs at UNESCO Guatemala. She also works on

conservation projects for independent collections and museums.

Ms. Niño Norton was the recipient of the Getty Institute scholar’s program, during which

she has focused her research and conservation guest scholar project on using

documentation and inventory of cultural property as tools against illicit traffic of cultural

heritage.



9.15 – 11.00 Panel 4Kirsten Hower is currently the academic program assistant for ARCA’s summer certificate

program. This is her third summer with ARCA. Her own research is focused on themovement of relics during the Carolingian era.

***

Felicity Strong, PhD Candidate, University of MelbourneMs. Felicity Strong is a PhD candidate in her second year of research at the University of Melbourne, Australia. She has a Master of Art Curatorship and has worked in commercial galleries in Melbourne and London. Her PhD research is focused on discovering the extent to which perceptions of art forgery are influenced by depictions in cultural context, such as inliterature, on screen and within an art museum environment.

“The mythology of the art forger ” In the twentieth century, there has been the rise of depiction of the art forger in non-fictionbiographies and memoir. Distinct from scholarly research, these depictions of individual artforgers have developed a common mythology, which weaves through each story of the artforger. The art forger is mythologised as a hero; the failed artist rallying against a corrupt artmarket, dominated by greedy art dealers and scholars. In Australian and British culture, thismythology has its roots in the wider mythology of hero criminal, such as in the stories of Robin Hood or Ned Kelly. It also feeds into a broader anti-intellectualism and mistrust of the

establishment, particularly in contrast to the depiction of art curators and connoisseurs in thedepictions. This mythology is evident in a number of biographies of notable forgers, such asHan van Meegeren and Elmyr de Hory, which intersect with the sub-genre of memoir, in thepersonal accounts of Tom Keating, Eric Hebborn and Ken Peryani. These accounts fuel theability of the forgers to create their own public persona and feed into the wider mythologyof the art forger. Analysis of non-fictional depictions of the art forger may offer an insight intowhy it is not considered as serious as other crimes and worthy of closer scrutiny by thebroader community.

***

Theodosia Latsi, MA in Global Criminology, Utrecht UniversityTheodosia Latsi has studied Sociology in Panteion University of Athens, Greece and hasrecently graduated from the master of Criminology at Utrecht University. Sheis Currently conducting research voluntarily for the Trafficking Culture Project and offers periodically assistance at CIROC (Centre for Information and Research on Organised Crime,Netherlands).

“The Art of Stealing: The Case of Museum Thefts in the Netherlands”

***

Sunday June 23rd



Verity Algar, Art History Student, University College LondonVerity is a second year B.A. History of Art student at University College London, where sheminors in Anthropology. She is interested in the legal regulation of the art market and restitution cases, particularly those relating to wartime looting. This summer she is doing aninternship with a London law firm and volunteering at her local Citizens Advice Bureau. In

her spare time she enjoys singing a variety of music with Collegium Musicum, a Londonchamber choir.

“Cultural memory and the restitution of cultural property: Comparing Nazi-lootedart and Melanesian malanggan” Using two disparate case studies – claims for the restitution of artworks confiscated by theNazis being lodged by Jewish families and concerns regarding the presence Melanesianmalanggan in Western museum collections – I will discuss the importance of collective, or cultural memory in the context of making decisions about whether to restitute objects. Thetwo cases can be differentiated by the approach to social memory taken by the groupsinvolved. Many Jewish people are keen to have their property returned to them, whereas thepeople of New Ireland do not want the malanggan, which they spent months carving,

returned to them. I will discuss the problems that arise when legal definitions of ownershipclash with cultural notions of property and illustrate this using Maria Altmann’s successfulrestitution of five Klimt paintings from the Austrian government and the malanggan example.I will draw on the language of restitution claims and the display of Nazi-looted art at Israel’sYad Vashem museum and will apply Appadurai’s theory that objects have “social lives” toovercome the dichotomy between the cultural value and monetary value of an object. I willconclude that cultural memory is a useful concept to apply to restitution claims. Its impactcan vastly differ from case to case, as illustrated by the divergent attitudes to memory andcultural property in the Jewish and Melanesian case studies. Cultural memory needs to bedefined on a culture-specific basis. The concept of cultural memory allows cultural objects tobe part of the collective cultural memory of one group of people, whilst being legally ownedby an individual.

***

Alesia Koush, Foundation Romualdo Del Bianco-Life BeyondTourism in Florence, MA Candidate at the University of Bolognaunder Prof. Luciano Carrino“The Right to Culture”

***

11.20 – 13.00 Panel 5

Moderated by Derek Fincham

***Giulia Mezzi, PhD Candidate University of ReadingBorn in Rome in 1984 and with a great passion for all things of Art and Art history, my futurewithin international environments was first determined by attending the German School and then by an undergraduate education in Art History at one of the American universities inRome. After a Master’s degree in Cultural Heritage Management at the Pontific al GregorianUniversity (or in Italian: Pontificia Università Gregoriana) and few years of working

experiences in international organizations, exhibitions and galleries, I finally decided to beginthe Ph.D. at University of Reading (UK) for which the Arts and Humanities Research Council awarded me with a full scholarship. Currently a third year doctoral candidate researching on



the origins of cultural heritage protection in post-unification Italy, my field of expertisecomprises cultural heritage protection law and management at the national and international level that I combine with an endless adoration for Italian Renaissance Art.

“The origins of Cultural Heritage Protection in Italy, a historical survey” This presentation aims to outline the thought and philosophy behind the modern concept of cultural heritage protection in Italy – both in legal terms but also in the broader sense of themonument’s material preservation.

The first edicts concerning heritage protection appeared in the Papal States during the EarlyRenaissance. In a later stage, law shielding heritage from the damages of natural decay,war, plundering or illegal exportation became more sophisticated, especially during the 19thcentury with the historical processes of nation-formation, where monuments or works of artacquired the symbolic meaning of the country’s Volksgeist. The fundamental ideas presentin those pioneering decrees are reflected in the contemporary international legislation and tothis regard, I will attempt to highlight the growing awareness – legal, social and political - of the value of cultural heritage that went beyond the territorial boundaries of the Italian

peninsula.

***

Carrie Johnson, JD Candidate South Texas College of LawCarrie Johnson is a JD candidate at South Texas College of Law in Houston. She previously graduated from Texas A&M University with a Bachelor's degree in History and minors in Journalism and Anthropology.

“Cultural Property in Crisis: Whose Burden is it?”

***

Cynthia Roholt, JD Candidate South Texas College of Law

“Human Remains: Permission and Plastination”

13.00 Closing

