Arts | Special Issue : Advances in Art Crime Research (2018)

Research

9 pages, 209 KiB

Open AccessArticle

The ‘Art World’ of the Auction Houses: The Role of Professional Experts

by Neil Brodie

Arts 2019, 8(2), 56; https://doi.org/10.3390/arts8020056 - 25 Apr 2019

Cited by 3 | Viewed by 5574

Auction sales of unprovenanced, likely stolen, cultural objects continue to generate controversy. But while auction houses can appear to be relatively passive agents in the sales process, providing a platform for bringing together buyers and sellers, in reality their business practices are more [...] Read more.

Auction sales of unprovenanced, likely stolen, cultural objects continue to generate controversy. But while auction houses can appear to be relatively passive agents in the sales process, providing a platform for bringing together buyers and sellers, in reality their business practices are more complex. With reference to three recent disputed auctions of cultural objects, this paper explores in more detail the ‘art world’ of auction house business practices, exploring in particular the central role of professional experts in supporting auction sales and the legal and ethical implications of their involvement. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

37 pages, 16953 KiB

Open AccessArticle

“Paintings Can Be Forged, But Not Feeling”: Vietnamese Art—Market, Fraud, and Value

by Quan-Hoang Vuong, Manh-Tung Ho, Hong-Kong T. Nguyen, Thu-Trang Vuong, Kien Tran and Manh Toan Ho

Arts 2018, 7(4), 62; https://doi.org/10.3390/arts7040062 - 9 Oct 2018

Cited by 6 | Viewed by 31150

Abstract

A work of Vietnamese art crossed the million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity for Vietnamese art amidst many problems. Even though the media in Vietnam has discussed the problems [...] Read more.

A work of Vietnamese art crossed the million-dollar mark in the international art market in early 2017. The event was reluctantly seen as a sign of maturity for Vietnamese art amidst many problems. Even though the media in Vietnam has discussed the problems enthusiastically, there is a lack of literature from Vietnamese academics on the subject, especially from the market perspective. This paper aims to contribute an insightful perspective on the Vietnamese art market through the lens of art frauds. Thirty-five cases of fraudulent paintings were found on the news and in stories told by art connoisseurs. The qualitative analysis of the cases has shown that the economic value of Vietnamese paintings remains high despite the controversial claims about their authenticity. Here, the Vietnamese authority seems indifferent to the problem of art frauds, which make the artists more powerless. While the involvement of foreign actors in the trading of Vietnamese art does not reduce the intensity of the problem, it seems to continue to drive the price higher. The results have implications on the system of art in Vietnam, the current state of art theft in Vietnam, and the perception of Vietnamese people on art. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

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17 pages, 256 KiB

Open AccessArticle

The Art of Violent Protest and Crime Prevention

by John Kerr

Arts 2018, 7(4), 61; https://doi.org/10.3390/arts7040061 - 8 Oct 2018

Cited by 4 | Viewed by 5938

Abstract

This article examines violent protest in art museums. There is a long history of art museums being used as sites of protest. As spaces full of meaning, they represent ideal locations for people to try to shape the present and the future. From [...] Read more.

This article examines violent protest in art museums. There is a long history of art museums being used as sites of protest. As spaces full of meaning, they represent ideal locations for people to try to shape the present and the future. From peaceful demonstrations to terrorist attacks, the current risks of protest to art museums is high. Motivated by ideological, political and social reasons, these protests include those that specifically target art objects within the art museums, as well as others that use the sites as stages on which to protest. This article is based predominantly on secondary sources; however, it also uses empirical research data collected by the author during observation research at art museums in London in March 2017 and July 2017. The article begins by considering why art museums attract so many protests. It argues that as ‘sites of persuasion’, art museums can be battlegrounds on which people look to shape how society is constructed and perceived. It then examines contemporary and historical case studies in Brazil and the UK to help our understanding of violent protests and the challenges they pose to art museums. Following this, the article proposes that as art museums are important sites of persuasion, there must be more awareness of the threats they face from violent protests in order to shape crime prevention approaches. The article finishes by arguing that although protests can be highly problematic for people involved with art museums, the ongoing appeal of these spaces as sites of protest shows the significance of art museums as important locations of cultural meaning. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

24 pages, 963 KiB

Open AccessArticle

Field Archaeologists as Eyewitnesses to Site Looting

by Blythe Alison Bowman Balestrieri

Arts 2018, 7(3), 48; https://doi.org/10.3390/arts7030048 - 6 Sep 2018

Cited by 1 | Viewed by 8381

Abstract

In a recent worldwide study on the nature, scope, and frequency of archaeological site looting, the vast majority of field archaeologists reported having had multiple encounters with archaeological site looters both on- and off-site. Despite the criminalization of looting in most countries’ domestic [...] Read more.

In a recent worldwide study on the nature, scope, and frequency of archaeological site looting, the vast majority of field archaeologists reported having had multiple encounters with archaeological site looters both on- and off-site. Despite the criminalization of looting in most countries’ domestic statutory schemes, nearly half of surveyed field archaeologists do not report looting activity to external law enforcement or archaeological authorities when they encounter it. The rationales for their actions—or inactions—are examined within a criminological framework, and field archaeologists’ perspectives on looters as “criminals” and “victims” are explored. The paper concludes with a consideration that the criminalization of looting creates an emergent duty to report among archaeologists, and how they choose to address site looting changes their role in and relationship to the trade in illicitly obtained antiquities. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

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36 pages, 378 KiB

Open AccessArticle

Metal-Detecting for Cultural Objects until ‘There Is Nothing Left’: The Potential and Limits of Digital Data, Netnographic Data and Market Data for Open-Source Analysis

by Samuel Andrew Hardy

Arts 2018, 7(3), 40; https://doi.org/10.3390/arts7030040 - 13 Aug 2018

Cited by 6 | Viewed by 7239

Abstract

This methodological study assesses the potential for automatically generated data, netnographic data and market data on metal-detecting to advance cultural property criminology. The method comprises the analysis of open sources that have been identified through multilingual searches of Google Scholar, Google Web and [...] Read more.

This methodological study assesses the potential for automatically generated data, netnographic data and market data on metal-detecting to advance cultural property criminology. The method comprises the analysis of open sources that have been identified through multilingual searches of Google Scholar, Google Web and Facebook. Results show significant differences between digital data and market data. These demonstrate the limits of restricted quantitative analysis of online forums and the limits of extrapolation of market data with “culture-bound” measures. Regarding the validity of potential quantitative methods, social networks as well as online forums are used differently in different territories. Restricted quantitative analysis, and its foundational assumption of a constant relationship between the size of the largest online forum and the size of the metal-detecting population, are unsound. It is necessary to conduct extensive quantitative analysis, then to make tentative “least worst” estimates. As demonstrated in the sample territories, extensive analyses may provide empirical data, which revise established estimates. In this sample, they corroborate the detecting community’s own perception that they are ‘beat[ing these sites] to death’. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

16 pages, 256 KiB

Open AccessArticle

Art Vandalism and Guardianship in US Art Institutions

by Katharine Salomon, David J. Roelfs, Ryan Schroeder, Peter Morrin and John Begley

Arts 2018, 7(3), 23; https://doi.org/10.3390/arts7030023 - 22 Jun 2018

Cited by 2 | Viewed by 5585

Abstract

Art crime scholars and art world professionals constantly grapple with determining the most effective methods by which to reduce and prevent victimization by art vandals. Despite the numerous accounts of this form of criminality, there is a dearth of empirical studies focused on [...] Read more.

Art crime scholars and art world professionals constantly grapple with determining the most effective methods by which to reduce and prevent victimization by art vandals. Despite the numerous accounts of this form of criminality, there is a dearth of empirical studies focused on the security and care of art collections. Using Routine Activities Theory to guide the research, the present study explores the relationship between social and physical guardianship practices and the prevalence of art vandalism using questionnaire data collected from 111 American art museums and art galleries. The results indicate an overwhelming lack of association between the majority of the guardianship measures and vandalism victimization, a pattern consistent with the possibility that social and physical guardianship practices are not implemented until after an act of vandalism has already occurred. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

26 pages, 1167 KiB

Open AccessArticle

Disentangling Strategic and Opportunistic Looting: The Relationship between Antiquities Looting and Armed Conflict in Egypt

by Michelle D. Fabiani

Arts 2018, 7(2), 22; https://doi.org/10.3390/arts7020022 - 14 Jun 2018

Cited by 2 | Viewed by 6318

Abstract

Antiquities are looted from archaeological sites across the world, seemingly more often in areas of armed conflict. While this is not the only context in which antiquities are looted, it is an important context and one for which much is still unknown. Previously, [...] Read more.

Antiquities are looted from archaeological sites across the world, seemingly more often in areas of armed conflict. While this is not the only context in which antiquities are looted, it is an important context and one for which much is still unknown. Previously, the relationship between antiquities looting and armed conflict has been assessed with qualitative case studies and journalistic evidence due to a lack of systematically collected data. This study considers the relationship between antiquities looting and armed conflict in Egypt from 1997 to 2014 with a newly collected time series dataset. Autoregressive Distributed Lag Models (ARDL) with a bounds testing approach are used to assess both the overall relationship between these two phenomena and their temporal ordering. This article finds that antiquities looting and armed conflict are, indeed, statistically related; and that antiquities looting more often precedes armed conflict rather than the other way around. This finding suggests that looting is more strategic than opportunistic. Implications and future directions are discussed. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

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13 pages, 3249 KiB

Open AccessArticle

Between Fakes, Forgeries, and Illicit Artifacts—Authenticity Studies in a Heritage Science Laboratory

by Stefan Simon and Stefan Röhrs

Arts 2018, 7(2), 20; https://doi.org/10.3390/arts7020020 - 5 Jun 2018

Cited by 9 | Viewed by 7523

Abstract

Since its inauguration in 1888, the Rathgen Research Laboratory of the National Museums in Berlin has been challenged by authenticity questions on cultural heritage objects. In the setting of an ever-growing market, often intertwined with the increasing global impact of illicit traffic, scientific [...] Read more.

Since its inauguration in 1888, the Rathgen Research Laboratory of the National Museums in Berlin has been challenged by authenticity questions on cultural heritage objects. In the setting of an ever-growing market, often intertwined with the increasing global impact of illicit traffic, scientific investigations can contribute equally to art-historical, or archaeological expertise when solving questions of authenticity, and should therefore always be included when significant values are at stake. Looted or stolen artifacts, copies, fakes, and forgeries have been an intrinsic element of the market since ever, and only selectively addressed in a trans-disciplinary, more holistic way. This paper makes the case for a reliable, state-of-the-art analysis and illustrates the potential benefits of such a scientific approach to authenticity questions in selected examples: 1. the case of German art forger, Wolfgang Beltracchi; 2. brass objects of alleged Benin and Ife provenance. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

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12 pages, 249 KiB

Open AccessArticle

Researching Cultural Objects and Manuscripts in a Small Country: The Finnish Experience of Raising Awareness of Art Crime

by Suzie Thomas, Rick Bonnie, Helen Dixon and Visa Immonen

Arts 2018, 7(2), 19; https://doi.org/10.3390/arts7020019 - 29 May 2018

Cited by 2 | Viewed by 5021

Abstract

In this article we shed light on the position of Finland in conversations on the movement of unprovenanced cultural objects, within the national, the Nordic and the global contexts. Finland’s geopolitical position, as a “hard border” of the European Union neighbouring the Russian [...] Read more.

In this article we shed light on the position of Finland in conversations on the movement of unprovenanced cultural objects, within the national, the Nordic and the global contexts. Finland’s geopolitical position, as a “hard border” of the European Union neighbouring the Russian Federation, and its current legislative provisions, which do not include import regulations, mean that it has the potential to be significant in understanding the movement of cultural property at transnational levels. In particular, we outline a recent initiative started at the University of Helsinki to kick-start a national debate on ethical working with cultural objects and manuscripts. We analyse exploratory research on current awareness and opinion within Finland, and summarize our current work to produce robust research ethics to guide scholars working in Finland. Although Finland has a small population and is usually absent from international discussions on the illicit movement of cultural property (save a few exceptions), we argue that it is still possible—and important—for scholars and others in Finland to affect policy and attitudes concerning art crime, provenance, and the role of stakeholders such as decision-makers, traders and the academy. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

19 pages, 45656 KiB

Open AccessArticle

Ancient Artifacts vs. Digital Artifacts: New Tools for Unmasking the Sale of Illicit Antiquities on the Dark Web

by Katie A. Paul

Arts 2018, 7(2), 12; https://doi.org/10.3390/arts7020012 - 26 Mar 2018

Cited by 12 | Viewed by 23259

Abstract

Since the rise of the Islamic State of Iraq and Syria (ISIS, also known as Daesh and ISIL) in 2014, antiquities have been a widely publicized source of funding for what has become one of the most technologically savvy terrorist organizations of the [...] Read more.

Since the rise of the Islamic State of Iraq and Syria (ISIS, also known as Daesh and ISIL) in 2014, antiquities have been a widely publicized source of funding for what has become one of the most technologically savvy terrorist organizations of the modern era. The globalization of technology and rise of popularity in cryptocurrencies has changed the face of black-market trade and the actors that carry out these crimes. While art and antiquities have long served as a market with susceptibilities to laundering, the emergence of Dark Web markets, identification-masking software, and untraceable cryptocurrencies such as Bitcoin have opened new doors to potential vulnerabilities. The anonymity that is offered by these technologies acts as a roadblock for authorities, while attracting the likes of terrorists and transnational criminals. Investigative research using cyber security platforms to identify digital artifacts connected to potential traffickers provides the opportunity to unmask the seemingly untraceable actors behind these activities. The evidence of illicit antiquities trafficking on the Dark Web displayed in this article can generate a new discussion on how and where to study black-market antiquities to gain needed insight into combating the illicit trade online and the transnational criminal groups it may finance. Full article

(This article belongs to the Special Issue Advances in Art Crime Research (2018))

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