"Spain is rich in art treasures: artwork ranging from religious works, modern paintings, ancient architecture, Roman ruins, and Visigoth remnants are densely scattered across Spain’s cities and countryside. Whereas some of the art is world-renowned and protected, much of the art is still hidden in churches and in depopulated towns and is left vulnerable to damage and theft. Spain’s cache of hidden works has great cultural value to the Spanish cultural identity; however, these works are often misappropriated because their existence is virtually unknown or unprotected. This paper sets forth recommendations for Spain to follow to protect is patrimony, most importantly the necessity of creating an extensive catalogue, encompassing both State and Church property."

"How we view forgery is dependent upon how we view art as a society. In this paper I will argue that forgeries have been received differently according to the role art is playing at the time they are discovered. I will show how the role of art began changing during World War II, due to the looting of Nazi leaders, and how this affected forgery, using the case of the Van Meegeren forgeries as an example. I will show how art is valued today according to its historicity, rather than its aesthetic capabilities. Such a claim explains why forgeries could have once been acceptable, but now are not because they falsify history. They are placed into historical contexts where they do not fit and thereby misconstrue the public view of history. This paper is important because it shows that by understanding the perception of forgeries at certain periods, we can better understand the role of art and the values placed upon it in society."

"The ability of investigative agencies like Interpol and the Federal Bureau of Investigation (FBI) to effectively recover stolen works of art depends in part on how comprehensive and complete their databases of stolen works are. The scope of these databases and their effectiveness in recovering artwork depends on how many reports of theft are submitted by museums to the investigative agencies. This paper looks at the various influences that inform a museum’s response to theft, including sending in reports of theft. It examines how a concern with public image and a lack of funding affect the resources museums have at their disposal to handle museum theft and provides some strategies to improve the deterrence of museum theft worldwide."

In 2008, while working at an archive of an unnamed institution it was discovered that an etching by Rembrandt van Rijn was missing from the collection. According to a letter on file it was approved to be sent out for restoration in 1998. However, no record was ever found to confirm that it was sent out for treatment. It was last accounted for in a 1990 inventory. Months were dedicated to digging through files and paperwork. After attempting to track the object starting with its provenance, port of entry, and adoption into the collection, the paper work dropped off and a more rigorous search began. Emails were sent and searches commenced, until one afternoon in 2009 I received a letter from the head of the institution asking me to halt the investigation with no explanation offered. While the particular piece’s rarity and monetary value hold no comparison to the Rembrandt cut from its frame during the 1990 Gardener Museum heist, the unnamed institution continues to guard the knowledge of the prints disappearance. This object and the circumstances that ensued led me to further investigate and explore a larger system of values using Rembrandt as a model. I began by questioning the institutional value of maintaining the secret of a missing artwork that was not of any particular rarity or monetary significance.

"This paper addresses the ways in which the architectural and artistic production created under Fascism has been perceived, legally defined and handled by subsequent governments and authorities and how the status of iconoclastic actions against these works has changed over time. It focuses specifically on the way in which Fascist architecture offers a significant example of how the fate of politically tainted works challenges the conceptual boundaries that define the distance between legal and illegal, approved and criminal actions in the art world."

"The destruction and pillage of cultural property in times of war and peace reach far back in history, to the Greek and Roman periods – be it the excessive looting of Greek temples during the Persian Wars or Nero’s large-scale thefts of statues. This paper will examine ancient approaches to and discourses on the plundering of works of art and investigate early concepts of the protection of cultural objects as media of a collective memory and identity. By discussing selected historical examples, I will particularly focus on the different forms of ancient responses to the loss of significant religious and cultural artifacts, which range from the diplomatic negotiation of returns, the repatriation of looted property as symbolic political acts, the restoration of the religious and cultural order by the use of replicas as well as early antecedents of the ‘codification’ of norms to respect the inviolability of religious and cultural sites and prohibit the illicit appropriation of art. The parallels and differences which the ancient paradigms reveal with regard to modern concerns about cultural heritage will shed some new light on the complex nexus of political, religious, cultural and moral issues involved in debates over the protection of cultural property."

"This paper will analyze recent recommendations of the United Kingdom’s Spoliation Advisory Panel, which hears claims relating to World War II spoliation of cultural objects, and in particular the different aspects of the moral considerations. It will focus on the two primary considerations of the Panel: the circumstances in which the pre-war owner lost possession of the object (the immorality of deprivation) and any moral obligation of the institution in terms of the circumstances in which they acquired the object (the immorality of acquisition). However, other matters appear to influence the moral strength of the claimants’ claims or the remedy, which they receive. In cases where the claimants or their forbears received post-war compensation the Panel also analyses any potential unjust enrichment of claimants were the object to be returned or monetary recompense awarded. The public interest in the cultural object is also a consideration when determining whether or not to return the object rather than to make a financial award. This paper will analyze how far the Panel’s decisions differ from those which would be based on purely legal considerations (assuming the absence of statutes of limitation) and will make some comparisons with similar panels set up abroad to deal with the restitution of spoliated cultural objects."

"The market for works of art and objects that are acquired using illegal methods has much more than a passive effect on conflict and social disorder in situations of stress around the world. Examples of the influence of the market on behavior at the local level will be used to illustrate how looting and theft actively contribute to instability and in some cases disintegration of the community fabric at the local level. Likewise, there are also examples where measures to prevent art crime offer valuable support and potential partnership for the hard work required when the goals are conflict resolution, social order, and stability."

"This paper explores the problem of frauds and fakes in the contemporary Australian Aboriginal art market. For Aboriginal people art plays in particular an important spiritual role in portraying the beliefs and traditions of the ‘dreamtime’- events of the ancient era of creation from which have sprung continuing ceremonies and motifs now perpetuated in modern paintings and other art forms. Art has also become a major source of income for many Aboriginal communities and individuals. Thus when the integrity of that art is challenged by allegations of fraud and fakery it is vital to explore the veracity of these claims and the responses made to them. In the paper particular attention is devoted to those responses made through both the criminal and civil systems of justice in Australia. The conclusion is reached that at present the Australian legal system, and its principal actors such as police and prosecutors, are poorly equipped to deal with problematic works in the Indigenous art market- a situation that is probably not unique to Australia and which will take considerable time and far more imaginative and assertive solutions to remedy."

"While laws and regulations such as the 1970 UNESCO Convention may have some influence in protecting against illicit antiquities trading, they do nothing to protect the archaeological record from what I term “historic forgeries.” Historic forgeries were created before the 20th century and, because they have existed for up to a few hundred years in museums and private collections, have established collecting histories that the average scholar or collector would not question. This study provides a cursory look at the volume of historic forgeries that lie unknown in the corpus of antiquities and the danger they pose to the archaeological record. This study also proposes that the quiet and successful existence of these historic forgeries is due largely to the social context within which they were created and in which their collecting histories were developed. The examination of several verified cases of historic forgeries is utilized to analyze the contemporaneous contexts of the forgeries and the structures of their collecting histories, and to present possible solutions for ferreting out additional cases."

Jessica Nielsen

Jessica: I am most interested in perceptions of value in the art market; how it is established, protected and manipulated, and cases which involve forgery and fraud. I have been reading every thing that I can find about the subject – both fiction and non-fiction for years.

Jessica: I don’t have a favorite place yet for sitting. But I took a long walk this morning on the footpath just outside the walls and drank in the early morning sounds, sights and smells and decided that it would be my morning ritual. 

When I first went to Amelia in 2009, I was astounded by the cleanliness of the town and the beauty of the views of the surrounding countryside. What was your initial impression of Amelia? 

Jessica: My first impression was of a historic small and friendly town with a lot of charm. That hasn’t changed. Just doing errands here has been a pleasure. I love living in Italy and have twice lived in Rome ¬– but I’m a city person so living in a small town in the country is a new experience for me – I think I’ll really enjoy it.

Jessica: I am hoping that it will be a fun couple of months of working, learning and meeting new people. I would like Noah’s book to be a success and a strong foundation for more titles to be published by ARCA and I want to find some time to work on my own manuscript too.

Jessica: Only at Christmas; then I’ll sit at the piano and play a few carols to get in the holiday spirit.

Kirsten Hower in Florence

ARCA Editor Catherine Schofield Sezgin 'talks' with summer resident intern Kirsten Hower.

Kirsten: I really enjoy the quirky stories behind the thefts, such as the theft of Goya's "Portrait of the Duke of Wellington" from London's National Gallery in 1961 and the resulting trial. I also really enjoy reading about incidents of iconoclasm and the beliefs that push people to do such things to art.

Kirsten: I'm very much a fan of sitting in front of Bar Leonardi, especially for appertivos and watching the sun set behind the walls of Amelia. But I think my favorite place would be the "Bond Bar" which is the house of one of the students this summer. It's a gorgeous gardened backyard that overlooks the surrounding countryside and it's perfect for a bottle of wine and great conversation.

Kirsten: Fortunately, this is my second time visiting Amelia (I presented at the conference last year) and both times I have been amazed by how picturesque the town is and how warm and friendly the town is. I grew up in a small town, and everyone was always friendly, but Amelia has a certain charm that is all it's own.

Kirsten: I'm expecting to thoroughly enjoy myself while I'm here--which I already am. I'm hoping to get a lot of work and writing done, in combination with my ARCA projects and my own personal research. I'm looking forward to joining the students on their field trips and sitting in on some of the classes. I'm also really excited to attend the conference, more so this year because I'm helping to organize it so it will be overwhelming to see it come to fruition.

Kirsten: Unfortunately, or maybe fortunately, I neither sing in public nor do I play an instrument.

Tanya: I have a generalist background with a B.A. in French from the University of Wyoming and an M.B.A. from Thunderbird School of Global Management. While studying, I did stints as an exchange student for a year in France and a summer in China. Also, for the past fourteen years, I’ve had the great good fortune to travel fairly extensively in Europe and Asia with some of the world’s finest orchestral and choral musicians as part of my work with specialty tour operator, Classical Movements. Because of my long-term interest in art and culture, whenever possible I’ve taken advantage of opportunities to visit many museums along the way. My interest in studying art crime has developed over the years, but was first sparked while taking American Society of Appraisers courses on art and antiques appraisals. The topic came up in the context of establishing the provenance and value of objects, and had so many fascinating facets to consider that I was hooked! ARCA’s program seemed like a natural extension of this interest I’ve been pursuing on my own for years.

Tanya: Though one might think art theft is a fairly narrow topic, in fact there are so many interesting aspects to this question that it could be hard to choose. However, I’m leaning toward finding a topic that focuses on the role of insurance industry in the arts and antiquities market because so many different factors come into play – establishing authenticity, provenance, evaluating risks of theft and damage, investigating losses, and seeking retrieval of lost or stolen items. Also, fortunately, the world seems to be increasingly aware of the problem of art looted during periods of war as well as through the opportunistic antiquities looting endemic in so many countries. I’m interested to know if and how the insurance industry may be responding to this trend.

Tanya: I’m attracted to beauty throughout the world and throughout the ages. What I find most interesting is what happens when there is an exchange of ideas between cultures or eras - how has Asian art affected European art and vice versa, for example. My brain is wired to look for cross-disciplinary links as well. Italy is one country I’ve yet to explore, so I’m very excited to be spending an extended period in this historically important cradle of artistic ingenuity.

Angela: At Florida Atlantic University, I earned a Bachelor of Art History degree with a minor in French and interned for the University Galleries, as well as a local art gallery for which I continued working after graduating. After taking time off to start a family, I intended to return to pursue a master's degree in Liberal Studies followed by a PhD in Comparative Studies only to find that both programs had been eliminated due to budget cuts. Unsure what my next step should be, I remembered reading The Art Thief, by ARCA founder Noah Charney, and recalled there being a website for more information (artcrime.info). I was thrilled to learn about ARCA and the new Postgraduate Program in International Art Crime Studies that was being offered. This part of the history of art was not something that was ever covered in my undergraduate courses. The interdisciplinary approach, the intensive summer-long format and the beautiful, historic location in Umbria all made for an opportunity that I (and my young family) could not pass up.

Angela: Because it was so lacking in my undergraduate coursework, I would love to develop a survey course in the History of Art Crime for our local university. Certainly, creating an awareness for those already passionate about studying art and its history would contribute to the future prevention of these crimes. Aside from that, I have always been interested in aesthetics and would love to explore how some of these principles might apply to the study of art crime, especially where art institutions, collectors and the art market are concerned. However, I am keeping an open mind. I know very little about criminology, cultural heritage protection laws or security and may decide on a new direction as the course progresses.

Angela: Having studied Art History, I have a great appreciation for all periods of art and the contributions made by the respective artists to our understanding of past cultures and to artistic development. That said, I am very interested in where art is headed and what new developments might be made. Therefore, I am particularly excited about Contemporary Art.

Angela: I have previously visited Rome, Florence and Venice and had the opportunity to visit Amelia briefly last year. I am looking forward to sharing these great cities with my children and to exploring as many new places as we are able.

Ariel Kern at the Egyptian Temple of Dendur at The Met

ALK: I recently graduated from NYU’s Gallatin School of Individualized Study where I developed a major in Art and Social History, Law, and Literature. Through college I interned and worked in various fields, including a small museum, a library, an archeological dig, a law firm, and an auction house. 

A professor of mine told me about ARCA when I was starting to consider what I wanted to do after graduation. I soon realized that the ARCA Postgraduate program was perfect for me. I am comfortable with the interdisciplinary approach to learning I used as an undergraduate, and this program is the only way I could truly combine all of my interests to find the right career path for me.

ALK: I am interested in researching the social motivations behind those who are involved with art crime. While there are obvious financial reasons, the social reasons are more obscure and not easily quantifiable. It is really an exploration of social perceptions and how those involved with the illicit end of the art world can use that to justify their actions. By understanding that we can begin to figure out ways of changing the ideas the wider public holds and cut down the justifications criminals use.

ALK: It’s difficult to pick a specific artist or period, but I have always been interested in the decorative or practical arts like architecture, clothing and furniture. I originally realized I wanted to work in the art world when I first saw the medieval armor wing at the Metropolitan Museum of Art in New York. I was very young at the time, but my interests have not changed drastically since then.

ALK: I have not been to Italy before, so I am very excited to see all of the cities and sites that I have been reading about for years. With all of the running around, I would also like to immerse myself in the slower Italian lifestyle, so balancing my travel-bug with my wish to experience the culture will be interesting, to say the least.

Katherine Luer inside one of the towers of the Sagrada Familia in Barcelona.

Katherine Luer: I am just about to graduate from Georgetown University with my BA in Art History and minors in both Italian and Spanish. I've been interested in entering the field of art crime for several years now, and when I heard about the ARCA program about a year ago I knew it was exactly what I wanted to do after I graduated.

Katherine Luer: I've worked as a security guard at a museum here in Washington and thus am highly interested in museum security. That being said, I someday hope to work with the FBI's Art Crime Team and so the history of such groups inside law enforcement (Scotland Yard, the carabinieri, etc) interests me as well.

Katherine Luer: My great love has always been Matisse, but lately I've been enjoying the work of Modigliani, Munch and Klee as well. Any early modern work fascinates me.

Katherine Luer: I've traveled extensively all around the country and lived in the small town of Fiesole for several months. Regardless, I'd like to travel more, particularly in the south, and look forward to showing the other students some of my favorite towns!