ARCA’s Postgraduate program in Art Crime and Cultural Heritage Protection is now accepting applications.
In 2009 ARCA started the first of its kind, interdisciplinary, approach to the scholarly study of art crime. Representing a unique opportunity for individuals interested in training in a structured and academically diverse format, the summer-long postgraduate program is designed around the study of the dynamics, strategies, objectives and modus operandi of criminals and criminal organizations who commit a variety of art crimes.
Turn on the news (or follow this blog) and you will see over and over again examples of museum thefts, forgeries, antiquities looting and illicit trafficking of cultural goods. Intentional heritage destruction during armed conflict, once a modern-day rarity, now affects multiple countries and adds to regional instability in many areas of the globe. Looted art, both ancient and Holocaust-related, finds its way into the galleries of respected institutions, while auction houses and dealers continue to be less than adept at distinguishing smuggled and stolen art, from art with a clean provenance. This making dealing with art crime an unrelenting problem and one without any easy solution.
Taken incident by incident, it is difficult to see the impact and implications of art crime as a global concern, but when studied across disciplines, looking at the gaps of legal instruments, country to country, one begins to have a clearer picture of the significance of the problem and its impact on the world’s collective patrimony.
The world’s cultural heritage is an invaluable legacy and its protection is integral to our future.
Here is 11 reasons why you should consider joining us for a summer in Amelia, Italy of ARCA’s 10th edition of its postgraduate program.
At its foundation, ARCA’s summer-long program in Italy draws upon the overlapping and complementary expertise of international thought-leaders on the topic of art crime – all practitioners and leading scholars who actively work in the sector.
In 2018 participants of the program will receive 220+ hours of instruction from a of range of experts actively committed to combatting art crime from a variety of different angels.
One summer, eleven courses, taught by:
Archaeologist, Christos Tsirogiannis from the University of Cambridge, whose forensic trafficking research continues to unravel the hidden market of illicit antiquities. His tireless work is often highlighted on this blog and reminds those interested in purchasing ancient art, be it from well-known dealers or auction houses, that crimes committed 40 years ago, still taint many of the artifacts that find their way into the licit art market today.
London art editor and lecturer Ivan Macquisten
who eloquently paints a picture of the burgeoning business which is art, whilst examining the interplay between our cultural obsession with risk and collecting. Macquisten disentangles the paradoxical alliances between the financially lucrative art market and the collector relationships that feed upon the art market’s unregulated trade, sometimes profiteering from the lack of transparency in its transactions.
Duncan Chappell, the Chair of the International Advisory Board of the Australian Research Council’s Center of Excellence in Policing and Security
. Chappel is a national award winner for his lifetime achievements in criminology and will be lecturing on the growing number of bilateral, regional and global legal agreements
that reflect a growing realization that transnational art crime has to be addressed through international cooperation, and that just as criminal groups operate across borders, judicial systems must consequently do the same.
Marc Masurovsky, co-founder of HARP, the Holocaust Art Restitution Project
who will lecture on the variations among countries’ historical experiences and legal systems, as well as the complexities of provenance research and the establishment of claims processes. Focusing not only on the implementation of the Washington Conference Principles on Nazi-confiscated art but also on modern day examples that underscore the difficulties facing any heir in recovering their property, Masurovsky underscores the need for fully trained provenance experts within museums and auction houses.
Independent art & insurance advisory expert Dorit Straus,
who serves as a member of AXA ART Americas Board of Directors and Presidential appointee to the Cultural Property Advisory Committee (CPAC) explores the worlds of specialist fine art insurers and brokers, who underwrite the risks associated with the fine art market. As the former Vice President and Worldwide Specialty Fine Art Manager for Chubb & Son she knows first hand the active, financially-motivated role insurance firms play in analyzing the risks involved in owning, dealing, buying, transporting or displaying art to the public. While art insurance expertise is sometimes overlooked as a less-than-sexy side of the art world, insurers have served to make galleries, museums and private collector’s collections safer, as their oversight and contract stipulations have produced a dramatic reduction in attritional losses.
Valerie Higgins, archaeologist and Program Director for the master’s in art management program at the American University in Rome
examines material culture as the physical evidence of a culture’s existence, illustrating that through objects; be they artworks, religious icons, manuscripts, statues, or coins, and through architecture; monumental or commonplace, we can and should preserve the powerfully potent remains which truly define us as human.
For more information on the summer 2018 postgraduate professional development program, please see ARCA’s website here.
To request further information or to receive a 2018 prospectus and application materials, please email: education (at) artcrimeresearch.org