Showing results 25 - 36 of 715 for the tag: Cultural Property.

November 14, 2014

Disputed artefact lists and looted artefact lists

Posted at 10:56 pm in British Museum, Similar cases

Only a few days after publishing a list of disputed artefacts, the Guardian has now also published a list of looted artefacts..

Many of the comments I made in my introduction to the original piece still stand. It has been stated in the past that each artefact dispute is unique & should be judged on its own merits (i.e. the argument that return would set a precedent is unfounded). This lists shows just how diverse the category of looted artefacts is.

I’m also not quite sure how a list of the ten most notorious looted artworks can manage to omit the Parthenon Marbles.

The bust of Nefertiti in Germany's Neues Museum, claimed by Egypt

The bust of Nefertiti in Germany’s Neues Museum, claimed by Egypt

From:
Guardian

From Napoleon to the Nazis: the 10 most notorious looted artworks
Romans, Nazis, Victorian-era Brits, noughties cat-burglars – they have all stolen priceless works. Here are the most shocking art thefts of the last two millennia
Ivan Lindsay
Thursday 13 November 2014 17.31 GMT

Looting has been part of human behaviour since ancient times. The Romans did it in their very first conquest, in 396 BC. They stripped the city of Veii of anything valuable and established a template for looting that lasted over 2,000 years. It was only in 1815 that the Congress of Vienna made the first serious effort at post-conflict restitution of plundered art.

After the Romans it became standard practice for a victor to remove all treasure from the vanquished, to weaken their status. Booty also provided handy funds to pay for military campaigns.
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Indiana Jones: talented archaeologist or feckless looter?

Posted at 1:56 pm in Similar cases

Possibly the most well known archaeologist is Indiana Jones. Of course, he isn’t a real person, but for people who would not normally read articles on archaeology, he might be the closest that they would ever get to one.

The reality though is that the way he acts is more akin to being a looter than a true archaeologist. Real archaeology take far more time & effort, although it might not have quite the same number of fast moving action scenes as say Raiders of the Lost Ark.

What is particularly unfortunate though is that some archaeologists (Zahi Hawass – we’re looking at you) seem to feel a need to style themselves on Harrison Ford’s character).

Indiana Jones & the Temple of Doom - original movie poster

Indiana Jones & the Temple of Doom – original movie poster

From:
Salon

Sunday, Nov 9, 2014 11:00 PM +0000
“Indiana Jones would be considered a looter”: Why we’re obsessed with glamorizing archaeologists
The lives of real archaeologists are even stranger than fiction, and a whole lot harder
Laura Miller

Several years ago, while researching a story on biblical archaeology, I had the chance to talk to a leader in the field by telephone. At one point, he kindly provided me with a lengthy explanation of pottery seriation, the means by which archaeologists track the history of a particular site. Styles of pottery change over time and vary from culture to culture, so if an archaeologist excavating a heap of broken shards encounters a layer of pieces radically different from the one below it, it’s likely a sign that a new population had moved in. “I’m sorry,” the archaeologist laughed when he finished. “It’s pretty boring.”

To the contrary. “I get paid to look at people’s trash” said one of the itinerant archaeologists interviewed by Marilyn Johnson for her new book, “Lives in Ruins: Archaeologists and the Seductive Lure of Human Rubble,” and she wasn’t wrong. The man who told me about pottery seriation has spent his life studying broken crockery, after all. But the great and undying magic of archaeology is just how much ancient rubbish can tell us. Sherlock Holmes may have used his encyclopedic knowledge of tobacco ash to catch criminals, but archaeologists can use animal teeth and plant seeds to change our understanding of the world.
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November 11, 2014

Reborn Getty Villa for post Marion True era – now looting-wary

Posted at 2:05 pm in Similar cases

The Getty has come under heavy attack from Italy in the last 10 years over numerous allegations of looting.

Now, a change of management later, they are describing themselves as being “looting-wary”. This is a great step forward, although I’m not sure they would have ever publicly stated before that they were looting-heedless. Publicly, they always maintained their stance that due diligence had been followed, but this all fell apart with the raid on the warehouse of art dealer Giacomo Medici.

Aphrodite statue returned to the Getty by Italy

Aphrodite statue returned to the Getty by Italy

From:
Art Newspaper

Getty plans to redisplay the Getty Villa
Acquisitions and long-term loans will expand focus beyond Ancient Greece and Rome
By Jori Finkel. Web only
Published online: 03 November 2014

Timothy Potts, the first director of the J. Paul Getty Museum with a PhD in ancient art and archaeology, has had ambitious ideas for revamping the Getty Villa since taking on the job two years ago. Now, after the appointment of Jeffrey Spier as the senior curator of antiquities, he reveals how the Getty’s plans for the villa are starting to take shape. He also tells The Art Newspaper that the Getty is planning to expand its antiquities collection to embrace ancient Mediterranean cultures beyond the museum’s traditional Greek and Roman focus. To achieve this the Los Angeles museum is working to organise long-term loans from other major museums, Potts says, and to make new acquisitions.

In their first interview together, Potts and Spier discussed their vision for fully reinstalling the galleries of the faux-Roman villa on the edge of Malibu that is home to the museum’s Roman and Greek antiquities. The current arrangement is a legacy of the Getty’s former antiquities curator, Marion True. Unveiled in 2006, True’s thematic displays, for example “Gods and Goddesses” and “Athletes and Competition”, mix objects of different periods.
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Q&A with David Hill followed Parthenon Marbles film screening

Posted at 1:48 pm in Elgin Marbles, International Association

Following the screening of Promakhos at Australia’s Greek film festival, IARPS chair David Hill gave a question & answer session about the issues surrounding the sculptures. He is of course ideally placed to do this, having recently returned from accompanying the team of lawyers that met with various senior officials in Greece.

Promotional image for the Promakhos movie

Promotional image for the Promakhos movie

From:
Greek Reporter

Parthenon Marbles Film Premiers at Greek Film Festival
by Ioanna Zikakou – Nov 3, 2014

The Delphi Bank 21st Greek Film Festival came to a close on Sunday November 2 with a subject that is close to the heart of every Greek and Philhellene. John and Coerte Voorhees’ Promakhos premiered to two sold-out Sydney audiences at Palace Norton Street Leichhardt, a love story about two Greek Attorneys who sue the British Museum for the return of the Parthenon Marbles to Greece.

In the frontline for the campaign to return Marbles is archeologist David Hill, Chairman of the Australians for the Return of the Parthenon Sculptures and since 2005 the President of the International Association for the Reunification of the Parthenon Sculptures.
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November 7, 2014

British Museum boss: Parthenon Marbles acquisition was legal

Posted at 2:47 pm in British Museum, Elgin Marbles

No one expects the British Museum to just suddenly acquiesse on the issue of the Parthenon Sculptures. Even by their own standards though, some of what is in the latest interview with their Director, Neil MacGregor, is pushing the bounds of credibility.

Now – to the best of my knowledge, the only firman (or permit) that Elgin ever managed to show to anyone (in Italian translation) stated that he had permission to make measure, sketch & make casts of the sculptures and buildings on the site. It also stated that they could dig up inscribed blocks that might have been preserved in the rubble. Some of the Parthenon Sculptures may fall into this category, but the vast majority were sawn from the building by Elgin. The firman is fairly specific in its wording regarding taking casts, so it seems that it would be an odd omission to describe other things in such detail, but not to mention that he was also allowed to remove large chunks of the ancient monument & saw it apart to remove the sculptures from it. On this basis alone, I think it would be safe to say that the legality of the removal is called into question.

Neil MacGregor however seems to see things a different way – and he believes that most other people do too. He asks himself “Was the acquisition legal?” and then immediately responds “I think everybody would have to agree that it was.” Hearing things such ass this only helps to convince me that a major change of tactics is needed if the sculptures are to return to Greece any time soon. When the institution that holds them is so emphatically certain that they are right, it is hard to start any sort of serious negotiations.

MacGregor falls on a peculiar fallacy, that because it took a long time to remove the sculptures (this is true & well documented), that therefore lots of people must have seen him do it & therefore as he was not stopped, what was doing must have been legal. If a criminal used this as a defence today, we wouldn’t use it as evidence of the legality of their actions though – merely that they were adept at avoiding getting caught.

It is clear from his statements that the British Museum has no fear of the UNESCO mediation request – they believe that UNESCO should deal only with governments, so it does not apply to them. The British Government will of course take the line that it is not the decision for the government can make, and note that the responsibility falls to the Trustees of the British Museum. This is a true assessment of things – but if the government had a will to do something, I’m sure they would not be adverse to leaning on the Trustees & trying to get them to deal with the issue.

MacGregor also highlights another major stumbling block (although I’m sure that he does not see it this way), that Greece must acknowledge that the British Museum is the legal owner of the sculptures, before any negotiations can begin. As a large part of Greece’s claim rests on the fact that the marbles were not legally acquired, then to state that they were before any negotiations would be a disaster. Why would they want to relinquish a big chunk of their arguments before they even start? If the same thing happened in trials over the ownership of Nazi loot, there would be a public outcry.

Throwing one final stone over his parapet, MacGregor shows that the museum is entirely remorseless on the issue (or perhaps entirely misunderstands the issue), stating that even if Elgin was to do the same now, it would still be legal by the standards of the museum. Using as an example (an entirely different situation of) archaeological digs in Sudan, where they have been invited to excavate by the authorities. To understand just how spurious this example is, note that:
1. The government of Sudan is not seen by Britain to be an occupying power.
2. The permits & what they allow them to do / not do, are presumably carefully documented, checked by various lawyers & certified copies filed away somewhere securely.
3. The terms of the permits are presumably adhered to, without massive ad-hoc undocumented changes to the mission.

I’m sure if I looked into it in more detail, many more details would show just what a ridiculous comparison is being made here.

British Museum Director Neil MacGregor

British Museum Director Neil MacGregor

From:
The Times

Neil MacGregor: ‘There is no possibility of putting the Elgin Marbles back’
Richard Morrison
Published at 12:01AM, November 7 2014

The British Museum director explains why the Parthenon Sculptures will not be returned to Greece during his tenure

If he’s a man under pressure he seems blithely unaware of it. At precisely 8.58am last Tuesday morning a dapper 68-year-old docks his Boris bike and walks through the great gates of his institution, which are still closed to the public. “Morning, Neil,” says the security guard. “Gentleman from The Times waiting to see you.” The director of the British Museum has arrived for work.
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November 6, 2014

Venizelos offers Britain other loans in return for Marbles

Posted at 8:28 am in British Museum, Elgin Marbles

Reading some of this article feels a bit like history repeating itself. Back in late 2002, when Evangelos Venizelos was Culture Minister, he presented the UK with a summary of the limitations of Greece’s demands for the Marbles, along with what they might expect to receive in return. In effect, what he came up with was a win-win situation, although the British Museum refused to recognise it as such.

Many changes of government later, after being finance minister during possibly the toughest of times during the unravelling of the Greek debt crisis, Venizelos is now Deputy Prime Minister in the current coalition government. He has take the opportunity of announcing loans of artefacts to an exhibition in Canada, as an opportunity to re-iterate these demands. This is great news, as for many years, there was no clear offer on the table & there was much speculation in the absence of a new offer, as to whether the old one was still valid. What Venizelos describes here sounds remarkable similar – if anything more flexible (perpetual loan, rather than a series of separate short term loans).

As a separate point, in the past, I have highlighted that Greece has never really withdrawn cooperation from Britain to put pressure on them in the way that other countries (notably Iran) have tried to, to secure artefact returns. From what Venizelos describes though, it seems that the deal with Canada could be the evidence of a similar sort of strategy. Greece will not stop cooperating with Britain – but it will offer greater levels of cooperation to other countries wanting to organise temporary exhibitions etc.

PASOK leader Evangelos Venizelos

PASOK leader Evangelos Venizelos

From:
Ottawa Citizen

Greece hopes exhibit at Museum of History will help free Elgin Marbles from Britain
Don Butler
Published on: November 3, 2014Last Updated: November 3, 2014 1:30 PM EST

ATHENS • Greece hopes a blockbuster exhibit coming to the Canadian Museum of History next year will boost its argument for repatriating the Elgin Marbles from the British Museum, foreign minister Evangelos Venizelos said Monday.

In an act the Greeks have long characterized as looting, British diplomat Lord Elgin removed about half of the surviving classical Greek sculptures from the Parthenon in Athens between 1801 and 1812 and shipped them to Britain.

The British government purchased the artifacts in 1816 and passed them to the British Museum in London, where they remain on display to this day.

In a meeting with Canadian journalists and officials from the Canadian Museum of History, Venizelos was asked if Greece’s willingness to allow more than 500 rare artifacts to travel to Canada and the United States was partly a tactic to ramp up pressure on the British to return the long-sought sculptures.
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November 4, 2014

Ethics of art repatriation and responsibility to protect heritage

Posted at 10:27 pm in British Museum, Similar cases

In this interview, Smithsonian curator Masum Momaya talks (amongst other things) about the patronising way that the British Museum continues to rebuff any claims made by India for the restitution of artefacts taken from the country during the time of the Raj.

The Sultanganj Buddha is one of many artefacts in the UK subject to ownership claims by India

The Sultanganj Buddha is one of many artefacts in the UK subject to ownership claims by India

From:
Financial Chronical (India)

A sense of history
By Gargi Bhattacharya
Nov 03 2014

Smithsonian curator Masum Momaya on the ethics of art repatriation and the moral responsibility of countries to preserve their culture and heritage

A curator at the Smithsonian Institution, Masum Momaya has a 20-year experience working for gender, race and class equality, and her curatorial portfolio includes multimedia, multilingual and themed exhibitions. The Stanford University graduate and Harvard University post-graduate is in India to showcase her exhibition, Beyond Bollywood: Indian Americans Shape the Nation, in collaboration with the American Center. Of Indian-American descent herself, Momaya prides herself on being able to situate her work in the best of both worlds. Excerpts from the interview…

As a curator of some experience, how would you say Indian heritage is represented in western museums?
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Challenging the inalienability of artefacts in French museums

Posted at 10:11 pm in Similar cases

In recent years, France’s museums have been heavily hit with legal challenges – where the original owners have tried to reclaim what they believe is still rightfully theirs.

While the British Museum falls back on the anti-deaccessioning clauses in the British Museum Act as their first line of defence against such claim, France has their own version of this dating back to 1566, when the edict of Moulins proclaimed that the royal domain was inalienable and imprescriptible. Although its origins might be very different, for a long time, the net result was the same – once an item became the property of a French Museum, it was unlikely that its ownership would ever be transferred again to anywhere else.

Gradually though, this notion is being eroded – both by moral obligations & legal challenges. France is finally starting to re-think its past, in the context of today – surely it is time that the British Museum followed this lead.

Baba Merzoug, a 16th-century cannon from Algiers that was taken to Brest in 1834

Baba Merzoug, a 16th-century cannon from Algiers that was taken to Brest in 1834

From:
Guardian

French museums face a cultural change over restitution of colonial objects
Curators confront demands to return artefacts from collections reflecting an evolving attitude to the appropriation of items
Laurent Carpentier
Monday 3 November 2014 10.08 GMT

Ever since explorers, scientists and soldiers started travelling the world and bringing back treasures, France has upheld the principle of the “inalienability” of public heritage. The works that are now in French museums and collections will, supposedly, remain a part of national heritage for ever. This principle was established in 1566, when the edict of Moulins proclaimed that the royal domain was inalienable and imprescriptible. In simpler terms: the sovereign could not give away the assets he or she inherited. Two centuries later, the French revolution based its definition of the public domain on the same principle. It was the only point of reference for explorers sailing round the world in search of possessions and learning.

But in the past few years, changes in the international balance of political and economic power have upset this way of thinking. Demands for restitution have targeted anything from works of art to human remains and archaeological finds. Particularly odd examples include a fossil Mosasaurus (Meuse lizard), which was unearthed at Maastricht in the 18th century and brought back to France by the army, and Baba Merzoug, a 12-tonne cannon that defended the port of Algiers for 200 years, then was shipped to Brest in 1834 where it has braved the drizzle ever since.
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November 3, 2014

Different types of artefact dispute

Posted at 10:57 pm in British Museum, Elgin Marbles, Similar cases

The list of disputed artefacts from The Guardian is different to many others, in that it has widened its remit, to include any artefact that have some dispute relating to them. as a result, while some are well know restitution cases such as the Bust of Nefertiti or the Parthenon Marbles, in other cases the dispute relates to who the work itself actually depicts, or who originally produced the painting. as a result, it ends up a rather confused list, presenting a mixed message, where well grounded restitution cases such as the Parthenon Sculptures are mixed up with discussions over the authenticity of works by Pollock.

That is not to say that the list is without interest however – if anything, it helps to reinforce the importance of provenance in giving the true value to a work of art. Without it, the matter of where it came from & who created it will always be the subject of debate.

Picasso's Boy leading a horse in the MoMA is subject to claims that it was looted during the holocaust

Picasso’s Boy leading a horse in the MoMA is subject to claims that it was looted during the holocaust

From:
Guardian

The 10 best disputed artworks
Laura Cumming
Friday 31 October 2014 12.00 GMT

As Greek efforts to reclaim the Parthenon Marbles receive a boost from Amal Clooney, Laura Cumming considers other artworks caught up in legal and artistic wrangling

The Parthenon Marbles
The great frieze of figures removed from the Parthenon by Lord Elgin in the early 19th century remains the most perennially disputed of all artworks, the arguments as divided as the sculptures themselves – the goddess Iris’s head is in Athens, her body in the British Museum; Poseidon’s torso is split between them. Defenders argue that Elgin bankrupted himself to save the marbles from local destruction, with full Greek authority, and London is their legal home. The opposition (which has included Byron, Christopher Hitchens and of course now the Clooneys) argues that the marbles were literally “ripped off” the Parthenon, and ruinously scoured, and must be returned to Greece.

The Household of Philip IV, ‘Las Meninas’, Kingston Lacy, Dorset
In 1814 an Englishman abroad thought he had come upon Velázquez’s first version of Las Meninas (1656) – not that he, or practically anyone else at that time, had seen the original in the Spanish royal palace. William Bankes MP bought the canvas for Kingston Lacy, his Dorset home, calling it “the pride of England”. It shows the celebrated scene on a much smaller scale and with strange anomalies, not least the fact that the famous mirror at the back is empty. Some believe it to be a preliminary oil sketch, most that it is undoubtedly a copy by his son-in-law Juan Bautista Martínez del Mazo. The row still rages: the Prado held a conference only this year.
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November 2, 2014

Once again, members of the public take moral lead in restitution

Posted at 11:04 pm in Similar cases

A Canadian tourist has returned fragments they removed from the ancient city of Pompeii. This restitution took place fifty years after the fragment was originally removed. The return was not the result of a demand by the Italian government, or any form of legal action – but happened merely because the person who took it realised that returning it was the right thing to do.

This is not the first time something like this has happened – a fragment of the Colosseum was returned in similar circumstances in 2009. If only some museums could take similar decisions, realising that they need to put right things that they did wrongly in the past.

Policing vast sites like Pompeii is not easy

Policing vast sites like Pompeii is not easy

From:
Daily Telegraph

By Nick Squires, Rome
1:50PM GMT 31 Oct 2014
Pompeii artefact returned fifty years after it went missing by the honeymooning woman who stole it

A Canadian tourist has returned a 2,000-year-old terracotta artefact to Pompeii – half a century after she stole it on a trip to the archaeological site on her honeymoon.

The woman from Montreal, who is in her seventies, said the theft of the first century AD terracotta roof decoration had weighed on her conscience for decades.
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Culture wars – The return of Dr James Cuno

Posted at 10:47 pm in British Museum, Elgin Marbles, Similar cases

James Cuno will be a familiar figure to long time readers of this blog. Representing the anti-restitution side of the museum establishment in the USA, he has been one of the most outspoken critics of the return of artefacts. At times in recent years, it has seemed as though his stance has been mellowing, but his latest article shows that this is clearly not the case.

Following James Cuno’s article, is a critique of it by Dr Kwame Opoku – who is amongst other things a long standing detractor of Cuno’s Encyclopaedic Museum theory.

James Cuno, President and CEO of the J. Paul Getty Trust

James Cuno, President and CEO of the J. Paul Getty Trust

From:
Foreign Affairs

Culture War
The Case Against Repatriating Museum Artifacts

By James Cuno
From our November/December 2014 Issue

In December 2007, the Italian government opened an exhibition in Rome of 69 artifacts that four major U.S. museums had agreed to return to Italy on the grounds that they had been illegally excavated and exported from the country. Leading nearly 200 journalists through the exhibition, Francesco Rutelli, Italy’s then cultural minister, proclaimed, “The odyssey of these objects, which started with their brutal removal from the bowels of the earth, didn’t end on the shelf of some American museum. With nostalgia, they have returned. These beautiful pieces have reconquered their souls.” Rutelli was not just anthropomorphizing ancient artifacts by giving them souls. By insisting that they were the property of Italy and important to its national identity, he was also giving them citizenship.

Rutelli has hardly been the only government official to insist that artifacts belong to the places from which they originally came. In 2011, the German government agreed to return to Turkey a 3,000-year-old sphinx that German archaeologists had excavated from central Anatolia in the early twentieth century. Afterward, the Turkish minister of culture, Ertugrul Gunay, declared that “each and every antiquity in any part of the world should eventually go back to its homeland.”
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October 27, 2014

Expropriation of artefacts as a demonstration of power

Posted at 9:55 pm in Similar cases

This article is prompted by the current state of affairs in Iraq & Syria, where ISIS fighters are systematically destroying heritage from cultures that do not fit entirely into their worldview. This is not a new approach however & has been going on for as long as people can remember. The means & the stated aims might vary, but the end result – denigration of the culture of the local population – is invariably the outcome.

The empty seat once occupied by the Bamiyan Buddhas before they were systematically destroyed by the Taliban

The empty seat once occupied by the Bamiyan Buddhas before they were systematically destroyed by the Taliban

From:
Guardian

If great architecture belongs to humanity, do we have a responsibility to save it in wartimes?
Jeff Sparrow
Tuesday 7 October 2014 03.25 BST

The lands of Syria and Iraq gave rise to some the oldest societies we know: the Sumerians, the Akkadians, the Babylonians, the Assyrians, the Parthians, the Romans and many others. Traces of all of these peoples remain in archeological sites of the utmost significance.

And now they’re being destroyed.

A fortnight ago, satellite imagery revealed the cultural effects of Syria’s civil war. “The buildings of Aleppo, one of the oldest continuously inhabited cities in the world, has suffered extensive damage,” explained Archaeology magazine. “The ancient city of Bosra, the ancient site of Palmyra, the ancient villages of Northern Syria, and the castles Crac des Chevaliers and Qal’at Salah El-Din have all been damaged by mortar impacts and military activity.”
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