ICOMOS and ICAHM are organising a conference in Athens, looking at way that archaeological heritage can be protected during the current economic crisis. The discussion is not restricted to Greece however, and I imagine will be of interest to many other countries, whose museums and culture departments face massive spending cuts as governments try to balance their budgets.

From:
ICOMOS

ICOMOS Hellenic and ICAHM REGIONAL CONFERENCE: From past experience to new approaches and synergies: the Future of Protection Heritage Management for Archaeological Heritage in Times of Economic Crisis
23.05.2012 – 25.05.2012
Athens, Greece

A regional conference on the future and new challenges facing the Protection and Management of Archaeological Heritage.

The scope of this conference is to present and use past experience with a view to contribute as a think tank to new ways of managing the protection and preservation of our archaeological heritage in times of economic crisis. The challenges are now greater than ever, as the cultural society needs to regroup its forces, reinforce its role, create new synergies and undertake fresh initiatives in order to maintain standards and offer sustainable solutions. The conference will function as a platform for discussion and exchange of ideas by all professionals involved in protection management in these difficult times.

As there are many sectors of occupation which play an important role in protection management and which face serious challenges and threats in the present days but also in view of the future, we have identified 15 topics for distinctive panel discussions during the conference sessions.
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Tom Flynn has written a book on the Universal Museum – and why it should not be seen as a valid model for museums any longer. This presents a refreshing antidote to the views espoused by James Cuno, in his book on the subject.

You can purchase the book on Lulu.

From:
Tom Flynn

The Universal Museum: A valid model for the 21st century?
The Universal Museum
By Tom Flynn

A considered critical response to the Declaration on the Importance and Value of Universal Museums issued by the Bizot Group of Museum directors in 2002. The text offers a critique of the concept of the Universal Museum by tracing its historical roots in the Cabinets of Curiosity assembled by European princes from the fifteenth to the seventeenth centuries. The early ‘universal’ cabinet collections ultimately formed the foundations of the great western ‘encyclopedic’ museums which in turn benefited from the era of colonialism and imperial adventure in the nineteenth century. The book argues that the concept of a ‘universal museum’ is philosophically and practically flawed, an anachronistic aspiration that is the product of an idealistic, eighteenth-century Enlightenment mindset devoted to the accumulation and classification of all species of flora and fauna, natural and man-made objects. Such collections are not only unsustainable but perpetuate many of the worst aspects of the age of imperialism.

Buy the book now on Lulu:
https://www.lulu.com/commerce/index.php?fBuyContent=12656359

More coverage of Turkish Author, Orhan Pamuk’s museum manifesto, that explains why museums should move on from telling the story of the state that they are in & instead to tell the stories of individuals.

From:
Guardian

State museums are so antiquated
Orhan Pamuk
Friday 20 April 2012 22.54 BST

Monumental state treasure-houses such as the Louvre or the Met ignore the stories of the individual. Exhibitions should become ever more intimate and local

I love museums and I am not alone in finding that they make me happier with each passing day. I take museums very seriously, and that sometimes leads me to angry, forceful thoughts. But I do not have it in me to speak about museums with anger.
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Students at the University of South Florida want their university’s museums to include an exhibit about cultural property – as a means to help people to better understand the importance of cases such as the Parthenon Marbles.

From:
WUSF News

Fri April 20, 2012
USF Group Wants a New ‘Cultural Property’ Exhibit at USF Museums
By Yoselis Ramos

The Cultural Property Awareness Team (CPAT) at the University of South Florida is petitioning to get cultural property-themed exhibits set up at USF Museums.

If you’re wondering what cultural property is (like I was) here’s an example: let’s take the ‘Elgin Marbles controversy.’ The Elgin marble sculptures or the Parthenon sculptures are from the fifth century and originated in Greece.
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To accompany his new book, Nobel laureate, Orhan Pamuk has released a manifesto for museums – a re-thinking of what the aim of museums should be. It is an interesting contrast to the idea of the Universal Museum put about so much by the British Museum in recent years, as being of paramount importance.

In the end, there can be many different types of museum – each has the right to decide what form they take, but at the same time, they should not see this as having the authority to dictate outside the borders of their funding country, that they have the right to remove artefacts for safekeeping, or to make them part of a grand collection that suits their own principles, despite this being at odds with the views of those who believe they are the rightful owners of the artefacts.

From:
Hurriyet Daily News

Orhan Pamuk issues museum manifesto
April/21/2012

Nobel laureate Orhan Pamuk has issued a “manifesto” to explain and accompany his Museum of Innocence, a visual manifestation of aspects of his novel of the same name, which will open in Istanbul at the end of this month. The manifesto was published in daily Taraf before being released to the international media.

Pamuk says he loves museums and has felt very happy in museums in the past. “Because I take museums seriously, I sometimes get angry about them, but I don’t want to speak about museums with anger. There were too few museums in Istanbul in my childhood; most of them were historical structures under protection. Later on, small museums in European cities made me feel that museums could tell the stories of individuals. I never forget that places like the Louvre, the Metropolitan [Museum], Topkapı [Palace], the British Museum and the Prado [hold] great richness for humanity. But I am against the idea that these big monumental treasures should be the models for future museums. Museums should represent humanity… but state-supported museums aim to represent the state, not individuals. This is not a good or an innocent goal,” Pamuk’s manifesto reads.
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Getty Curator James Cuno has long been one of the biggest proponents of the Universal Museum concept, despite many arguments against this ideology. Fro this current lecture, it appears that Cuno has done little to revise his viewpoint since publishing his book on the subject in 2008.

From:
Zocalo Public Square

Enlighten Up
Getty Chief James Cuno Defends the Encyclopedic Museum

For Getty Trust president and CEO James Cuno, the starting point for understanding the importance of the museum is “the promise it holds to promoting tolerance and understanding difference in the world.” In his talk to a packed house at the Petersen Automotive Museum, Cuno took on the critics of museums, particularly critics of encyclopedic museums, who hold that museums are relics of imperialism or institutions that uphold hegemony. On the contrary, said Cuno, the encyclopedic museum is “an argument against essentialized national differences.” This is also the case Cuno makes in his latest book, Museums Matter: In Praise of the Encyclopedic Museum.

Cuno pointed to the first encyclopedic museum, the British Museum, which was founded in 1753, as an example not of patriotism or nationalism but of an interest in cultures and art from around the globe. Neil MacGregor, the museum’s current director, likes to say that what surprises people most about the British Museum is that there are so few British things in it.
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For reasons that are unclear to me, Britain has never ratified the 1954 Hague Convention on the Protection of Cultural Property in the Event of Armed Conflict. This is despite declaring in 2004 that they would ratify the convention. The only reason I have ever been given was that it conflicted in some places with existing laws in Britain, that would need to be amended first.

From:
Independent

Letters: Back the world ban on looting
Friday 30 March 2012

The March 2003 invasion of Iraq by a coalition led by the US and the UK failed to prevent the immediate and appalling looting of museums, libraries, archives and art galleries, followed by years of looting of archaeological sites across the country.

On 14 May 2004, the UK Government announced its intention to ratify the 1954 Hague Convention on the Protection of Cultural Property in the Event of Armed Conflict, and its protocols of 1954 and 1999. Today, on the ninth anniversary of the invasion, it has still to honour this commitment. This is despite all-party support for ratification and recently reiterated support for ratification from the Ministry of Defence, the Foreign and Commonwealth Office, and the Department for Culture, Media and Sport. The USA ratified the Convention in 2009. This leaves the UK as arguably the most significant military power, and certainly the only power with extensive military involvements abroad, not to have ratified it.
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Despite cutbacks across most government spending, free admission to museums seems to be treated as sacrosanct. Boasts are often made by the British Museum, that only there, can the Elgin Marbles be seen free of charge, but little consideration seems to be given to ho this affects the UK culture sector as a whole.

From:
Independent

Museums slash staff and opening hours after ‘devastating’ cuts
Of the 140 museums surveyed, 22 per cent are reducing their opening hours, and 30 per cent are cutting education staff
By Rob Sharp , Arts Correspondent

A fifth of British museums have been hit with “devastating” budget cuts of more than 25 per cent, according to the first wide-ranging survey of the sector since the Coalition’s Comprehensive Spending Review last year.

The cuts have had an impact on opening hours, public events and staffing, the Museums Association says in its report on 140 museums across the country, published today.
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Marc Masurovsky has helped me out, by going into some of the issues with the Foreign Cultural Exchange Jurisdictional Immunity Clarification Act.

The bill has now been introduced in the Senate as S. 2212. The worry is, that many of the successful cases that have been brought in the US in recent years, to secure the return of looted cultural property would no longer be possible. For those of you in the USA, the Senators supporting the bill are: Dianne Feinstein and Orrin Hatch. As he points out, Fenstein has many major museums within her community, which includes San Francisco & Los Angeles.

As Marc says “It’s the end of art restitution as we know it.” Supporting such a bill would be a backward step for the country that is currently one of the more forward thinking (well compared to the UK at any rate) in terms of cultural property restitutions & the legal framework that allows them to take place. “After all, once you write a bill that carries with it select exclusions, it implies that you tolerate other forms of looted art to enter the US for display. Hence, the clarification to the Foreign Sovereign Immunity Act should either be all-inclusive or dropped entirely. It is absolutely critical for source countries to express themselves”.

Doubtless, many organisations such as the AAMD are unlikely to agree with this point of view.

More details of the act can be found in my original post on it.

In what can only be a backwards step, the Foreign Cultural Exchange Jurisdictional Immunity Clarification Act, H.R. 4086 aims to protect looted artefacts from seizure whilst on loan to museums in the US. There is an exclusion for items looted by the Nazis, but (notwithstanding my reservations with a single special case that ignores others of equal merit), it excludes items that were lost through forced sales or other forms of misappropriation.

It is hard to see who will benefit from such a law other than big museums, who will find it easier to secure temporary loans for exhibitions. Surely creating exemptions in the law & allowing a free flow of looted artefacts into & out of the country is not the correct way to solve the issue though?

From:
The Hill

House to protect foreign artwork, except artwork stolen by Nazis
By Pete Kasperowicz – 03/19/12 10:02 AM ET

The House on Monday afternoon will vote on legislation aimed at making it easier for foreign governments to lend works of art to be displayed in U.S. museums, without fear of having the artwork subjected to litigation once it enters the United States. But the bill to be voted on would exempt artwork stolen by Nazi Germany from these assurances.

Rep. Steve Chabot (R-Ohio) introduced the Foreign Cultural Exchange Jurisdictional Immunity Clarification Act, H.R. 4086, in February. Chabot says his bill is meant to clarify the relationship between two existing laws that has made some foreign governments wary of temporarily exporting artwork to the United States.
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More coverage of the effects that the Greek debt crisis is having on the country’s museums & historic sites. This is a problem, not just for the tourists who are unable to get access, but also for the monuments themselves, which may now have lower levels of security & smaller maintenance budgets than was previously the case.

From:
Reuters

Debt crisis strikes Greek monuments, irks tourists
By Gareth Jones
ATHENS | Tue Dec 6, 2011 8:51am EST

(Reuters) – At the end of a sunny day on the Acropolis last month, Svein Davoy gazed awe-struck at the columns of the Parthenon gleaming in the twilight.

“It’s marvellous. This is where Western civilisation began. I will certainly tell my friends to come to Greece and see all this,” enthused Davoy, 63, an economist from Norway.
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Cleveland museum’s recent purchase of the Apollo Sauroktonos has been criticised by many archaeologists, because of the uncertain provenance of the work. The Museum has however, agreed to work with Italy to further research the sculpture.

From:
Cleveland.com

Conference at the American Academy in Rome illuminated the changing climate for Cleveland Museum of Art and other institutions that collect antiquities
Published: Saturday, December 03, 2011, 12:30 PM

Rome — The images of ancient Roman mosaics found and preserved recently in south-central Turkey were stunning.

Unfortunately, they flashed across the screen in a darkened auditorium at the American Academy in Rome too quickly. One had the impulse to shout at the lecturer, “Slow down!”

But the two-day symposium last month on “Saving Cultural Heritage in Crisis Areas” was running late, and Italian archaeologist Roberto Nardi had a lot of ground to cover in his dramatic tale of rescuing the mosaics from the rising waters of a lake created by the Birecik hydroelectric dam along the Euphrates River.
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