In the Fall 2012 issue of
The Journal of Art Crime, Aaron Haines writes about "The Hattusa Sphinx and Turkish Antiquities Repatriation Efforts":
On March 1 of 2012, Art News journalist Martin Bailey reported that the Turkish government had prohibited the loan of cultural artifacts to the New York Metropolitan Museum of art, the British Museum, and the Victoria and Albert Museum. The Turkish Ministry of Culture and Tourism stated that these museums have artifacts that were illegally removed from Turkey, and that the ban would be removed once the contested objects were returned. Soon it was discovered that Turkey had given the ultimatum to many other museums, including the J. Paul Getty Museum, the Cleveland Museum of Art, Dumberton Oaks, the Museum of Art at Bowling State University, the Louvre Museum, and the Berlin Pergamon Museum. Turkey has prohibited exhibition loans to any of these museums until the requested objects have been returned.
Turkey has been petitioning for the return of most of these artifacts for many years, but most often these petitions have come in the form of simple requests. This is the first time that the country has made such a widespread and forceful demand. This should not come as a surprise, in light of recent events regarding Turkey's repatriation efforts. Of particular importance was its recovery of the
Hattusa Sphinx, returned last year from the Pergamon Museum in Berlin. Turkey was forceful with Germany, and the two countries were able to quickly come to an agreement. This success emboldened Turkey and gave it the necessary confidence to use forceful tactics with other reluctant countries and institutions that own contested objects. Exploring the motivations and actions of both parties involved with the Hattusa Sphinx will shed further light on why Turkey recently enforced this ban and what their plans are for the future.
Aaron Haines is a teaching assistant at Brigham Young University where he is pursuing a B. A. in Art History and Curatorial Studies. He has worked at the Museo civico in Siena, italy as well at the Museum of Art at Brigham Young University. He recently completed training with the Provenance Research Training Organization in Magdeburg, Germany and is a Foreign Language Area Studies Scholar.
In the Fall 2012 issue of
The Journal of Art Crime, Aaron Haines writes about "The Hattusa Sphinx and Turkish Antiquities Repatriation Efforts":
On March 1 of 2012, Art News journalist Martin Bailey reported that the Turkish government had prohibited the loan of cultural artifacts to the New York Metropolitan Museum of art, the British Museum, and the Victoria and Albert Museum. The Turkish Ministry of Culture and Tourism stated that these museums have artifacts that were illegally removed from Turkey, and that the ban would be removed once the contested objects were returned. Soon it was discovered that Turkey had given the ultimatum to many other museums, including the J. Paul Getty Museum, the Cleveland Museum of Art, Dumberton Oaks, the Museum of Art at Bowling State University, the Louvre Museum, and the Berlin Pergamon Museum. Turkey has prohibited exhibition loans to any of these museums until the requested objects have been returned.
Turkey has been petitioning for the return of most of these artifacts for many years, but most often these petitions have come in the form of simple requests. This is the first time that the country has made such a widespread and forceful demand. This should not come as a surprise, in light of recent events regarding Turkey's repatriation efforts. Of particular importance was its recovery of the
Hattusa Sphinx, returned last year from the Pergamon Museum in Berlin. Turkey was forceful with Germany, and the two countries were able to quickly come to an agreement. This success emboldened Turkey and gave it the necessary confidence to use forceful tactics with other reluctant countries and institutions that own contested objects. Exploring the motivations and actions of both parties involved with the Hattusa Sphinx will shed further light on why Turkey recently enforced this ban and what their plans are for the future.
Aaron Haines is a teaching assistant at Brigham Young University where he is pursuing a B. A. in Art History and Curatorial Studies. He has worked at the Museo civico in Siena, italy as well at the Museum of Art at Brigham Young University. He recently completed training with the Provenance Research Training Organization in Magdeburg, Germany and is a Foreign Language Area Studies Scholar.
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