The Journal of Art Crime, Fall 2011 Features Synopsis of ARCA's 2011 International Art Crime Conference

The Fall 2011 issue of The Journal of Art Crime includes a Synopsis of ARCA's Third International Art Crime Conference in Amelia, Umbria, on July 9 and 10, compiled and edited by ARCA blog Editor-in-Chief Catherine Sezgin.

The synopsis features an introduction by ARCA Intern Kirsten Hower and features summaries of the panel speakers by Mark Durney, Founder of Art Theft Central, and ARCA Interns Molly Cotter, Hower, and Jessica Graham Nielsen.

Catherine Schofield Sezgin graduated “With Distinction” from the ARCA Master’s Certificate Program in International Art Crime Studies in Amelia, Italy, in 2010. She has an undergraduate degree in Finance from San Diego State University where she was a reporter and a news editor for the daily newspaper. She is currently the editor-in-chief of ARCA’s blog and writing an art crime mystery set in Amelia.

The Fall 2011 issue of The Journal of Art Crime includes a Synopsis of ARCA's Third International Art Crime Conference in Amelia, Umbria, on July 9 and 10, compiled and edited by ARCA blog Editor-in-Chief Catherine Sezgin.

The synopsis features an introduction by ARCA Intern Kirsten Hower and features summaries of the panel speakers by Mark Durney, Founder of Art Theft Central, and ARCA Interns Molly Cotter, Hower, and Jessica Graham Nielsen.

Catherine Schofield Sezgin graduated “With Distinction” from the ARCA Master’s Certificate Program in International Art Crime Studies in Amelia, Italy, in 2010. She has an undergraduate degree in Finance from San Diego State University where she was a reporter and a news editor for the daily newspaper. She is currently the editor-in-chief of ARCA’s blog and writing an art crime mystery set in Amelia.

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The Journal of Art Crime, Fall 2011: Art Guard's Bill Anderson on Radio Frequency Identification Tags (RFID)

Bill Anderson, Partner in Art Guard, explains radio frequency identification tags (RFID) and art security in the Fall 2011 issue of The Journal of Art Crime.

Radio frequency identification tags are a general term for a method of attaching radio waves to artworks with the intention to alert security personnel to any attempt to tamper or steal an artwork -- mostly paintings, Anderson writes, then continues to point out the strengths and weaknesses of such technology.

Ton Cremers of the Museum Security Network in his regular column for The Journal of Art Crime also wrote about RFID tags in the Fall 2010 issue.

You may read about RFID from Mr. Anderson's viewpoint by subscribing to The Journal of Art Crime here.

You may read other articles on the subject on the Washington Post ("Museums' fine art of protecting masterpieces") and in the New York Times ("Keeping Precious Artwork Safe").

Bill Anderson, Partner in Art Guard, explains radio frequency identification tags (RFID) and art security in the Fall 2011 issue of The Journal of Art Crime.

Radio frequency identification tags are a general term for a method of attaching radio waves to artworks with the intention to alert security personnel to any attempt to tamper or steal an artwork -- mostly paintings, Anderson writes, then continues to point out the strengths and weaknesses of such technology.

Ton Cremers of the Museum Security Network in his regular column for The Journal of Art Crime also wrote about RFID tags in the Fall 2010 issue.

You may read about RFID from Mr. Anderson's viewpoint by subscribing to The Journal of Art Crime here.

You may read other articles on the subject on the Washington Post ("Museums' fine art of protecting masterpieces") and in the New York Times ("Keeping Precious Artwork Safe").

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The Journal of Art Crime, Fall 2011: Q&A with Sandy Nairne, author of "Art Theft and the Case of the Stolen Turners"

In the Fall 2011 issue of The Journal of Art Crime, editor Noah Charney reviews Sandy Nairne's book, Art Theft and the Case of the Stolen Turners (Reaktion 2011):

Sandy Nairne is a busy man. He is director of London’s National Portrait Gallery, lectures widely on art history and his latest area of interest, art theft, and has a new book out, Art Theft and the Case of the Stolen Turners (Reaktion, 2011). And the subject of his book will show you just how busy he was—for he is largely responsible for the recovery of two J.M.W. Turner paintings from the Tate collection that were stolen while on loan at an exhibition in Frankfurt. 

Sometime before 10pm on 28 July 1994, thieves broke into the Schirn Kunsthalle in Frankfurt and grabbed two Turner paintings (Shade and Darkness and Light and Color) as well as a Caspar David Friedrich painting (Nebelschwaden) as they hung on display. The thieves waited for the security staff to leave the gallery, closing it for the night. They bound and gagged the night watchman, but he managed to struggle free and alert the police around 10:45pm. 

It is not clear if the primary motivation was ransom or whether that was secondary after a failed attempt to find a buyer, but in October 1999, five years after the theft, a lawyer was contacted to act as a go-between in an attempt to negotiate the return of the pictures. Links to the Balkan Mafia were strongly suggested. Two members of the Metropolitan police force were involved in the ultimate recovery of the paintings, nicknamed “Operation Cobalt.” Four individuals were arrested one year after the theft, but it took many years to recover the paintings.

Noah Charney is the Founder and President of ARCA and the Editor-in-Chief of The Journal of Art Crime. Recently a Visiting Lecturer at Yale University, he is currently Adjunct Professor of Art History at the American University of Rome. He is the editor of ARCA’s first book, Art & Crime: Exploring the Dark Side of the Art World (Praeger 2009). His latest book is The Thefts of the Mona Lisa: On Stealing the World’s Most Coveted Masterpiece (ARCA Publications 2011).

You may read the entire review by subscribing to The Journal of Art Crime.

In the Fall 2011 issue of The Journal of Art Crime, editor Noah Charney reviews Sandy Nairne's book, Art Theft and the Case of the Stolen Turners (Reaktion 2011):

Sandy Nairne is a busy man. He is director of London’s National Portrait Gallery, lectures widely on art history and his latest area of interest, art theft, and has a new book out, Art Theft and the Case of the Stolen Turners (Reaktion, 2011). And the subject of his book will show you just how busy he was—for he is largely responsible for the recovery of two J.M.W. Turner paintings from the Tate collection that were stolen while on loan at an exhibition in Frankfurt. 

Sometime before 10pm on 28 July 1994, thieves broke into the Schirn Kunsthalle in Frankfurt and grabbed two Turner paintings (Shade and Darkness and Light and Color) as well as a Caspar David Friedrich painting (Nebelschwaden) as they hung on display. The thieves waited for the security staff to leave the gallery, closing it for the night. They bound and gagged the night watchman, but he managed to struggle free and alert the police around 10:45pm. 

It is not clear if the primary motivation was ransom or whether that was secondary after a failed attempt to find a buyer, but in October 1999, five years after the theft, a lawyer was contacted to act as a go-between in an attempt to negotiate the return of the pictures. Links to the Balkan Mafia were strongly suggested. Two members of the Metropolitan police force were involved in the ultimate recovery of the paintings, nicknamed “Operation Cobalt.” Four individuals were arrested one year after the theft, but it took many years to recover the paintings.

Noah Charney is the Founder and President of ARCA and the Editor-in-Chief of The Journal of Art Crime. Recently a Visiting Lecturer at Yale University, he is currently Adjunct Professor of Art History at the American University of Rome. He is the editor of ARCA’s first book, Art & Crime: Exploring the Dark Side of the Art World (Praeger 2009). His latest book is The Thefts of the Mona Lisa: On Stealing the World’s Most Coveted Masterpiece (ARCA Publications 2011).

You may read the entire review by subscribing to The Journal of Art Crime.

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The Journal of Art Crime, Fall 2011: Noah Charney on The Art We Must Protect: Top Ten Must-See Artworks in Florence

In the Fall 2011 issue of The Journal of Art Crime, Editor-in-Chief Noah Charney features 10 artworks to protect in Florence: Michelangelo's David; Verrochio's David; Donatello's Mary Magdalene; Pontorno's Capponi Altarpiece; Bronzino's Chapel of Eleonora di Toledo; Giambologna's The Appenine; Michelangelo's Laurentian Library Steps; Masaccio's Holy Trinity; Cellini's Perseus; and Perugino's Pazzi Chapel Altarpiece.

Noah Charney is the Founder and President of ARCA and the Editor-in-Chief of The Journal of Art Crime. Recently a Visiting Lecturer at Yale University, he is currently Adjunct Professor of Art History at the American University of Rome. He is the editor of ARCA’s first book, Art & Crime: Exploring the Dark Side of the Art World (Praeger 2009). His latest book is The Thefts of the Mona Lisa: On Stealing the World’s Most Coveted Masterpiece (ARCA Publications 2011).

In the Fall 2011 issue of The Journal of Art Crime, Editor-in-Chief Noah Charney features 10 artworks to protect in Florence: Michelangelo's David; Verrochio's David; Donatello's Mary Magdalene; Pontorno's Capponi Altarpiece; Bronzino's Chapel of Eleonora di Toledo; Giambologna's The Appenine; Michelangelo's Laurentian Library Steps; Masaccio's Holy Trinity; Cellini's Perseus; and Perugino's Pazzi Chapel Altarpiece.

Noah Charney is the Founder and President of ARCA and the Editor-in-Chief of The Journal of Art Crime. Recently a Visiting Lecturer at Yale University, he is currently Adjunct Professor of Art History at the American University of Rome. He is the editor of ARCA’s first book, Art & Crime: Exploring the Dark Side of the Art World (Praeger 2009). His latest book is The Thefts of the Mona Lisa: On Stealing the World’s Most Coveted Masterpiece (ARCA Publications 2011).

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