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Showing posts with label illegal trafficking. Show all posts
Showing posts with label illegal trafficking. Show all posts

Noah Charney on "New "Intelligence" Body Will Monitor Illegal Traffic in Cultural Property" in Lessons from the History of Art Crime (The Journal of Art Crime, Spring 2013)

In the column “Lessons from the History of Art Crime” in the Spring 2013 issue of The Journal of Art Crime, Noah Charney discusses the new “Intelligence” body founded by the International Council of Museums (ICOM) to monitor illegal traffic in cultural property.

This new group will be called the International Observatory on Illicit Traffic in Cultural Goods. It will work as a bridge between UNESCO, Interpol, and its constituent policing agencies, as well as other research institutions in the field. The “Observatory” is now awaiting formal funding approval from the European Commission.

The story of this group was first broken by Ian Johnston of NBC News. An ICOM official who spoke to Mr. Johnston, but asked not to be named, discussed how traffic in cultural property is “much worse” than other types of theft. The contact went on: “ICOM felt it needed a lot more reliable information and recent analyses of trends, what one would call the need for ‘intelligence’ when fighting organized criminal activity.”

It has long been known that art crime is a funding source for organized crime, from small local gangs to large international syndicates, but the true extent remains uncertain. Until the US Department of Justice recently remade their website, they stated clearly that art crime is the third-highest-grossing criminal trade worldwide, behind only the drug and arms trades, and that it is a major funding source for organized crime and even terrorism (the new website design no longer has a page dedicated to cultural property crimes). Interpol has, in the past, reiterated this information, but currently states that while experts have made such claims, it simply does not have enough information to confirm or deny them.


The ninth issue of The Journal of Art Crime, edited by ARCA Founder Noah Charney, is available electronically (pdf) and in print via subscription and Amazon.com. Associate Editor Marc Balcells (ARCA '11) is a Graduate Teaching Fellow at the Department of Political Science, John Jay College of Criminal Justice -- The City University of New York.
In the column “Lessons from the History of Art Crime” in the Spring 2013 issue of The Journal of Art Crime, Noah Charney discusses the new “Intelligence” body founded by the International Council of Museums (ICOM) to monitor illegal traffic in cultural property.

This new group will be called the International Observatory on Illicit Traffic in Cultural Goods. It will work as a bridge between UNESCO, Interpol, and its constituent policing agencies, as well as other research institutions in the field. The “Observatory” is now awaiting formal funding approval from the European Commission.

The story of this group was first broken by Ian Johnston of NBC News. An ICOM official who spoke to Mr. Johnston, but asked not to be named, discussed how traffic in cultural property is “much worse” than other types of theft. The contact went on: “ICOM felt it needed a lot more reliable information and recent analyses of trends, what one would call the need for ‘intelligence’ when fighting organized criminal activity.”

It has long been known that art crime is a funding source for organized crime, from small local gangs to large international syndicates, but the true extent remains uncertain. Until the US Department of Justice recently remade their website, they stated clearly that art crime is the third-highest-grossing criminal trade worldwide, behind only the drug and arms trades, and that it is a major funding source for organized crime and even terrorism (the new website design no longer has a page dedicated to cultural property crimes). Interpol has, in the past, reiterated this information, but currently states that while experts have made such claims, it simply does not have enough information to confirm or deny them.


The ninth issue of The Journal of Art Crime, edited by ARCA Founder Noah Charney, is available electronically (pdf) and in print via subscription and Amazon.com. Associate Editor Marc Balcells (ARCA '11) is a Graduate Teaching Fellow at the Department of Political Science, John Jay College of Criminal Justice -- The City University of New York.
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"Fingerprinting Objects for the Control of Illegal Trafficking" by Dr. W. (Bill) Wei in The Journal of Art Crime, Fall 2012

In the Fall 2012 issue of The Journal of Art Crime, Dr. W. (Bill) Wei writes on "Fingerprinting Objects for the Control of Illegal Trafficking":
One of the main problems in the fight against the illegal trafficking of objects of cultural heritage is their irrefutable identification. Provenances, photographs, expert testimonials and other written documents can always be fabricated or forged. This makes it difficult for customs officials, law enforcement agencies, and hoest buyers and sellers to determine if an objects has been illegally acquired. An excellent solution to this problem has been provided by a recently completed European project, FINGaRtPRINT. It makes use of the non-contact measurement of the micro-roughness of an object at a location selected by the owner. The micro-roughness can be measured on a scale of less than a micrometer (thousandth of a millimeter), that, is, less than the size of a pigment particle. At that scale, the roughness is unique and can thus serve as an identifying "fingerprint" of the object. It is not forgeable, assuming that a criminal even knows where on the object it was taken. The fingerprint can thus serve as a key component of an "object passport" which can be used to control the sale and purchase of objects. While some optimization work is necessary, the major obstacle to the successful application of the FINGaRtPRINT system is the long process is required for the development and acceptance of international laws for illegal trafficking. The partners of the FINGaRtPRINT project are therefore looking to private investors, collectors, and museums to develop an international fingerprint/passport system in order to accelerate this law making process.
Bill Wei is a senior conservation scientist for the Netherlands Institute for Cultural Heritage.  He has a B. S. E. in Mechanical Engineering (Princeton University, USA 1977), and a Ph.D. in Materials Science (University of Illinois, Urbana-Champaign, USA 1983).  Dr. Wei was initiator and head of the FINGaRtPRINT project and is coordinator of the ICOM-CC Working Group Legal Issues in Conservation.  His research includes the effect of aging and treatments on the appearance and perception of objects of cultural heritage, and the effect of vibrations on their condition.

You may read this article by subscribing to The Journal of Art Crime through the ARCA website.
In the Fall 2012 issue of The Journal of Art Crime, Dr. W. (Bill) Wei writes on "Fingerprinting Objects for the Control of Illegal Trafficking":
One of the main problems in the fight against the illegal trafficking of objects of cultural heritage is their irrefutable identification. Provenances, photographs, expert testimonials and other written documents can always be fabricated or forged. This makes it difficult for customs officials, law enforcement agencies, and hoest buyers and sellers to determine if an objects has been illegally acquired. An excellent solution to this problem has been provided by a recently completed European project, FINGaRtPRINT. It makes use of the non-contact measurement of the micro-roughness of an object at a location selected by the owner. The micro-roughness can be measured on a scale of less than a micrometer (thousandth of a millimeter), that, is, less than the size of a pigment particle. At that scale, the roughness is unique and can thus serve as an identifying "fingerprint" of the object. It is not forgeable, assuming that a criminal even knows where on the object it was taken. The fingerprint can thus serve as a key component of an "object passport" which can be used to control the sale and purchase of objects. While some optimization work is necessary, the major obstacle to the successful application of the FINGaRtPRINT system is the long process is required for the development and acceptance of international laws for illegal trafficking. The partners of the FINGaRtPRINT project are therefore looking to private investors, collectors, and museums to develop an international fingerprint/passport system in order to accelerate this law making process.
Bill Wei is a senior conservation scientist for the Netherlands Institute for Cultural Heritage.  He has a B. S. E. in Mechanical Engineering (Princeton University, USA 1977), and a Ph.D. in Materials Science (University of Illinois, Urbana-Champaign, USA 1983).  Dr. Wei was initiator and head of the FINGaRtPRINT project and is coordinator of the ICOM-CC Working Group Legal Issues in Conservation.  His research includes the effect of aging and treatments on the appearance and perception of objects of cultural heritage, and the effect of vibrations on their condition.

You may read this article by subscribing to The Journal of Art Crime through the ARCA website.
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