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May 11, 2011

Wednesday, May 11, 2011 - No comments

ARCA 2011 Student Abigail Nora Clarke: Profile

Abigail Nora Clarke, ARCA Class 2011
ARCA Blog: What is your academic background and how did you come to commit to a summer in Umbria studying art crime?
I am a recent graduate from the University of Arizona with a BA in Art History and Italian/Religious Studies minor. I have worked in a small art studio/gallery and helped curate an exhibit at the Arizona Historical Society. I came across the ARCA program while doing research for a Museum Studies course; it was about different organizations that were attempting to curb art crime. After reading about ARCA I knew it was something I wanted to be involved with. I have been looking into and researching the program over a year before I was eligible to apply! I have never studied abroad before so the fact that this program happened to be in Amelia will offer me an ever more unforgettable experience!
ARCA Blog: The program culminates in the writing of a publishable article. What area of art crime or cultural protection would you like to research?
One aspect of art crime and cultural heritage protection that I find interesting is museum security. Throughout history (and especially in these hard economic times) valuable artifacts are preyed upon by many people involved with the criminal element; not just those who appreciate them for their cultural worth. Because of this, there is an ever increasing need to scrutinize museum security to preserve art and the integrity of legitimate works.
ARCA Blog: Do you have a current fascination with an artist or period of art?
One of my favorite periods of art is the Dutch Golden Age! There were so many genres encompassing this period ranging from beautiful landscapes to multiple styles of portraiture. I especially love the banquet pieces produced at this time. They are full of so much symbolism- both obvious and obscure so they are fun to decipher. I like anything Baroque! One of my favorite pieces is Bernini's baldacchino in Saint Peter's Basilica.
ARCA Blog: Have you traveled or lived in Italy and what would you like to do there when you are not attending lectures?
I traveled to Italy once before when I was 16. It was on a very strict and guided tour which really took away the sense of adventure. In Amelia I hope to experience living the Italian lifestyle! I want to try to visit as many museums as possible and become acquainted with Italy at a more leisurely pace. My first trip to Italy was really just to get a taste of the popular tourist destinations. Hopefully now I will be able to venture to some smaller, lesser known places.
ARCA Blog: Amelia has many venues for playing live music. Are you a musician?
I love playing my guitar and singing! I also play a bit of percussion and saxophone. I have been listening to a lot of Italian music to help keep up with the language skills. This way I can communicate with the locals in Italian as much as possible!
ARCA Blog: Welcome to ARCA, Abigail, and thank you for participating in this profile. 

May 9, 2011

Monday, May 09, 2011 - , No comments

MoMA Meet and Greet with a Few Members of ARCA's 2011 Class

By Mark Durney, Business and Admissions Director

This past Friday I met with five students from ARCA's 2011 International Art Crime and Cultural Heritage Protection studies class - Tim Delanty, Perri Osattin, Ariel Kern, Zach Mattheus, and Marc Balcells Magrans - for the Museum of Modern Art's Target Free Night. Earlier in the day there was a queue of people along 53rd St. and around the corner of 6th Ave. waiting for the free admission doors to open. Fortunately, we didn't have to wait at all when we met up only a few hours later. 

The students had been to the museum countless times before; however, this time they were greeted by LJ Hartman, the MoMA's head of security, who warned them not to steal anything! With that in mind, we carefully wandered through the museum's painting and sculpture galleries while discussing Modigliani and Daumier forgeries as well as recent WWII restitution cases. During our visit, Zach Mattheus, a Brooklyn-based graphic designer (http://zachmattheus.com/), asked if there had been any intriguing art theft cases from the MoMA over the years. At the time I could not recall any high profile thefts from the MoMA. But, after looking through my archives over the weekend, I came across a case of 42 Warhol drawings that mysteriously vanished from the museum following a 1988 retrospective of the late artist's works. According to a New York Times report, the museum's insurer settled for $1.1 million with the works' lender, the Andy Warhol Foundation for the Visual Arts, in November 1993.

The evening wrapped up with the students discussing their motivations behind pursuing an education and professional training in art crime studies over drinks at the bar Faces and Names. Onward to Amelia!

May 8, 2011

Mother's Day and Art Theft: Remembering A Mother's Day Ruse Two Years Ago in a Brazilian Heist and the Mother Who Destroyed Art Evidence

Happy Mother's Day!
(Photo by Erin Sibel Sezgin)

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

In my household, my adolescent children laugh a lot about the difference between what their mother does and what the holiday cards say mothers do -- apparently my children do not see me as someone who washes their laundry or spreads butter on their toast -- but as the person who insists on seeing art museums in every city they have visited and is undeterred by their reluctance to see one more exhibition. My children's lives changed when they heard their mother say, "My dream is to go to Italy and study art crime." But as a mother, I do believe that art helps the children understand our communal link to the past and art crime of course is a narrative form that focuses our attention on those artworks.

So today, while my children sleep in, I searched online about "Mother's Day and art theft" and found two interesting examples.

Two years ago the blogger "Art Hostage" wrote "Stolen Art Watch, Brazilian Art theft, Overkill or What" commenting on an article in "El National" in Caracas, Venezuela that reported on a residential art theft executed by a gang of twenty art thieves in Brazil who entered the home after the delivery of flowers for Mother's Day.

The second story is about the mother of repeat offender and art thief, Stephane Breitweiser, who destroyed artworks allegedly stolen by her son to eliminate evidence.

The Guardian's Jon Henley in 2002 reported "Priceless art haul destroyed by thief's mother" that Mireille Breitwieser destroyed 60 Old Master Paintings including works by "Boucher, Cranach, Watteau and Breughel".

Her son was arrested last month, again for stealing more art, Le Parisien recounted that Stephane's mother had previously (according to Google translate) "abandoned a tapestry on the edge of a motorway, paintings in a chapel, while copper paintings, discovered in a forest by a farmer, had been found in the barn of the farmer."

She served 18 months in prison for destroying art. This is exactly why mothers should not clean up their children's messes.

Happy Mother's Day!

May 7, 2011

Saturday, May 07, 2011 - ,, No comments

Art Theft Suspect Arrested Last Month in Toronto; Paintings still missing

Rocco Agostino, partner and chef at Enoteca Sociale,
 would very much like his pug back. (National Post)
by Catherine Schofield Sezgin, ARCA Blog Editor-in-chief

In January, Ben Kaplan of the National Post telephoned me to discuss a few thefts of artwork from restaurants in Toronto ("Paint Misbehavin'". Three months later, we have reports from Ontario that artwork has been stolen from a Toronto gallery and that a suspect has been arrested.

Ogdon Wagner Gallery had a "smash and grab" on April 7 where three paintings with a total value of $73,000 were allegedly stolen by two men captured on video by a surveillance camera "Man charged in Yorkville art theft," Madeline White, Staff Reporter for The Star). One suspect has not been apprehended.
 None of the paintings have been recovered.

May 6, 2011

Friday, May 06, 2011 - No comments

Robert Lang's Lawsuit against Sarah Morris for Copyright Infringement on Origami Designs

by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

The ARCA Blog email received an email from Bay Oak Law in Oakland, California, which Robert J. Lang in a copyright infringement case involving origami crease patterns and the artist Sarah Morris who has used them in her artwork.

Robert J. Lang summarizes the lawsuit on his website and with his lawyer's permission we are recycling the information here:
For several years, American artist Sarah Morris created a series of paintings on the theme of origami in which she took origami crease patterns by several international origami artists, changed the color scheme, and then sold and exhibited them internationally without obtaining permission or giving credit. Six of the origami artists whose work was so used have filed suit for copyright infringement against Ms. Morris in Federal Court in Oakland, California. 
Review the filed complaint, as well as the first and second set of exhibits. 
Why did the artists take this step? Among other reasons, under American copyright law, the original artist has the right to control derivative works of our original works. (“Derivative works” are those works that are based upon our original works, but do other things to them – such as colorizing them, in this case.) As the original artists, they have the right to decide what you can do with their artwork, not Ms. Morris. Although they published our crease patterns, that does not mean we gave up our ownership rights to the original art works we created. 
24 of her works (listed in the complaint) have been identified as unauthorized copies of origami crease patterns by modern origami artists. As of May 4th, Ms. Morris has not answered the complaint.
The lawsuit was filed on April 28, 2011.  In addition to learning about copyright issues, this case informs readers about the complicated world of origami design.

We here at the ARCA blog of course won't reproduce an image of either artists' work until we have permission.

May 5, 2011

Thursday, May 05, 2011 - 2 comments

ARCA 2011 Student Marc Balcells: Art Criminologist

Marc Balcells at The Met
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

Marc Balcells Magrans is a Fulbright scholar, a Spanish criminologist, and a criminal lawyer. He currently lives in New York where he is completing a PhD in Criminal Justice. His research focuses on art crime and its relationship to terrorism and organized crime, as well as museum security and its connection to art crimes and theoretical criminology. He has taught several courses on International Criminal Law and Spanish Criminal Law and Criminology, he has published internationally, and he has served as a media consultant for art crime issues.

Marc Balcells’ research has led him to study the looting of the Baghdad Museum during the war; museum security; the value of art as a catalyst for looting throughout history; and a small ethnography on boredom of museum guards at the Metropolitan Museum.

He speaks Catalan, Spanish, English, Italian, French and German.

ARCA Blog: Marc, you are enrolled in this summer’s ARCA program for the study of art crime and the protection of cultural heritage in Amelia, Italy. What attracted you to the program and what are your expectations about the courses, the instructors and the students? And have you ever lived in Italy or in a medieval city in Umbria?
Marc: I think I can be pretty straightforward when I say I am really excited to spend all summer learning about art crime in all its facets! What really attracted me to the program is the fact that it is so unique and one-of-a-kind: I agree with the fact that art crime needs sound research, and to me, this program really delivers this foundation to the students, thanks to experienced faculty members. I am looking forward to all courses that are criminologically oriented (where I already feel comfortable, due to the fact that I have already taught in this field), but also the ones related to art or the art world, because at least in my case I'm venturing into, to some extent, uncharted territory. Regarding the students, we have been communicating between us, and you can feel a great comraderie even one month ahead of the start of the program! And regarding Italy, I have lost track of how many times I have been there, albeit I must admit it is my first time living in an Italian village and I am looking forward to blending with the locals!
ARCA Blog: As a frequent visitor to museums, I have been curious about the people who guard the art. In the United States you studied the museum security guards at the Metropolitan Museum. What did you learn from that study?
Marc: That small study, which I hope one day will develop into an academic article, was made out of ethnographical fieldwork. Of course, contrary to statistical research, it implies that the knowledge that it is being generated may not be generalizable anywhere else (another museum may show different results), but the depth of the detail produced by the observations is amazing. People tend to think about this passive museum guard staring into the void (which was, actually, the title of the project): I was also misguided by this myth, and actually it all originated as one ethnography regarding boredom. And well, yes, some of them may be there for the peace and solitude of the job, but then I found an amazing group of guards, trained in the arts or not, who cared a lot for what they were protecting. Some of them even launched a magazine! There were observations (I passed as a visitor taking notes) that were, simply put, amazing! However, it is sad that their voices are not often heard when addressing security concerns. At least, with my project, I tried to put a voice to their role.
ARCA Blog: The guards who left the biggest impression on me were those employed by the archaeological museum in Napoli. The impressive collection of mostly artifacts from Pompeii are housed in a sprawling building with large French doors which were flung open in the hot July afternoon I visited. The guards wore thick rubber sole shoes and appeared casually dressed. They didn’t appear to be a threat to anyone. However, then we remembered that Napoli is protected by organized crime and thought only a fool would steal from that museum. What makes an effective security guard?
Marc: Well, this example is perfect to realize that in certain parts of the world, organized crime has a palpable presence and blends with other legal activities. I would not label them as the effective guard (after all, it is well known that, after receiving a bonus in cash from visitors, they took some of them to some restricted areas). The effective guard should receive both training in art (again, as it was commented by the Met guards I interviewed, if you care about what you are protecting, your job becomes more engaging) and also, a training similar to the one received by guards in airports and other transportation hubs, where they are used to spot suspicious persons. This approach is already implemented in museums (see Ahern and Amore’s article, in ARCA’s book “Art and Crime”) and there is an interesting article by Charney in The Journal of Art Crime (“Ten Cost-Effective Steps to Improve Security at your Museum”, fall 2009) that proves it is not only not costly, but also should make guards more proactive and engaged in their line of work.
ARCA Blog: What is situational crime prevention and how did you relate it to museum security?
Marc: Situational crime prevention, along other theories, constitutes what is called environmental criminology. These theories differ from other criminological theories in the fact that they do not seek to answer why the offender did it (what motivations did he or she had in mind), but rather to prevent crime from happening by analyzing the physical surroundings of where crime takes place. Situational crime prevention, therefore, seeks to make the criminal act more difficult by adding barriers and difficulties, in a nutshell. We live, actually, surrounded by this theory: airports, ATMs… But not every measure is based on situational crime prevention, and this is the point I try to prove. These theories follow a method: you have a theoretical foundation, a methodology, a set of measures and, once implemented, you evaluate their success. Science, then, drives situational crime prevention, which is very different from simple prevention techniques with no effective and serious research behind it.
ARCA Blog: In places of civil unrest, museums like the National Museum in Baghdad are raided and the objects sold on the secondary market outside of the country. What can countries do to protect their cultural assets in these cases? What was learned from the looting of the Baghdad museum?
Marc: Even though it will sound utopic, as a criminologist I believe that in order to reduce effectively crime, better social policies play a fundamental role. However, the country must be able to enact them, and it may not be possible in developing countries. Many criminologists refer to anomie as this pressure on achieving goals through illicit means if all licit alternatives are blocked to you, in a very simplistic reduction of these theories. I analyzed the looting of the National Museum of Baghdad in this perspective: first of all, according to several sources and reports, the biggest amount of looted objects came from regular people (which is, per se, quite indicative). It must be noted that, theoretically and practically, the solutions we will be looking for differ radically from the ones that should be applied to professionals that were targeting the museum and waiting for their opportunity to break in and take profit of all the chaos, while at the same time spotting the most valuable items. What would I propose, therefore, for citizens tempted to break into a museum in times of unrest? Better social policies are basic (after all, they are revolting to claim for a better way of living) to eliminate temptations to resort to illicit activities. But it is also basic that these are also followed by educative measures teaching pride on your heritage: look at the Egyptians protecting their sites, for example.
ARCA Blog: You speak numerous languages and studied Classics in Humanities before focusing on criminology. What do you envision for yourself as a dream occupation after you have completed your studies?
Marc: In my studies, I always “go international”, as I put it! That is, I am always looking at several countries, comparing, analyzing... Hence, my dream job would be working at UNESCO. And, if I may ask, some time to teach art crime and criminology to others!

May 4, 2011

Wednesday, May 04, 2011 - ,, No comments

ARCA 2010 Alum Leila Amineddoleh Establishes the Art Law Group at Lysaght, Lysaght & Ertel in New York

Leila Amineddoleh inside a church in Cappadocia
This year ARCA 2010 Alum Leila Amineddoleh founded the Art Law Group at Lysaght, Lysaght & Ertel in New York. The group specializes in visual art and intellectual property. The acquisition and ownership of artwork involves many complex transactions, Ms. Amineddoleh told the ARCA Blog.
“The Art Law Group at Lysaght, Lysaght & Ertel counsels clients on all legal issues related to the acquisition, retention, and disposition of fine art, and rights to works of artistic creation. The firm handles litigation, alternate dispute resolution, and transactions that concern works of art, the art market, and the art world. It assists clients with the purchase, consignment, sale, and auction of art, organizing and implementing major exhibitions, structuring business agreements, drafting contracts, complying with customs procedures, recovering stolen work for collectors and insurance companies, and advising clients on criminal matters.”
The partners at Lysaght, Lysaght & Ertel approached Leila about joining the firm after she had returned from her studies with ARCA.
“The members of the firm have had great success in both litigation and transactional work, including recovering large monetary judgments in complex litigations. In addition, the founding partners of the firm are avid art collectors and involved in the art markets in both New York City and Chicago.”
ARCA Blog: What has been the most challenging part of forming a new practice group at a law firm?
Leila: The most difficult task is marketing the group. There are a few very well-known law firms in the US that have wonderful art law groups, and naturally clients turn to those firms first. Being the new kid in town is challenging, but we’re hoping that members of the art community will begin to recognize LLE as one of New York’s top art law firms.
ARCA Blog: What advantages does a smaller firm like LLE offer?
Leila: Because we’re a smaller firm, we have lower operating expenses, meaning that we’re able to charge less for our services. Clients will be able to get high-level work, but for lower prices.
ARCA Blog: How does an art law group function?
Leila: Basically, the same as any other group. Clients call us with questions about their legal situations, ranging from negotiating contracts between galleries and artists, litigating for the sale of paintings, filing trademarks, or dealing with criminal investigations regarding provenance. Clients can be very emotional about their legal issues, and it’s our job to analyze their situations rationally to find the best solution for each unique situation. We do our best to use legal tools to properly advise our clients and protect their interests.
ARCA Blog: Are your clients concerned about the provenance of their artworks? Are you ever asked to substantiate the ownership of an object or painting against claims of theft?
Leila: Clients are concerned about the provenance of their objects. Collectors are beginning to realize that provenance is extremely important. If they do not complete their due diligence of provenance research, they could have much bigger and more costly problems later down the line. In order to substantiate ownership, LLE works with provenance researchers in the US and Europe.
ARCA Blog: Do you see any issues regarding Holocaust-era art restitution?
Leila: I haven’t yet worked on any Holocaust-era art restitution cases, but it’s an area that I’m deeply interested in, and I would love to work on a matter related to World War II looted art.
ARCA Blog: Would you advise clients to document the history of ownership of their objects?
Leila: Certainly, it’s very necessary, and it’s a rule that I follow myself. As an art collector, I always research a piece’s history, and I keep dated receipts and information about where I purchased an object. It is necessary for clients to research the history of an artwork. If there isn’t a history attached to the piece, then purchasers should keep all current records: receipts, information about the seller of the object (whether it be a business card or name of the seller), etc.
ARCA Blog: In negotiation contracts between galleries and artists, what are some of the main concerns that have to be addressed?
Leila: As you can imagine, the artists are most concerned with their art. They need to be guaranteed that their art will be safe and protected against theft, fire, and damage. In addition, they need to be ensured that they will have unsold items returned and that they will receive proper credit for their work. And artists need to feel comfortable with their agents and galleries—they must know that these individuals respect their art and their craft.

On the other hand, gallery owners are most concerned about having products delivered to them. Artists have the reputation of being unreliable, and gallery owners need contracts that specifically set out dates and deadlines to ensure that artists deliver their works safely and securely with enough time for the galleries to properly organize shows.
To read more about LLE, you may visit their website: http://www.lysaghtlaw.com/.

May 3, 2011

Venice in Peril Fakes and Forgeries Lecture (Part II)

This podcast features Part II of Noah Charney's "The World Wishes To Be Deceived: A Brief History of Art Forgery" delivered as a part of Venice in Peril's 2nd Exclusive Art Crime Lecture held on April 5, 2011 at the Royal Geographical Society in London. In the lecture, Charney discusses the differences between fakes, forgeries, and copies as well as highlights a few of the most interesting cases from the past 500 years. Access the podcast at ARCA's iTunes page or by clicking this link.

May 2, 2011

Monday, May 02, 2011 - No comments

Osama bin Laden and Smuggling Antiquities -- as reported by Stolen Vermeer's Turbo Paul, the Art Newspaper, Matthew Bogdanos in the Associated Press, and (almost a decade ago) Wall Street Journal Reporter Daniel Pearl (Himself Kidnapped and Murdered by al Qaeda)

WSJ Reporter Daniel Pearl
 wrote about smuggled gems  funding
 al Qaeda months before his death
by Catherine Schofield Sezgin, ARCA Blog Editor-in-Chief

The news of the death of Osama bin Laden and his burial at sea prompted a curiosity about any relationship between terrorism and the trafficking of antiquities. "Googling" the subject found interesting "fragments" of information supporting the overall perception that the smuggling of antiquities (and precious gems) does fund terrorism:
The blog, Stolen Vermeer, has a very elaborate discussion about Osama bin Laden, the operation that succeeded in tracking him down and killing him, and includes some graphic photos not recommended for all audiences. The author, "Turbo Paul", was featured as a highly-charged character in Rebecca Dreyfus' 2009 documentary, Stolen, about the 1990 theft of the Isabella Stewart Gardner Museum. 
The Art Newspaper reported in January 2010 that "9/11 hijacker attempted to sell Afghan loot" to pay for lessons to fly an airplane. 
In 2008, the Associated Press reported that U.S. Marine Reserve Colonel Matthew Bogdanos said that the link between trafficking in antiquities and terrorism was "undeniable" and that looted objects from the National Museum in Baghdad helped to finance al Qaeda in Iraq.   
An earlier post from June 2001 in The Art Newspaper, prior to the September bombing of American planes and targets, specifically identifies the types of objects that may have been involved in funding terrorist activities. 
In a rather poignant article by Wall Street Reporters Daniel Pearl (kidnapped and beheaded by Al Quaeda in February 2002) and Robert Block titled "Underground Trade: Much-Smuggled Gem Called Tanzanite Helps Bin Laden Supporters" in which a Tanzanian government official is quoted as saying that the "smuggling of rough stones" "through Kenya to the bazaars of the Middle East" "are connected to Osama bin Laden."
For more information about the reaction to the death of al Qaeda leader Osama bin Laden, you may read about it on the front page of the Los Angeles Times or online here as reported from New York by Geraldine Baum, Nathaniel Popper, and Tina Susman, my former colleague at The Daily Aztec at San Diego State University.

ARCA 2010 Alum: Lauren Toleikis

Lauren Toleikis
by Catherine Schofield Sezgin, ARCA Blog  Editor-in-Chief

ARCA Blog: Lauren, how did you become interested in art crime? What did you learn during the program that surprised you?
Ms. Toleikis: I came from Canada to London to do a masters degree in Art History and Business at Sotheby's Institute. My thesis focused on restitution policies in the United Kingdom, the United States and Russia. Through research and interviews I became highly interested in art restitution. I began to work in a modern British art gallery and continued to read art market related cases, becoming interested in theft and forgery. A family friend recommended I take the postgraduate program at ARCA. The course enabled us to be taught by experts in each of the fields including policing, law, insurance, security, criminology and members of the art trade. I was impressed with how many professional branches are involved in art crime related cases. This is a unique field where numerous expertise are required. Living and learning in Amelia was a great exposure into true Italian culture.
ARCA Blog: What was your field of study?
Ms. Toleikis: For my thesis at ARCA, I focused on theft from national heritage homes within the United Kingdom. Burglaries are an issue with numerous heritage homes in the UK. I combined data based upon the type of entry and what was stolen from the heritage homes in conjunction with prosecution rates within the English legal system. Building on previous cases I analyzed approach of the current legal system in regards to burglary. Notorious groups such as the Johnson family, a group of travelers, targeted heritage homes throughout the country for years prior to being apprehended and charged. Although there has been a recent rise in theft of porcelain, collections of sliver and other antiques have been targeted as well. In 2005 a large Henry Moore statue was taken, garden architecture is also targeted as it does not involve entering the house. While it may appear that items taken consist of primarily small works this is not the case as seen in the theft of a Henry Moore statue in 2005.
ARCA Blog: You are currently working in an art gallery and a law office in London. After completing the program, how so you view these jobs differently?
Ms. Toleikis: In regards to the gallery, since the course I have become much more aware of the prints and paintings we handle. We complete provenance research for our clients and while many of the paintings may have had only one previous owner prior to the artist, it is important to have this information available for our clients. As we acquire a number of works through auction it is important that we complete our own analysis of the work prior to bidding. In Autumn last year (2010) we had an exhibition of one of our artists work that was outside the gallery, in a different location within London. One night, someone broke in and took some of the paintings. As a result we put the works up on the Art Loss register. It is important to remember that while the painting removed may not be a Picasso or a Van Gogh, all forms of art can be a target for thieves. When working in a gallery it is important to document all the work, even a simple photograph, size and title of the work will help in locating the work in the future.
For the legal office, I work for a barrister completing research on art related cases of Nazi looted theft and restitution. I have also helped in writing and reviewing books in both legal and non legal related fields. Working for the legal office in art related claims is an amazing opportunity as I am able to combine my interest in restitution policies and long term loan programs for museums and other institutions, while furthering my knowledge through legal cases.
ARCA blog: The gallery you work for attends numerous national and international art fairs, is art crime an issue at these fairs?
Ms. Toleikis: All fairs, whether national or international are vetted prior to the opening of the fair. The art in each of the stands is examined by a panel. If there are any questionable pieces of art the galleries are asked to remove the work from the fair. They are then able to handle issues of looted or fake work within their company. It is rare that a gallery would allow this to happen as it would project them in a bad light. In larger international fairs such as TEFAF, where there are paintings, antiques and jewellery theft can be an issue. In 2008 a group of people entered the fair and tried on jewellery. They then came back the next day and stole a large amount of it. While security is on hand at art fairs, there are often so many people coming through that it is difficult to regulate each individual.
ARCA Blog: What is next for you in the field of art crime?
Ms. Toleikis: Upon completing my law degree I hope to move towards working with restitution based cases or ownership disputes. I am interested in helping establish long-term loan agreements or other forms of compensation for ownership. I also hope to expand my knowledge to help smaller institutions as well such as galleries and local museums to provide a system of how to handle or what to do when legal claims are brought against an institution whether it be copy right issues, damage or theft.