Through the use of case examples and careful examination, this book presents the first interdisciplinary essay collection on the study of art crime, and its effect on all aspects of the art world. Contributors discuss art crime subcategories, including vandalism, iconoclasm, forgery, fraud, peace-time theft, war looting, archaeological looting, smuggling, submarine looting, and ransom. The contributors offer insightful analyses coupled with specific practical suggestions to implement in the future to prevent and address art crime. This work is of critical importance to anyone involved in the art world, its trade, study, and security.
Art crime has received relatively little attention from those who study art to those who prosecute crimes. Indeed, the general public is not well-aware of the various forms of art crime and its impact on society at large, to say nothing of museums, history, and cultural affairs. And yet it involves a multi-billion dollar legitimate industry, with a conservatively-estimated $6 billion annual criminal profit. Information about and analysis of art crime is critical to the wide variety of fields involved in the art trade and art preservation, from museums to academia, from auction houses to galleries, from insurance to art law, from policing to security. Since the Second World War, art crime has evolved from a relatively innocuous crime, into the third highest-grossing annual criminal trade worldwide, run primarily by organized crime syndicates, and therefore funding their other enterprises, from the drug and arms trades to terrorism. It is no longer merely the art that is at stake.
Les informations fournies dans la section « Synopsis » peuvent faire référence à une autre édition de ce titre.
Noah Charney is an art historian by training and is the founding director of the Association for Research into Crimes against Art (ARCA), a non-profit think tank and consultancy group on art crime prevention and solution. He has been written about internationally, including feature articles in the New York Times Magazine, Italy's Ventiquattro, Time Magazine, and has made appearances on National Public Radio, MSNBC, CNBC and ITV television, and many other news outlets. His novel, The Art Thief, was published in 2007 and has sold in sixteen other languages to date.
Dr. Noah Charney is the internationally best-selling author of more than a dozen books, translated into fourteen languages, including The Collector of Lives: Giorgio Vasari and the Invention of Art, which was nominated for the 2017 Pulitzer Prize in Biography, and Museum of Lost Art, which was the finalist for the 2018 Digital Book World Award. He is a professor of art history specializing in art crime, and has taught for Yale University, Brown University, American University of Rome and University of Ljubljana. He is founder of ARCA, the Association for Research into Crimes against Art, a ground-breaking research group (www.artcrimeresearch.org) and teaches on their annual summer-long Postgraduate Program in Art Crime and Cultural Heritage Protection. He has written for dozens of major magazines and newspapers, including The Guardian, the Washington Post, the Observer and The Art Newspaper. His recent books on art include The Devil in the Gallery: How Scandal, Shock and Rivalry Shaped the Art World, Making It: The Artist's Survival Guide, The 12-Hour Art Expert: Everything You Need to Know About Art in a Dozen Masterpieces, and Brushed Aside: The Untold Story of Women in Art, several of which were Amazon #1 best-sellers in their category. He also published the critically-acclaimed The Slavic Myths (Thames & Hudson) in the fall of 2023 and The Thefts of the Mona Lisa: The Complete Story of the World's Most Famous Artwork (Rowman & Littlefield, February 2024), which was praised in The New York Times Book Review and The Telegraph among others. He recently fronted an influencer campaign for Samsung, in 2022 he presented a BBC Radio 4 documentary, China's Stolen Treaures, his TED Ed videos (some on art crime) have been viewed by millions each, and he featured in a recent Amazon Prime documentary, The Picasso of Thieves. A course of his, "Lost Art," featured this summer for The Teaching Company's Great Courses/Wondrium, the first of several that are scheduled, and he teaches online courses for Atlas Obscura, the Smithsonian, the National Gallery UK, and Yale University on art theft and forgery. He lives in Slovenia with his wife, children and their hairless dog, Hubert van Eyck (believe it or not).Les informations fournies dans la section « A propos du livre » peuvent faire référence à une autre édition de ce titre.
Vendeur : World of Books (was SecondSale), Montgomery, IL, Etats-Unis
Hardback. Etat : Good. Through the use of case examples and careful examination, this book presents the first interdisciplinary essay collection on the study of art crime, and its effect on all aspects of the art world. Contributors discuss art crime subcategories, including vandalism, iconoclasm, forgery, fraud, peace-time theft, war looting, archaeological looting, smuggling, submarine looting, and ransom. The contributors offer insightful analyses coupled with specific practical suggestions to implement in the future to prevent and address art crime. This work is of critical importance to anyone involved in the art world, its trade, study, and security. Art crime has received relatively little attention from those who study art to those who prosecute crimes. Indeed, the general public is not well-aware of the various forms of art crime and its impact on society at large, to say nothing of museums, history, and cultural affairs. And yet it involves a multi-billion dollar legitimate industry, with a conservatively-estimated $6 billion annual criminal profit. Information about and analysis of art crime is critical to the wide variety of fields involved in the art trade and art preservation, from museums to academia, from auction houses to galleries, from insurance to art law, from policing to security. Since the Second World War, art crime has evolved from a relatively innocuous crime, into the third highest-grossing annual criminal trade worldwide, run primarily by organized crime syndicates, and therefore funding their other enterprises, from the drug and arms trades to terrorism. It is no longer merely the art that is at stake. N° de réf. du vendeur 00105429152
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Vendeur : World of Books Inc, Montgomery, IL, Etats-Unis
Hardback. Etat : Good. Through the use of case examples and careful examination, this book presents the first interdisciplinary essay collection on the study of art crime, and its effect on all aspects of the art world. Contributors discuss art crime subcategories, including vandalism, iconoclasm, forgery, fraud, peace-time theft, war looting, archaeological looting, smuggling, submarine looting, and ransom. The contributors offer insightful analyses coupled with specific practical suggestions to implement in the future to prevent and address art crime. This work is of critical importance to anyone involved in the art world, its trade, study, and security. Art crime has received relatively little attention from those who study art to those who prosecute crimes. Indeed, the general public is not well-aware of the various forms of art crime and its impact on society at large, to say nothing of museums, history, and cultural affairs. And yet it involves a multi-billion dollar legitimate industry, with a conservatively-estimated $6 billion annual criminal profit. Information about and analysis of art crime is critical to the wide variety of fields involved in the art trade and art preservation, from museums to academia, from auction houses to galleries, from insurance to art law, from policing to security. Since the Second World War, art crime has evolved from a relatively innocuous crime, into the third highest-grossing annual criminal trade worldwide, run primarily by organized crime syndicates, and therefore funding their other enterprises, from the drug and arms trades to terrorism. It is no longer merely the art that is at stake. N° de réf. du vendeur CIN0313366357G
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