Author: James Cuno
Publisher: Princeton University Press
Release Date: 2010-10-18
Whether antiquities should be returned to the countries where they were found is one of the most urgent and controversial issues in the art world today, and it has pitted museums, private collectors, and dealers against source countries, archaeologists, and academics. Maintaining that the acquisition of undocumented antiquities by museums encourages the looting of archaeological sites, countries such as Italy, Greece, Egypt, Turkey, and China have claimed ancient artifacts as state property, called for their return from museums around the world, and passed laws against their future export. But in Who Owns Antiquity?, one of the world's leading museum directors vigorously challenges this nationalistic position, arguing that it is damaging and often disingenuous. "Antiquities," James Cuno argues, "are the cultural property of all humankind," "evidence of the world's ancient past and not that of a particular modern nation. They comprise antiquity, and antiquity knows no borders." Cuno argues that nationalistic retention and reclamation policies impede common access to this common heritage and encourage a dubious and dangerous politicization of antiquities--and of culture itself. Antiquities need to be protected from looting but also from nationalistic identity politics. To do this, Cuno calls for measures to broaden rather than restrict international access to antiquities. He advocates restoration of the system under which source countries would share newly discovered artifacts in exchange for archaeological help, and he argues that museums should again be allowed reasonable ways to acquire undocumented antiquities. Cuno explains how partage broadened access to our ancient heritage and helped create national museums in Cairo, Baghdad, and Kabul. The first extended defense of the side of museums in the struggle over antiquities, Who Owns Antiquity? is sure to be as important as it is controversial. Some images inside the book are unavailable due to digital copyright restrictions.
Author: James Cuno
Publisher: Princeton University Press
Release Date: 2012-05-23
The international controversy over who "owns" antiquities has pitted museums against archaeologists and source countries where ancient artifacts are found. In his book Who Owns Antiquity?, James Cuno argued that antiquities are the cultural property of humankind, not of the countries that lay exclusive claim to them. Now in Whose Culture?, Cuno assembles preeminent museum directors, curators, and scholars to explain for themselves what's at stake in this struggle--and why the museums' critics couldn't be more wrong. Source countries and archaeologists favor tough cultural property laws restricting the export of antiquities, have fought for the return of artifacts from museums worldwide, and claim the acquisition of undocumented antiquities encourages looting of archaeological sites. In Whose Culture?, leading figures from universities and museums in the United States and Britain argue that modern nation-states have at best a dubious connection with the ancient cultures they claim to represent, and that archaeology has been misused by nationalistic identity politics. They explain why exhibition is essential to responsible acquisitions, why our shared art heritage trumps nationalist agendas, why restrictive cultural property laws put antiquities at risk from unstable governments--and more. Defending the principles of art as the legacy of all humankind and museums as instruments of inquiry and tolerance, Whose Culture? brings reasoned argument to an issue that for too long has been distorted by politics and emotionalism. In addition to the editor, the contributors are Kwame Anthony Appiah, Sir John Boardman, Michael F. Brown, Derek Gillman, Neil MacGregor, John Henry Merryman, Philippe de Montebello, David I. Owen, and James C. Y. Watt.
Author: Robert W. Preucel
Publisher: John Wiley & Sons
Release Date: 2010-05-10
"Contemporary Archaeology in Theory: The New Pragmatism is a great collection of texts to teach from, but it is much more than that. Preucel and Mrozowski have put together a landmark volume that combines a diversity of exciting contributions with a common intellectual agenda and purpose. One comes away from reading The New Pragmatism with a sense of a serious, mature discipline that combines academic rigour with social engagement." Matthew Johnson, University of Southampton "Far more than a second edition, this is a fully transformed, cutting-edge, thorough, truly monumental book that captures the richness of archaeological theory today for introductory and advanced readers alike." Stephen Silliman, University of Massachusetts, Boston "The new pragmatism advanced by the editors places archaeology within its social context, importantly in ways that can serve contemporary needs in the modern world. Archaeology is no longer innocent." Peter Bellwood, Australian National University "This collection of papers works beautifully as an overview of contemporary archaeological theory. It's framing as `The New Pragmatism' is quite appropriate given the discipline's challenge to better address current social contexts and human needs." Dean Saitta, University of Denver This completely revised second edition of Contemporary Archaeology in Theory challenges the traditional boundaries between prehistoric and historical archaeologies, as well as those between time, space, things, and people. Essays by a distinguished group of archaeologists outline the emergence of a socially conscious archaeology by addressing the material mediation of contemporary social problems such as colonialism, industrialism, racialization, and globalization. Contemporary Archaeology in Theory: The New Pragmatism investigates the gradual incorporation of questions of identity, meaning, agency, and practice alongside those of system, process, and structure. This new edition is an essential reader for students and a thought-provoking assessment of the field for all archaeologists, indigenous peoples, and the concerned lay public.
Author: Tom Bazley
Release Date: 2010
This book offers a revealing look at the full scope of criminal activity in the art world-a category of crime that is far more pervasive than is generally realized. * Comprises 10 chapters covering the various types of crimes common in the art world, from forgeries to theft to vandalism * Includes case studies throughout to explore the characteristics of art crime * Provides a bibliography of important books on the subject of art crime * An index of important words and terms emphasizes works of art and artists covered in the book, along with terms unique to art and art crime
Author: Steven L. Tuck
Publisher: John Wiley & Sons
Release Date: 2014-12-16
Genre: Literary Criticism
A History of Roman Art provides a wide-ranging survey of the subject from the founding of Rome to the rule of Rome's first Christian emperor, Constantine. Incorporating the most up-to-date information available on the topic, this new textbook explores the creation, use, and meaning of art in the Roman world. Extensively illustrated with 375 color photographs and line drawings Broadly defines Roman art to include the various cultures that contributed to the Roman system Focuses throughout on the overarching themes of Rome's cultural inclusiveness and art's important role in promoting Roman values Discusses a wide range of Roman painting, mosaic, sculpture, and decorative arts, as well as architecture and associated sculptures within the cultural contexts they were created and developed Offers helpful and instructive pedagogical features for students, such as timelines; key terms defined in margins; a glossary; sidebars with key lessons and explanatory material on artistic technique, stories, and ancient authors; textboxes on art and literature, art from the provinces, and important scholarly perspectives; and primary sources in translation A book companion website is available at www.wiley.com/go/romanart with the following resources: PowerPoint slides, glossary, and timeline Steven Tuck is the 2014 recipient of the American Archaeological Association's Excellence in Undergraduate Teaching Award.
Author: Elizabeth Marlowe
Publisher: A&C Black
Release Date: 2013-10-10
The recent crisis in the world of antiquities collecting has prompted scholars and the general public to pay more attention than ever before to the archaeological findspots and collecting histories of ancient artworks. This new scrutiny is applied to works currently on the market as well as to those acquired since (and despite) the 1970 UNESCO Convention, which aimed to prevent the trafficking in cultural property. When it comes to famous works that have been in major museums for many generations, however, the matter of their origins is rarely considered. Canonical pieces like the Barberini Togatus or the Fonseca bust of a Flavian lady appear in many scholarly studies and virtually every textbook on Roman art. But we have no more certainty about these works' archaeological contexts than we do about those that surface on the market today. This book argues that the current legal and ethical debates over looting, ownership and cultural property have distracted us from the epistemological problems inherent in all (ostensibly) ancient artworks lacking a known findspot, problems that should be of great concern to those who seek to understand the past through its material remains.
Author: Barbara T. Hoffman
Publisher: Cambridge University Press
Release Date: 2006
Art and Cultural Heritage is appropriately, but not solely, about national and international law respecting cultural heritage. It is a bubbling cauldron of law mixed with ethics, philosophy, politics and working principles looking at how cultural heritage law, policy and practice should be sculpted from the past as the present becomes the future. Art and cultural heritage are two pillars on which a society builds its identity, its values, its sense of community and the individual. The authors explore these demanding concerns, untangle basic values, and look critically at the conflicts and contradictions in existing art and cultural heritage law and policy in its diverse sectors. The rich and provocative contributions collectively provide a reasoned discussion of the issues from a multiplicity of views to permit the reader to understand the theoretical and philosophical underpinnings of the cultural heritage debate.