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Art crime in context

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Art crime in contextedited by Naomi Oosterman, Donna Yates.
其他作者:	Oosterman, Naomi.
出版者:	Cham :Springer International Publishing :2023.
面頁冊數:	vi, 228 p. :ill. (chiefly color), digital ;24 cm.
Contained By:	Springer Nature eBook
標題:	Art thefts.
電子資源:	https://doi.org/10.1007/978-3-031-14084-6
ISBN:	9783031140846$q(electronic bk.)

Art crime in context
Art crime in context[electronic resource] /edited by Naomi Oosterman, Donna Yates. - Cham :Springer International Publishing :2023. - vi, 228 p. :ill. (chiefly color), digital ;24 cm. - Studies in art, heritage, law and the market,v. 62524-7433 ;. - Studies in art, heritage, law and the market ;v. 2..

Introduction -- Assay-ssination: Reflections on the Cost of Jewellery and Gem Crime -- Design crime in context: Mass-manufactured design, design-as-art, and Chandigarh's modernist furniture -- The Evolution of the Belgian Art and Antiques Unit -- Fossil trafficking, fraud, and fakery -- Illicit Excavations and Trade in Antiquities -- New Security Challenges at Museums and Historic Sites: The Case of Spain -- Revisiting the Looting of Site Q through Lidar: A Case Study of Illicit Digging in La Corona, Guatemala -- Securing Borders and Restraining the Illegal Movement of Cultural Property to, from, and within, the Island of Ireland -- Stealing Heritage in Canada -- The Theft of Your Soulmate: Motivations for the Theft of Rare Violins -- UNESCO Emergency Response "First-Aid" Heritage Interventions in Syria during Armed Conflict -- Yellow Journalism: Neutralisation techniques, media validation, and the Rothko vandal.

This book brings together empirical and theoretical case-study research on art and heritage crime. Drawn from a diverse group of researchers and professionals, the work presented explores contemporary conceptualisations of art crime within broader contexts. In this volume, we see 'art' in its usual forms for art crime scholarship: in paintings and antiquities. However, we also see art in fossils and in violins, chairs and jewellery, holes in the ground and even in the institutions meant to protect any, or all, of the above. And where there is art, there is crime. Chapters in this volume, alternatively, zoom in on specific objects, on specific locations, and on specific institutions, considering how each interact with the various conceptions of crime that exist in those contexts. This volume challenges the boundaries of what we understand as "art and heritage crimes" and displays that both art, and criminality related to art, is creative and unpredictable.

ISBN: 9783031140846$q(electronic bk.)

Standard No.: 10.1007/978-3-031-14084-6doiSubjects--Topical Terms:

230366
Art thefts.

LC Class. No.: N8795

Dewey Class. No.: 364.16287

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505 0 $a Introduction -- Assay-ssination: Reflections on the Cost of Jewellery and Gem Crime -- Design crime in context: Mass-manufactured design, design-as-art, and Chandigarh's modernist furniture -- The Evolution of the Belgian Art and Antiques Unit -- Fossil trafficking, fraud, and fakery -- Illicit Excavations and Trade in Antiquities -- New Security Challenges at Museums and Historic Sites: The Case of Spain -- Revisiting the Looting of Site Q through Lidar: A Case Study of Illicit Digging in La Corona, Guatemala -- Securing Borders and Restraining the Illegal Movement of Cultural Property to, from, and within, the Island of Ireland -- Stealing Heritage in Canada -- The Theft of Your Soulmate: Motivations for the Theft of Rare Violins -- UNESCO Emergency Response "First-Aid" Heritage Interventions in Syria during Armed Conflict -- Yellow Journalism: Neutralisation techniques, media validation, and the Rothko vandal.
520 $a This book brings together empirical and theoretical case-study research on art and heritage crime. Drawn from a diverse group of researchers and professionals, the work presented explores contemporary conceptualisations of art crime within broader contexts. In this volume, we see 'art' in its usual forms for art crime scholarship: in paintings and antiquities. However, we also see art in fossils and in violins, chairs and jewellery, holes in the ground and even in the institutions meant to protect any, or all, of the above. And where there is art, there is crime. Chapters in this volume, alternatively, zoom in on specific objects, on specific locations, and on specific institutions, considering how each interact with the various conceptions of crime that exist in those contexts. This volume challenges the boundaries of what we understand as "art and heritage crimes" and displays that both art, and criminality related to art, is creative and unpredictable.
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