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Saqueo. El arte de robar arte
Las obras de Arte Antiguo de los grandes museos del mundo tienen una historia que se cuenta y otra que se oculta. Sharon Waxman ha investigado esta última: la historia de cómo fueron saqueadas de sus países de origen. Una historia turbia de expolio, sobornos, tráfico, subastas y, en numerosas ocasiones, daño o destrucción. La autora realiza un apasionante recorrido tanto por los principales museos occidentales (el Louvre, el British Museum, el Metropolitan de Nueva York...), como por los lugares de procedencia de las antigüedades (Egipto, Turquía, Grecia, Italia...), evocando los episodios del pasado y analizando las demandas actuales de devolución de las piezas por parte de estos países.
432 pages, Kindle Edition
First published October 23, 2008
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Displaying 1 - 30 of 152 reviews
January 12, 2015
No matter what field you study or work in, there are always controversies. They can be fascinating as well as difficult to work with/around. The museum world is no different--it seems to be filled with opinionated and fascinating people. The big question: who really owns the antiquities of the world? Should the American and European museums be giving the Rosetta Stone, the Elgin Marbles and other prominent antiquities back to the source countries, Egypt and Greece? There are arguments to be made in both directions. This book was published during 2008--before the Arab Spring in Egypt caused such unrest and before Greece came humiliatingly close to bankruptcy. I'll be doing some research to see if I can find out if either country is still in a position to take custody of such treasured objects. In my opinion, the source countries will need to be stable and have adequate funding in order to accept these world resources back into their care. I can also see why the major museums are scared of having their institutions emptied. And really, do we want national museums to only have access to national items? I love museums of Canadian history, but my favourite exhibitions at my local museum have featured Egyptian artifacts and northern European bog bodies (Tollund man looks just like my Danish grandfather--really!) The whole industry of looting antiquities for wealthy collectors mirrors the trade in endangered species and other illegal and immoral traffic. Unfortunately, as long as there is a market, there will be people who supply it.
May 11, 2014
One of my fondest memories is when I took a class to the U of Pennsylvania Museum. It focuses on Archeology. While there, a student who never spoke in class rushed up to me all excited. “Look,” he said, “It’s a cartouche of that female pharaoh we saw that program about. Awesome!” Okay, he didn’t say awesome because he is far cooler than I ever was or will be. But I remember how excited he was. This was an inner city eighteen year old. So if he gets to Egypt (and I hope he does), it isn’t going to be soon.
This story always comes to my mind when people talk about returning works of art to wherever they originally came from.
And let me straight, I am all behind recently stolen or smuggled works of art – say anything post modern accords and treaties. But the Elgin Marbles? The Rosetta Stone?
It’s great to read Waxman’s book because she is really quite fair and truly examines the issue.
This book was written and published prior to the Arab Spring and Greek monetary problems, so those issues are not touched on.
Waxman picks four major areas – the Elgin Marbles, Egyptian Works, the mess at the Getty, and a Turkish hoard. She puts forward both sides and really, truly, looks at the conflicts surrounding artwork and ownership.
The weakest part of the book, was the last section, about the Getty, possibly because it needs more in depth treatment for the reader to fully grasp it (Waxman does refer to the Medici Conspiracy book), but her access and knowledge make the book a pleasure to read. She points out that some countries, who came art, don’t return art very well, and she does mention the more people who see, just might be a good idea.
In particular, her discussion of ownership is multi-layer because, as she points out with the Rosetta Stone, French and Britain could be seen to have an equal claim because of the work they did on it.
This book is a good selection for any book club that is interested in the issue.
Crossposted at Booklikes.
January 22, 2022
I find this topic really interesting in general, and this is a great book for giving different sides of the debate. In particular this is the first time I understood (though still don't fully support) some of the arguments for keeping antiquities in western museums. I also have straight up never thought about antiquities from the "beautiful art" pov (vs the "source of historical knowledge" pov), that was eye-opening. Finally, the book is fascinating in its descriptions of a shitload of, well, crime. I'd love a fiction book focusing on the illegal antiquities trade. In short, highly recommended for anyone interested in the topic!
February 26, 2015
Historical tour without having to tote luggage, make reservations and swelter in hot places. And the museums! I won't get to most of these in the leftover lifetime I have. Waxman is my kind of writer: smart, knowledgeable and interested in her subject. This book was one of the nonfictions recommended in the back of The Lost Sisterhood (reviewed on this site) and I'm delighted I chose this book. Memorable players in the global world of antiquities like Zahi Hawass, former secretary-general of Egypt's Supreme Council of Antiquities was an outspoken and flamboyant proponent of returning Egypt's lost art to Egypt. (The book was published in 2008, and Egypt, Iraq, Afghanistan, Turkey and many other places in the world have changed mightily since then. Hawass was jailed by the new government, and may still be in prison under the newer government. And Iraq. Well, what I remembered beginning this book is how one of the extant pieces of what may have been one of the walls of the Hanging Gardens of Babylon was smashed to construct a US helicopter pad.) Colorful people in the world of ancient art. Pirates and Lords and grave robbers and...you can't write this stuff in fiction as well as history reads. Today the news has footage of the museum in Mosul being smashed. Two Assyrian winged lions are no more. The book focuses on provenance, the changing laws about paperwork, and the undergrounding of acquiring looted stuff. The arguments for restitution are many; the counter justification for holding on to massive old pieces of art that were ripped out of their original sites has merit as well. Some of the curators who talked for the record spout colonialism of the most elitist order. And the country politics, hidden agendas, revenge scenarios, personal egos! Contested antiquities have been returned to the country of origin, and in the case of the Lydia hoard, subsequently stolen. Again. The big museums have all trafficked in stolen art, some more than others. I looked at the websites of the museum pieces that are contested (the zodiac ceiling at the Louvre, ripped out of the Temple of Denderah; the Elgin marbles, dynamited from the roof of the Parthenon, now controversially housed at the British Museum) and the museums, however noble and lofty the supposed "world museum" higher purpose, need to own up to how these pieces were acquired. Waxman writes in the conclusion that perhaps that may be a point at which to launch a better discussion about where ancient art needs to reside - in mighty museums far from home where each can be conserved and where scholarship and conservation is the goal and millions can view and appreciate? Or in country, in context, but open to mauling, looting and where a tiny percentage of the population will view the antiquities. The news today about the Mosul museum deepens the discussion. Big museums may have the art, but the context is missing. One statue that Italy wants back is not Roman-it's Greek. Statues from temples have religious significance that may not be known, and isn't discussed. Or studied. So the scholarship claimed as purpose by museums like The Metropolitan, the Louvre, the British Museum are-at best-not completely honest, and at worst, prevaricating. And do we really need museums at all? Why can't I find a complete rendering of what the Acropolis would have looked like when Athena stood at the center of the Parthenon? Perhaps the future of art for art's sake is in the virtual. Harder to smash. Or loot.
April 5, 2013
An even-handed treatment of a tricky subject. Where do the artifacts in museums come from? Who previously owned them? Under what circumstances were they acquired? Were they looted in modern time (or a couple hundred years ago?) Who really owns what, and who has a moral claim on what? This is the tangled thicket that Sharon Waxman waded into, dealing with the provenance of antiquities, the preservation and conservation of those same antiquities, and fraught high-profile cases such as the "Elgin" marbles and the bust of Nefertiti in which the country of origin would quite like to have its ancient artifacts back. (The book concludes that Greece has the strongest case for return of the Parthenon marbles looted- or rescued, in the British telling- by Lord Elgin.) It also explores the strange case of Marion True, the Getty curator charged by Italy with trafficking in looted artifacts, and what the changing attitude toward provenance and looting means for the future of museums.
Clearly the author is only just scratching the surface of a complicated issue- the book confines itself to the Mediterranean world, so anyone looking for mention of Latin/Native American, Asian, or African artifacts will be disappointed. But as someone who has gone to many of the museums mentioned, I found it a thought-provoking book and appropriate for anyone who had not previously been exposed to the issue in more than a passing way, such as seeing news items about the latest installment of the long-running campaign by the Greeks to have the Parthenon marbles returned.
Clearly the author is only just scratching the surface of a complicated issue- the book confines itself to the Mediterranean world, so anyone looking for mention of Latin/Native American, Asian, or African artifacts will be disappointed. But as someone who has gone to many of the museums mentioned, I found it a thought-provoking book and appropriate for anyone who had not previously been exposed to the issue in more than a passing way, such as seeing news items about the latest installment of the long-running campaign by the Greeks to have the Parthenon marbles returned.
June 14, 2018
Maybe 3.5 stars would be a more accurate rating. The author made some really odd statements/assumptions at various points - such as it was to be expected that employees at the Getty were all having affairs with one another, because it was an elite institution with too much money...what?
I feel that items should be returned to their country of origin, if those items are cared for properly. Basically, everyone involved is guilty of something - the source countries for creating a climate that allows looting, the looters and smugglers for stealing, the brokers and buyers for not caring too greatly that the pieces their acquiring are likely stolen.
I enjoyed the aspects relating to the history. Marion True's saga is so intriguing, what did she really know, and why was she the only one prosecuted? Hardly seems fair, especially if she was trying to do things the right way. But surely she knew how suspicious the loans for her to buy her home looked? What a mess.
I feel that items should be returned to their country of origin, if those items are cared for properly. Basically, everyone involved is guilty of something - the source countries for creating a climate that allows looting, the looters and smugglers for stealing, the brokers and buyers for not caring too greatly that the pieces their acquiring are likely stolen.
I enjoyed the aspects relating to the history. Marion True's saga is so intriguing, what did she really know, and why was she the only one prosecuted? Hardly seems fair, especially if she was trying to do things the right way. But surely she knew how suspicious the loans for her to buy her home looked? What a mess.
April 29, 2022
En otro libro, "La Conspiración de Médici" se relata la investigación hecha por el gobierno italiano del arte ilegal que los grandes Museos, por razones que se ignoran, compran piezas que proceden de saqueos, robadas de tumbas y Museos italianos. Luego de una década, condenaron a Giacomo Medici, a Hecht y a la conservadora del Museo Getty de California. En este libro de Sharon Waxman, se trata el mismo asunto, extensa y meticulosamente, de los cientos de objetos devueltos por los museos norteamericanos: Met y Getty, mientras que los europeos se niegan a devolver los Mármoles de Elgin, la piedra Rosetta, el Zodíaco de Dendera, ni mucho menos la escultura de Nefertiti.
No solo Italia ha reclamado la devolución, también Egipto, Grecia y Turquía. La autora manifiesta admiración por las acciones del nefasto Zahi Hawass, quien fuera el presidente y luego ministro del Consejo, luego Ministerio de las Antigüedades Egipcias. Mismo sujeto que abogaba en público por la devolución de obras y en privado las regalaba, como sucedió con Muamar el Gadafi. Sin embargo, os actuales ciudadanos egipcios de origen árabe, no manifiestan ningún interés por la cultura antigua, dado que ellos no son los pobladores originales, constructores de pirámides.
Esto mismo sucede con Grecia, según las palabras del escritor Nikos Dimou en su libro : "La desgracia de ser griego". Dice así: "No creo en la continuidad de (las naciones por) miles de años. No quiero los mármoles de Elgin porque sean griegos. No estoy seguro de que sean griegos en el sentido en que yo soy griego. El pueblo que los hizo vivió aquí hace dos mil quinientos años. Ellos se llamaban a sí mismos atenienses," nunca griegos, agrego yo. Lo mismo debería pensar el gobierno de México, no somos aztecas, somos mexicanos y no necesitamos los códices mayas ni el penacho de Moctezuma para darnos identidad.
Y llevándole la contraria a la autora, lo que hay en los grandes Museos debe quedarse ahí, sin importar cómo hayan adquirido los objetos. Como ellos mismos dicen son para la educación universal y no para el lucimiento de determinados individuos en el gobierno que sea.
No solo Italia ha reclamado la devolución, también Egipto, Grecia y Turquía. La autora manifiesta admiración por las acciones del nefasto Zahi Hawass, quien fuera el presidente y luego ministro del Consejo, luego Ministerio de las Antigüedades Egipcias. Mismo sujeto que abogaba en público por la devolución de obras y en privado las regalaba, como sucedió con Muamar el Gadafi. Sin embargo, os actuales ciudadanos egipcios de origen árabe, no manifiestan ningún interés por la cultura antigua, dado que ellos no son los pobladores originales, constructores de pirámides.
Esto mismo sucede con Grecia, según las palabras del escritor Nikos Dimou en su libro : "La desgracia de ser griego". Dice así: "No creo en la continuidad de (las naciones por) miles de años. No quiero los mármoles de Elgin porque sean griegos. No estoy seguro de que sean griegos en el sentido en que yo soy griego. El pueblo que los hizo vivió aquí hace dos mil quinientos años. Ellos se llamaban a sí mismos atenienses," nunca griegos, agrego yo. Lo mismo debería pensar el gobierno de México, no somos aztecas, somos mexicanos y no necesitamos los códices mayas ni el penacho de Moctezuma para darnos identidad.
Y llevándole la contraria a la autora, lo que hay en los grandes Museos debe quedarse ahí, sin importar cómo hayan adquirido los objetos. Como ellos mismos dicen son para la educación universal y no para el lucimiento de determinados individuos en el gobierno que sea.
September 11, 2021
What an enjoyable book. Waxman is not an archeologist or an art expert but a journalist, and that is a good thing. In Loot, she presents the many sides of the debate over looted antiquities, mainly through interviews, and does so very compellingly. Although she editorializes at times, she still presents the views of even the most morally questionable figures in the most charitable light. I especially appreciate how Waxman highlights the fact that each antiquity has a different story that raises different issues. Not all "stolen" antiquities should be treated equally. This book is divided into four parts, each part focusing primarily on one museum, one ancient artifact, and two countries fighting over it.
Waxman is also not only a superb journalist but an excellent writer. For example, check out this brilliant description of Paris:
"Painstakingly renovated, assiduously maintained, Paris is like a beautiful woman who wears her gifts with abandon: The crisp glory of the Arc de Triomphe. The golden statues along the Alexander III bridge, just between the Grand Palais and the Invalides. The Tuileries gardens, Notre Dame—all scraped of a century of grime and, at night, lit to maximum effect. To the visitor who hasn’t been in a while, it’s like being a man starved of female company, suddenly thrust in close proximity to a naturally stunning woman. Paris has thrown on a frock and some heels, a spot of lipstick, and stops the traffic when she walks past. But she pretends not to know the effect she has on people."
Loot is a thrilling read that will either enrich your next visit to a museum or entirely ruin it.
Waxman is also not only a superb journalist but an excellent writer. For example, check out this brilliant description of Paris:
"Painstakingly renovated, assiduously maintained, Paris is like a beautiful woman who wears her gifts with abandon: The crisp glory of the Arc de Triomphe. The golden statues along the Alexander III bridge, just between the Grand Palais and the Invalides. The Tuileries gardens, Notre Dame—all scraped of a century of grime and, at night, lit to maximum effect. To the visitor who hasn’t been in a while, it’s like being a man starved of female company, suddenly thrust in close proximity to a naturally stunning woman. Paris has thrown on a frock and some heels, a spot of lipstick, and stops the traffic when she walks past. But she pretends not to know the effect she has on people."
Loot is a thrilling read that will either enrich your next visit to a museum or entirely ruin it.
March 3, 2019
This is a 5-star book for content, but 4-stars for layout and relevancy. Written in 2008, the book is sorely in need of an update after 10 years of a changing antiquities universe. Additionally, it was highly necessary to have my phone with me at all times while reading so that I could look up pieces of art that were referenced throughout. With those two minor complaints, this is a book that truly is worth a read for any lover of museums and antiquities.
Waxman does an excellent job providing facts without necessarily clouding them by her personal opinion. Beginning in Egypt, she details how art moves throughout the modern world, and how provenance creates a moral quandary for museums. The Louvre, Met, and Getty are all given special attention for both their acquisition policies and their compliance (and more commonly, refusal) to allow restitution of pieces back to their countries of origin.
This is a book that will challenge your view of the modern museum. It highlights the moral ambiguity of 'protecting' art that originates from nations of civil unrest, and the ethical dilemma of the return of those objects. It provides viewpoints from museum curators, archaeologists around the world, looters, and both the current owners and original owners of multiple famed pieces. An illuminating read that would easily be a slam dunk with some updating and more reference photos.
Waxman does an excellent job providing facts without necessarily clouding them by her personal opinion. Beginning in Egypt, she details how art moves throughout the modern world, and how provenance creates a moral quandary for museums. The Louvre, Met, and Getty are all given special attention for both their acquisition policies and their compliance (and more commonly, refusal) to allow restitution of pieces back to their countries of origin.
This is a book that will challenge your view of the modern museum. It highlights the moral ambiguity of 'protecting' art that originates from nations of civil unrest, and the ethical dilemma of the return of those objects. It provides viewpoints from museum curators, archaeologists around the world, looters, and both the current owners and original owners of multiple famed pieces. An illuminating read that would easily be a slam dunk with some updating and more reference photos.
August 15, 2024
I borrowed this from my sister like 8+ years ago, and I'm really glad I've finally read it. Let me explain!
I love art history and archeology. I visited Egypt in 2003ish, I studied art history in college, I spent a year in Italy 2007ish, I've been to many of the major Western museums. This book is RIGHT up my alley, but maaan I got so burnt out on academic reading in college. Even years later, my ADHD brain looked at this book and said "you can't tell me what to do" and it consequently took me a looong time to pick this up, even though I KNEW I would like it.
So, it seems like enough time has finally elapsed, and I did, in fact, really enjoy this read. It's really well researched and interesting, full of conversations with the major players of the time (2007ish). Waxman did a lot of traveling, a lot of reading, a lot of networking, and it shows. The writing is accessible, neat, and compelling, and I was never bored.
It made me feel like I could read nonfiction again. Just an all around interesting book.
I love art history and archeology. I visited Egypt in 2003ish, I studied art history in college, I spent a year in Italy 2007ish, I've been to many of the major Western museums. This book is RIGHT up my alley, but maaan I got so burnt out on academic reading in college. Even years later, my ADHD brain looked at this book and said "you can't tell me what to do" and it consequently took me a looong time to pick this up, even though I KNEW I would like it.
So, it seems like enough time has finally elapsed, and I did, in fact, really enjoy this read. It's really well researched and interesting, full of conversations with the major players of the time (2007ish). Waxman did a lot of traveling, a lot of reading, a lot of networking, and it shows. The writing is accessible, neat, and compelling, and I was never bored.
It made me feel like I could read nonfiction again. Just an all around interesting book.
December 29, 2021
Overall I think this book is a great introduction into the topic of repatriation of looted art and antiquities. Waxman covers the biggest known cases in repatriation, Egypt, Turkey, Greece, and Italy, and the museums and private collectors involved with purchasing smuggled artifacts. I did wish that she covered less Western-centric cases, like the Benin Bronzes that she did mention briefly but unfortunately was not part the "hot cases" in early-mid 2000's. One other problem is that this book has some outdated information. For example, after reading about the stolen Hippocampus brooch from the Lydian Hoard, I looked up to see if it was ever found, and it was in 2012! Plus I am sure there are new laws, or investigations into repatriation today, but Waxman's book gives a solid look at the beginnings of repatriation in the art world, and how it is still an ongoing battle.
January 27, 2019
Un libro tremendamente interesante que desgrana como han llegado las piezas más famosas, especialmente de la Antigüedad, a los grandes museos. Con entrevistas completas a todas las partes y que logra indignarte en más de un capítulo.
September 8, 2023
so excellent. so cinematic. i had no idea the looting of antiquities could have me so fired up. please read.
September 18, 2017
I read this book a while ago, but it was probably in my pre Goodreads days. When I started to read it again, it all came back to me. This was a fascinating read given the author's and contributors arguments. Food for thought when visiting museums. Also, looking at the greater good regarding the pilfering of archeological finds in regards to placement in museums. Just a fascinating read.
December 20, 2017
**This review has been adapted from a book review I wrote for my Anthropology and Pop Culture class**
The phrase “All that glitters isn’t gold” could be applied to the museum world. Museum goers only see the “finished product” carefully displayed in a well-lit, climate-controlled setting. The public rarely finds out about the dark underbelly of museums: the looting and illegal sales of antiquities. In Loot, Waxman examines the histories and procurement processes of four of the world’s most prestigious museums: The Metropolitan Museum of Art (New York City), The Getty Museum (Malibu, California), The Louvre (Paris, France), and the British Museum (London, England). As a journalist, Waxman also interviewed people involved in multiple aspects of the antiquities debate: repatriation activists, lawyers, curators, museum directors and staff, archaeologists, smugglers, and legitimate antiquities dealers. Everyone that Waxman interviewed had passionate (and biased) positions regarding the sale and restitution of antiquities. Her numerous interviews revealed that imperialist attitudes are still rampant in the antiquities trade, restitution/repatriation of cultural objects is a controversial subject in the art and archaeology communities, and provenance of objects is related to nationalism and the national identity of source countries.
Egypt, Turkey, and Greece were conquered by various Western empires in the eighteenth and nineteenth centuries and these empires’ “urge to possess” (Waxman 2008:225) ranged from land and resources to a conquered nation’s art and other cultural objects. The armies and agents of these empires experienced no qualms about removing artifacts and shipping them off to England, France, or Germany: “After conquering foreign cultures, Europe brought back home the trophies that it desired along with slaves, spices, treasure, and raw materials” (Waxman 2008:4). These spoils of war were carried off to Europe and filled up the new museums created in Western nations, whose purpose was to glorify the might of empires: “This nationalistic competition by European powers was about getting the biggest, most noticeable stuff” (Waxman 2008:25). Looted art from ancient civilizations was also a status symbol among the European elites; the artifacts not sold to museums were sold to wealthy, private collectors to grace their domiciles (Waxman 2008). The locals were not involved in the excavation and partage processes; for example, “The antiquities authority in Egypt was headed by a Frenchman… The reason for this was simple: Egypt produced no archaeologists of its own. There was a reason for this, too: Egyptians were not allowed to study Egyptology” since the French considered the Egyptians a primitive people incapable of studying and understanding a past civilization (Waxman 2008:57).
Unfortunately, imperialist attitudes are alive and well in the modern museum community. Phillipe de Montebello, director of the Met stated that “people should not so ‘blithely’ accept the idea that cultural objects belong in the countries where they happen to have been dug up” (Waxman 2008:176). And Aggy Lerolle, press attaché for the Louvre told Waxman, “Who would be interested in Greek sculpture if it were all in Greece? These pieces are great because they are in the Louvre” (Waxman 2008:65). [This is just my personal opinion, but if a sculpture was deemed “great enough” to be shipped halfway across a continent to reside a museum, it’s great enough to be placed anywhere. A true art fan can appreciate and respect art from various sources and geographic locations.]
These snobby and elitist quotes are indicative of the Western mindset in the art and antiquities world to restitution demands from source countries such as Greece, Egypt, Turkey, and Italy. These countries want their cultural patrimony returned home to their original environments. Repatriation, or the return of artifacts to their source country, “is usually connected to the idea that a country’s modern cultural identity is tied to objects of its ancient history, that these objects are the tangible symbols of the link between a nation’s past and its present” (Waxman 2008:142). Repatriation activists claim that looted objects are tied to national identity: “As once-colonized nations seek to stand on their own, the countries once denuded of their past seek to assert their independent identities throughout the objects that tie them to it” (Waxman 2008:4). The countries mentioned above have also criticized the use of wealthy donors in the West to supplement museum collections and Western museums’ unwritten procurement philosophy of “don’t ask, don’t tell,” which repatriation activists believe encourages the cycle of looting and illegal selling of antiquities (Waxman 283).
Waxman found during her research, that while repatriation activists have the best intentions regarding their country’s heritage, the reality is far different. Many people in these countries (especially Egypt and Turkey) have low literacy rates with lives that are a daily struggle. For generations, there has been little emphasis or value placed on these “national treasures” which has resulted in extremely low museum attendance numbers, abysmal government funding, staff shortages, outdated or broken security, and limited storage space. “If Egypt has taken too long to claim ownership of its past, and to expend political and financial capital to preserve it, it is partly because Egyptians were actively excluded from the process of discovery and knowledge” (Waxman 2008:58). Western museums criticize Greece, Egypt, and Turkey for focusing on the return of objects looted centuries ago while modern looting remains unchecked, and express concerns about the safety of antiquities in countries that have a history of political and economic instability and horrible environmental pollution.
In contrast, the West has high literacy rates and high value is placed on cultural objects; yearly attendance can number in the millions for well-known, high-traffic museums. Western museums also benefit from access to multiple funding sources (especially from wealthy donors) state-of-the art security systems, organized storage, and paid, knowledgeable staff members. While Western museums are full of treasures from the ancient world, most of these objects lack clear provenance which means they were probably illegally excavated, illegally exported from their source country, and illegally sold to museums. Most Western museums are unconcerned about provenance issues until legal action forces them to revise their procurement and display policies. Western museums also like to highlight the fact that their museums and artifacts are in economically and politically stable regions of the world which brings “an element of safety in dividing the sculptures should something catastrophic happen in one place or another” (Waxman 2008:269 and “saves the monuments from extinction” (Waxman 2008:70).
Italy has experienced both sides of the repatriation debate: “Italy does not fit the postcolonial paradigm of Egypt and Greece. Italy itself was a colonizer, not a country that was colonized” (Waxman 2008: 285). Italy looted its own colonies in the past and is now one of many source countries demanding restitution of cultural objects, believed to be critical to Italian identity, “and yet when plundered countries have asked Italy for objects to be returned to them, Italian officials have been slow to respond, much in the manner of other Western institutions” (Waxman 2008:286). Italy also suffers from funding and preservation issues similar to Greece and Turkey alongside a reputation for rampant corruption within the government.
So, what is the solution to the looting and repatriation in the museum world? Everyone that Waxman interviewed had opinions on fixing the antiquities world as well. While the smugglers, antiquities dealers, and most major museum directors thought nothing wrong of the status quo, Anne Distel, a Frenchwoman that handles the repatriation requests sent to the French national museum system, “envisions a different system where museums would no longer buy works but would exchange them with source countries, under agreements worked out in advance” (Waxman 2008:122). Özgen Acar, a Turkish investigative journalist believes that, “the rich Western countries must help the poorer nations. It is the only way…to protect what is the cultural patrimony of the world” (Waxman 2008:171). Michael Govan, the director of the Los Angeles County Museum of Art, states that the values and mindset of museums themselves need to change; instead of cultural hierarchy, “every culture has its place” and museums need to build around the future of an object instead of its past (Waxman 2008:372).
You can read more of my reviews here: http://thesouthernbookworm.blogspot.com/
The phrase “All that glitters isn’t gold” could be applied to the museum world. Museum goers only see the “finished product” carefully displayed in a well-lit, climate-controlled setting. The public rarely finds out about the dark underbelly of museums: the looting and illegal sales of antiquities. In Loot, Waxman examines the histories and procurement processes of four of the world’s most prestigious museums: The Metropolitan Museum of Art (New York City), The Getty Museum (Malibu, California), The Louvre (Paris, France), and the British Museum (London, England). As a journalist, Waxman also interviewed people involved in multiple aspects of the antiquities debate: repatriation activists, lawyers, curators, museum directors and staff, archaeologists, smugglers, and legitimate antiquities dealers. Everyone that Waxman interviewed had passionate (and biased) positions regarding the sale and restitution of antiquities. Her numerous interviews revealed that imperialist attitudes are still rampant in the antiquities trade, restitution/repatriation of cultural objects is a controversial subject in the art and archaeology communities, and provenance of objects is related to nationalism and the national identity of source countries.
Egypt, Turkey, and Greece were conquered by various Western empires in the eighteenth and nineteenth centuries and these empires’ “urge to possess” (Waxman 2008:225) ranged from land and resources to a conquered nation’s art and other cultural objects. The armies and agents of these empires experienced no qualms about removing artifacts and shipping them off to England, France, or Germany: “After conquering foreign cultures, Europe brought back home the trophies that it desired along with slaves, spices, treasure, and raw materials” (Waxman 2008:4). These spoils of war were carried off to Europe and filled up the new museums created in Western nations, whose purpose was to glorify the might of empires: “This nationalistic competition by European powers was about getting the biggest, most noticeable stuff” (Waxman 2008:25). Looted art from ancient civilizations was also a status symbol among the European elites; the artifacts not sold to museums were sold to wealthy, private collectors to grace their domiciles (Waxman 2008). The locals were not involved in the excavation and partage processes; for example, “The antiquities authority in Egypt was headed by a Frenchman… The reason for this was simple: Egypt produced no archaeologists of its own. There was a reason for this, too: Egyptians were not allowed to study Egyptology” since the French considered the Egyptians a primitive people incapable of studying and understanding a past civilization (Waxman 2008:57).
Unfortunately, imperialist attitudes are alive and well in the modern museum community. Phillipe de Montebello, director of the Met stated that “people should not so ‘blithely’ accept the idea that cultural objects belong in the countries where they happen to have been dug up” (Waxman 2008:176). And Aggy Lerolle, press attaché for the Louvre told Waxman, “Who would be interested in Greek sculpture if it were all in Greece? These pieces are great because they are in the Louvre” (Waxman 2008:65). [This is just my personal opinion, but if a sculpture was deemed “great enough” to be shipped halfway across a continent to reside a museum, it’s great enough to be placed anywhere. A true art fan can appreciate and respect art from various sources and geographic locations.]
These snobby and elitist quotes are indicative of the Western mindset in the art and antiquities world to restitution demands from source countries such as Greece, Egypt, Turkey, and Italy. These countries want their cultural patrimony returned home to their original environments. Repatriation, or the return of artifacts to their source country, “is usually connected to the idea that a country’s modern cultural identity is tied to objects of its ancient history, that these objects are the tangible symbols of the link between a nation’s past and its present” (Waxman 2008:142). Repatriation activists claim that looted objects are tied to national identity: “As once-colonized nations seek to stand on their own, the countries once denuded of their past seek to assert their independent identities throughout the objects that tie them to it” (Waxman 2008:4). The countries mentioned above have also criticized the use of wealthy donors in the West to supplement museum collections and Western museums’ unwritten procurement philosophy of “don’t ask, don’t tell,” which repatriation activists believe encourages the cycle of looting and illegal selling of antiquities (Waxman 283).
Waxman found during her research, that while repatriation activists have the best intentions regarding their country’s heritage, the reality is far different. Many people in these countries (especially Egypt and Turkey) have low literacy rates with lives that are a daily struggle. For generations, there has been little emphasis or value placed on these “national treasures” which has resulted in extremely low museum attendance numbers, abysmal government funding, staff shortages, outdated or broken security, and limited storage space. “If Egypt has taken too long to claim ownership of its past, and to expend political and financial capital to preserve it, it is partly because Egyptians were actively excluded from the process of discovery and knowledge” (Waxman 2008:58). Western museums criticize Greece, Egypt, and Turkey for focusing on the return of objects looted centuries ago while modern looting remains unchecked, and express concerns about the safety of antiquities in countries that have a history of political and economic instability and horrible environmental pollution.
In contrast, the West has high literacy rates and high value is placed on cultural objects; yearly attendance can number in the millions for well-known, high-traffic museums. Western museums also benefit from access to multiple funding sources (especially from wealthy donors) state-of-the art security systems, organized storage, and paid, knowledgeable staff members. While Western museums are full of treasures from the ancient world, most of these objects lack clear provenance which means they were probably illegally excavated, illegally exported from their source country, and illegally sold to museums. Most Western museums are unconcerned about provenance issues until legal action forces them to revise their procurement and display policies. Western museums also like to highlight the fact that their museums and artifacts are in economically and politically stable regions of the world which brings “an element of safety in dividing the sculptures should something catastrophic happen in one place or another” (Waxman 2008:269 and “saves the monuments from extinction” (Waxman 2008:70).
Italy has experienced both sides of the repatriation debate: “Italy does not fit the postcolonial paradigm of Egypt and Greece. Italy itself was a colonizer, not a country that was colonized” (Waxman 2008: 285). Italy looted its own colonies in the past and is now one of many source countries demanding restitution of cultural objects, believed to be critical to Italian identity, “and yet when plundered countries have asked Italy for objects to be returned to them, Italian officials have been slow to respond, much in the manner of other Western institutions” (Waxman 2008:286). Italy also suffers from funding and preservation issues similar to Greece and Turkey alongside a reputation for rampant corruption within the government.
So, what is the solution to the looting and repatriation in the museum world? Everyone that Waxman interviewed had opinions on fixing the antiquities world as well. While the smugglers, antiquities dealers, and most major museum directors thought nothing wrong of the status quo, Anne Distel, a Frenchwoman that handles the repatriation requests sent to the French national museum system, “envisions a different system where museums would no longer buy works but would exchange them with source countries, under agreements worked out in advance” (Waxman 2008:122). Özgen Acar, a Turkish investigative journalist believes that, “the rich Western countries must help the poorer nations. It is the only way…to protect what is the cultural patrimony of the world” (Waxman 2008:171). Michael Govan, the director of the Los Angeles County Museum of Art, states that the values and mindset of museums themselves need to change; instead of cultural hierarchy, “every culture has its place” and museums need to build around the future of an object instead of its past (Waxman 2008:372).
You can read more of my reviews here: http://thesouthernbookworm.blogspot.com/
June 18, 2011
Loot is a quick read, and I mean that as a compliment. Many of us have no doubt spent time in museums all over the country, or all over the world perhaps, and marveled at the treasures to be found there. But most of us probably do not spare much thought for how those things came to be there, this despite the increasing prominence in the popular media, especially newspapers, of various disputes over what artifact is owned by whom, and whom before that - it's provenance in other words, as is explained in detail in this book.
The book focuses mainly on Egyptian and Greek items of antiquity and on collections of a handful of museums worldwide - mainly The Getty Museum in California, the Met in New York, the British Museum in London, Egyptian Museum in Cairo and the Acropolis Museum in Athens. Throughout the book prominent scholars and academics and curators at these museums are introduced and in many cases interviewed, to discuss various issues related to the ownership of various ancient items. If it sounds a bit dry it's only because I'm doing a poor job of summarizing the book.
In my opinion one of the book's strengths is how the author doesn't allow herself to take a position on the various thorny issues she presents. Instead Ms. Waxman presents the facts surrounding various or specific acquisitions by the museums she discusses and includes details gained from museum employees, archeologists, antiquities dealers, and others.
If you watch TV shows relating to ancient artifacts you know who Dr. Zahi Hawass is, and he features prominently in the first part of the book, both in direct interviews and by reputation in his dealings with other people and sites in Egypt. After the first section other people who have been or still are known in the world of antiquities are discussed and/or interviewed. As the book continues, Ms. Waxman presents what I thought was a nuanced discussion of various thorny issues, including the ownership of artifacts and the push to "repatriate" them, and bring them back to the country where they were discovered.
When I chose this book to read the Greek financial crisis was simmering but not yet boiling over and the revolution in Egypt had not yet happened. I found both of these current events interesting because it meant that no matter that most of the items being discussed are thousands of years old and many of the acquisitions being questioned happened decades and in many cases centuries ago, there was a certain up-to-the-moment quality to various parts of the book which left me wondering, for example, what the current status of Dr. Hawass might be, what was happening now at the Acropolis Museum, and so on. My guess is if the book is successful enough in another few years there will be a new edition with a couple of chapters added at the end to address these and other issues that have arisen since Loot was written.
In summary, if you're interested in museums and their collections, you can't go wrong picking this one up. If nothing else every time you find yourself in a museum you'll have a few new questions on your mind and will read the tags more carefully.
The book focuses mainly on Egyptian and Greek items of antiquity and on collections of a handful of museums worldwide - mainly The Getty Museum in California, the Met in New York, the British Museum in London, Egyptian Museum in Cairo and the Acropolis Museum in Athens. Throughout the book prominent scholars and academics and curators at these museums are introduced and in many cases interviewed, to discuss various issues related to the ownership of various ancient items. If it sounds a bit dry it's only because I'm doing a poor job of summarizing the book.
In my opinion one of the book's strengths is how the author doesn't allow herself to take a position on the various thorny issues she presents. Instead Ms. Waxman presents the facts surrounding various or specific acquisitions by the museums she discusses and includes details gained from museum employees, archeologists, antiquities dealers, and others.
If you watch TV shows relating to ancient artifacts you know who Dr. Zahi Hawass is, and he features prominently in the first part of the book, both in direct interviews and by reputation in his dealings with other people and sites in Egypt. After the first section other people who have been or still are known in the world of antiquities are discussed and/or interviewed. As the book continues, Ms. Waxman presents what I thought was a nuanced discussion of various thorny issues, including the ownership of artifacts and the push to "repatriate" them, and bring them back to the country where they were discovered.
When I chose this book to read the Greek financial crisis was simmering but not yet boiling over and the revolution in Egypt had not yet happened. I found both of these current events interesting because it meant that no matter that most of the items being discussed are thousands of years old and many of the acquisitions being questioned happened decades and in many cases centuries ago, there was a certain up-to-the-moment quality to various parts of the book which left me wondering, for example, what the current status of Dr. Hawass might be, what was happening now at the Acropolis Museum, and so on. My guess is if the book is successful enough in another few years there will be a new edition with a couple of chapters added at the end to address these and other issues that have arisen since Loot was written.
In summary, if you're interested in museums and their collections, you can't go wrong picking this one up. If nothing else every time you find yourself in a museum you'll have a few new questions on your mind and will read the tags more carefully.
April 8, 2011
After reading this excellent overview of the the problem of ownership of historical artifacts, the problem seems less clear cut to me, more nuanced It raises a lot of questions that I had never thought of. Since I leaned towards the restitution argument, it was good to get a glimpse of both sides from a very good writer. For example, what does "cultural heritage" mean? Turkey is a perfect example--Waxman writes, "Who are the Turks' ancestors? To what and whom are they the heirs? Are they the descendants of the Lydians, Trojans, Hittites, and Mycenaeans? Of are they merely custodians of the remains of these ancient civilizations who happened to inhabit this piece of land before they did?" (141). Then, there is the problem of protecting the artifacts. This was brought vividly to light when Turkey won restitution of objects, the most important of which was then stolen not long after, and most probably by the curator of the museum that held it. Should artifacts be taken from large, well-funded, much visited institutions--open to the public--and returned to countries with often poorly secured, poorly budgeted institutions many of which get few visitors? As Waxman says at one point, perhaps they should be returned, but not yet? Another question is whether the ownership of objects that were legally acquired in the past--but by means which we see as unethical today--should be judged by today's standards or the standards at the time of their acquisition.
While scathing about the past and present pillaging by self-entitled collectors and smugglers--Waxman shows that the arguments for restitution are not always so clear cut. But the first order of business is honesty--she makes that clear. She criticizes American and European institutions for failing to reveal to the public the source of the artifacts they own and display. Doing so would be the first step in honest public debate about ownership.
While scathing about the past and present pillaging by self-entitled collectors and smugglers--Waxman shows that the arguments for restitution are not always so clear cut. But the first order of business is honesty--she makes that clear. She criticizes American and European institutions for failing to reveal to the public the source of the artifacts they own and display. Doing so would be the first step in honest public debate about ownership.
July 18, 2011
If you asked me a few months ago if the treasures of the ancient world should be given back to their respective countries from the museums of the west I would have with my whole heart said yes. However as this book points out the issue is not as simple as that. The true ownership of some of the treasures has become murky through time. Do they just belong to their country of origin or to the whole of humanity? If you are of the camp that they belong to everyone then they are certainly safest in the museums of the west. I was shocked to learn that the average Egyptian has little regard for the artifacts of the ancient world. The picture of people lounging on ancient statues in the courtyard of the Cairo museum was hard for me to believe. Of course I grew up visiting museums where they don't even allow you to take a picture of their fairly modern items, let alone touch anything. Zahi Hawass has been spearheading Egypts attempts to get it's treasures back. It seems like he was making headway too, I read online that the Met agreed to give back 19 items from it's collection in exchange for the King Tut exhibit now in Time Square. Of course as we all know Egypt has been having some problems of late. As of March 5, Hawass has quit his post because of the wide spread looting of the Cairo museum as well as other dig sites throughout Egypt. What if the museums of the world had given back the Rosetta Stone and the bust of Nefertiti. Would they even be safe in Egypt right now? This book will make you think and rethink your position. I found this book fascinating. As an avid museum goer it put collections in museums in whole new light for me.
May 23, 2014
Loot: The Battles over the Stolen Treasures of the Ancient World by Sharon Waxman is a really amazing book that discusses the illicit antiquities trade and the question of repatriation of artifacts by museums and private collectors to their home countries. It really is a great book that covers several different perspectives and, in my opinion, is one of the more balanced out there. There is testimony from people on all sides of the issue and, while Waxman herself errs on the side of repatriation as a good thing, she covers some great arguments of for and against.
It was published in 2008 so it hasn't covered more recent legal issues facing these topics, but the history of the issue (from 19th century looting to the more recent scandals at the Getty) that Waxman covers are still very much relevant to the discussion.
If you’re interested in museums, museum & collection ethics, art history, the 19th and 20th century art worlds, the politics of the art world, art crime, social justice, etc. then I would highly recommend this book!
It was published in 2008 so it hasn't covered more recent legal issues facing these topics, but the history of the issue (from 19th century looting to the more recent scandals at the Getty) that Waxman covers are still very much relevant to the discussion.
If you’re interested in museums, museum & collection ethics, art history, the 19th and 20th century art worlds, the politics of the art world, art crime, social justice, etc. then I would highly recommend this book!
February 4, 2017
Tarihi eserler yerinde mi sergilenmeli yoksa calindiklarini Bati ulkelerinin muzelerinde mi? Berlin'deki Bergama muzesini gordugumde soka girmistim guzelligi karsisinda ama Bergama'da orjinal yerinde olsa bu kadar carpici olur muydu? Kac kisi o kadar yuksege cikar ve onlari gorurdu emin degilim.
Yine de tarihi eser kacakciligini hos gostermek mumkun degil, bu kitapta bir suru ornek var. cozum yok simdilik ama bir yandan da Palmira'nin basina gelenleri dusununce dunyanin mirasinin da mutlaka korunmasi gerektigini dusunuyorum.
Yine de tarihi eser kacakciligini hos gostermek mumkun degil, bu kitapta bir suru ornek var. cozum yok simdilik ama bir yandan da Palmira'nin basina gelenleri dusununce dunyanin mirasinin da mutlaka korunmasi gerektigini dusunuyorum.
September 22, 2021
This was a fascinating read. Very well narrated and engaging. I felt the debate actually come alive not just in historical context, but moral and ethical concerns, I felt were well handled. One of the main concepts I thought about, is it responsible to repatriate artifacts to countries that lack the resources to safeguard them. All in all, this very enjoyable book, and I look forward to an accompanying documentary.
May 20, 2014
Fantastic book! The controversy surrounding the acquisition of ancient artifacts is complex, yet Waxman deftly navigates through different view points. I was expecting the book to be interesting but a tad dry. I'm glad to say I was surprised with Waxman's writing style; it has some sort of a narrative quality to it, making it a very enjoyable read. I hope Waxman is able to publish an updated edition in the near future!
April 21, 2015
Read my review on my book review blog!
January 21, 2020
A thorough and comprehensive overview of the world of antiquities — and the seedy underbelly comprised of looting, demands for restitution, greed, and the occasional ruined life in the name of political expediency. The author does a decent job of presenting multiple points of view fairly, only occasionally throwing in her own opinions.
She focuses on four source countries — Egypt, Turkey, Greece, and Italy — each demanding the repatriation of important antiquities currently housed in a Western museum. As an example, Egypt insists the British Museum return the Rosetta Stone — discovered by Napoleon’s troops in 1799 and forfeited to the British upon his loss in 1802. She also presents the story behind the four major museum targets of repatriation claims: The Louvre, the Met, the British Museum and the Getty.
There is much complexity in the stories. Many of the targeted items came to the museums over 200 years ago. Some were rescued from locals who were extracting building materials, others willingly donated by the head of the country at the time, some the spoils of war and conquest, and others a share of goods under the system of Partage that splits finds between source countries and foreign funded excavations. And others, of course, looted and sold to the highest bidder willing to look the other way when faced with questionable provenance.
The book takes us through a muddle of rationales, explanations, and hidden agendas. Some museum directors and curators point out the lack of facilities in many source countries to maintain and protect such treasures, that the local museums are not secure and ill attended, and that politics and media threats have played a large role in pushing museums to give up expensive works that were gained legally. They also point out that this type of nasty legal attacks will only push artifacts underground — away from the public and into private collections where it is much harder to identify and pursue looted objects. They also point out that while foreign governments are demanding big ticket items back — claiming they were looted — they are doing little to clamp down on modern-day smugglers, preferring to go after the deep pockets and easier targets of large, public institutions.
Read the book to find out more about the arguments from the source countries — after reading the whole thing I come down pretty squarely on the side of the museums. While there are some cases of fraud and obvious theft, for the most part I feel museums come by their artifacts as honestly as they can, given the contexts of the time, and I feel like the source countries are pursuing these objects more for political capital than anything else. I’d be interested in other points of view!
She focuses on four source countries — Egypt, Turkey, Greece, and Italy — each demanding the repatriation of important antiquities currently housed in a Western museum. As an example, Egypt insists the British Museum return the Rosetta Stone — discovered by Napoleon’s troops in 1799 and forfeited to the British upon his loss in 1802. She also presents the story behind the four major museum targets of repatriation claims: The Louvre, the Met, the British Museum and the Getty.
There is much complexity in the stories. Many of the targeted items came to the museums over 200 years ago. Some were rescued from locals who were extracting building materials, others willingly donated by the head of the country at the time, some the spoils of war and conquest, and others a share of goods under the system of Partage that splits finds between source countries and foreign funded excavations. And others, of course, looted and sold to the highest bidder willing to look the other way when faced with questionable provenance.
The book takes us through a muddle of rationales, explanations, and hidden agendas. Some museum directors and curators point out the lack of facilities in many source countries to maintain and protect such treasures, that the local museums are not secure and ill attended, and that politics and media threats have played a large role in pushing museums to give up expensive works that were gained legally. They also point out that this type of nasty legal attacks will only push artifacts underground — away from the public and into private collections where it is much harder to identify and pursue looted objects. They also point out that while foreign governments are demanding big ticket items back — claiming they were looted — they are doing little to clamp down on modern-day smugglers, preferring to go after the deep pockets and easier targets of large, public institutions.
Read the book to find out more about the arguments from the source countries — after reading the whole thing I come down pretty squarely on the side of the museums. While there are some cases of fraud and obvious theft, for the most part I feel museums come by their artifacts as honestly as they can, given the contexts of the time, and I feel like the source countries are pursuing these objects more for political capital than anything else. I’d be interested in other points of view!
January 28, 2024
Both analytical and emotionally insightful, Loot examines the question of whether ancient art and artifacts should be repatriated to their home nations or remain in the European and American museum which purchased the stolen goods. Specific cases and items are analyzed. A number of dealers in stolen artifacts are interviewed, and their rationalization of the legality of their activities is interesting, and sometimes proven wrong with dramatic results.
The zodiac ceiling from the Temple of Hathor in Egypt, for example, was dynamited out and brought to the Louvre. This seems like a clear cut case of stealing a national treasure. However, the Louvre refuses to return it, saying that the Egyptians can’t properly show it or care for it. They accuse Egypt of being nationalistic, but are both nationalistic and imperialistic in their refusal.
The Elgin Marbles were similarly blasted from the Parthenon, and Greece has asked that the British Museum return them. But Britain will not, giving the excuse that more people will see them in London, and that Greece cannot protect these carvings from the elements. This despite a large, new, climate-controlled, secure and somewhat controversial museum recently built to house antiquities.
In contrast, the Getty Museum returned 40 artifacts that appeared to be smuggled from Greece. These were favorite showpieces of patrons and employees, and degraded the collection available for public viewing for a time. It remains to be seen how the public will respond, but new Getty Museum management is dedicated to collecting and showing only legally obtained art. They have also paved the way for international loaning of ancient artwork from its native countries.
Author Waxman looks at all sides of the issue, looking at each case individually. Rather than judging, she allows the dealers in stolen goods to incriminate themselves, often by over-explaining or being too vague about the legitimacy of their business. She provides photos of artworks, museum staff, and traders.
Recommended for those interested in ancient art, and the current controversy about ownership. Very readable, with technical and personal elements interspersed.
The zodiac ceiling from the Temple of Hathor in Egypt, for example, was dynamited out and brought to the Louvre. This seems like a clear cut case of stealing a national treasure. However, the Louvre refuses to return it, saying that the Egyptians can’t properly show it or care for it. They accuse Egypt of being nationalistic, but are both nationalistic and imperialistic in their refusal.
The Elgin Marbles were similarly blasted from the Parthenon, and Greece has asked that the British Museum return them. But Britain will not, giving the excuse that more people will see them in London, and that Greece cannot protect these carvings from the elements. This despite a large, new, climate-controlled, secure and somewhat controversial museum recently built to house antiquities.
In contrast, the Getty Museum returned 40 artifacts that appeared to be smuggled from Greece. These were favorite showpieces of patrons and employees, and degraded the collection available for public viewing for a time. It remains to be seen how the public will respond, but new Getty Museum management is dedicated to collecting and showing only legally obtained art. They have also paved the way for international loaning of ancient artwork from its native countries.
Author Waxman looks at all sides of the issue, looking at each case individually. Rather than judging, she allows the dealers in stolen goods to incriminate themselves, often by over-explaining or being too vague about the legitimacy of their business. She provides photos of artworks, museum staff, and traders.
Recommended for those interested in ancient art, and the current controversy about ownership. Very readable, with technical and personal elements interspersed.
2023
July 22, 2023Una verdadera reflexión para el mundo del arte.
En "Saqueo. El arte de robar arte", en verdad te cuestionas y es imposible tomar una postura correcta o factible pues todos en algún momento han extraído cosas sin permiso y después, puestas a la vista del mundo.
Aborda temas como el derecho del país mancillado, su contexto al momento de la extracción, su trayecto en los años así como posibles escenarios de cada pieza dadas las características que atravesaron y del mismo modo, al enfocarse puntualmente en las colecciones formadas por grandes y renombrados museos (bajo el cobijo de grandes mecenas que también buscan restituir o conservar según su ideología), es como uno mismo se cuestiona el proceder, pues todos tenemos piezas de todos y mientras existan divisiones políticas habrán estas discusiones.
Adicionalmente, se presentan las posturas de los museos y las sociedades que los patrocinan, siendo verdad que en alguna forma, los países se pueden beneficiar del movimiento de algunas piezas pero, ¿a qué costo? ¿es real que las sociedades aprovechan el conocimiento almacenado en museos? ¿qué hay de las colecciones privadas?
Una verdadera reflexión para el mundo del coleccionismo y educativo y su impacto en nuestras vidad.
En "Saqueo. El arte de robar arte", en verdad te cuestionas y es imposible tomar una postura correcta o factible pues todos en algún momento han extraído cosas sin permiso y después, puestas a la vista del mundo.
Aborda temas como el derecho del país mancillado, su contexto al momento de la extracción, su trayecto en los años así como posibles escenarios de cada pieza dadas las características que atravesaron y del mismo modo, al enfocarse puntualmente en las colecciones formadas por grandes y renombrados museos (bajo el cobijo de grandes mecenas que también buscan restituir o conservar según su ideología), es como uno mismo se cuestiona el proceder, pues todos tenemos piezas de todos y mientras existan divisiones políticas habrán estas discusiones.
Adicionalmente, se presentan las posturas de los museos y las sociedades que los patrocinan, siendo verdad que en alguna forma, los países se pueden beneficiar del movimiento de algunas piezas pero, ¿a qué costo? ¿es real que las sociedades aprovechan el conocimiento almacenado en museos? ¿qué hay de las colecciones privadas?
Una verdadera reflexión para el mundo del coleccionismo y educativo y su impacto en nuestras vidad.
February 28, 2019
Un libro muy necesario en estos tiempo, sobre las peticiones de restituciones de objetos de museos por parte de gobiernos u organizaciones. Es un libro muy interesante, que muestra casos en el Louvre, el British Museum, el Getty y el MET (entre otros) con las políticas que han tenido cada uno de ellos sobre el tema. Lo bueno es que ve las dos caras de la moneda y no se abanderiza ni por la devolución total de objetos ni tampoco porque los museos se queden con todas sus colecciones. Va caso a caso y con argumentos sólidos para cada uno de ellos. Me encanta como va mostrando la corrupción, juegos de poder, sentimientos nacionalistas versus religión y propaganda en un baile que mueve millones de dólares y que no tiene para cuándo terminar.
September 7, 2022
3.5 stars — this is an excellent introduction to the complexities of antiquities within and without the museum world. That said, I found it somewhat lacking in real nuance—as a historian, there are elements of these discussions that are not so cut and dry as presented in this book, moreover, the author doesn’t approach the topic as a historian (I grant she’s a journalist so a historian’s perspective is a bit much to hope for). In any case, this book is old—not terribly so, but enough that there have been major changes in antiquities restitution since it’s publication. As an intro to the topic, it’s good. As a detailed account of things, it’s rather lacking—I found myself saying “well… yes … but… it’s a little more complicated than that,” more often than I’d have liked to.
March 2, 2020
A fascinating read that will send you to take virtual tours of the museums you haven't seen yet.
As far as looting goes, I'm still holding with my original ideas about a jubilee solution. I also think the Met could go a long way with orchestrating the unification of Artemis's head and body in neutral territory. If they are going to split the Elgin Mables for safety's sake, unite what you can so each party has a full set.
Personally, I went to the Getty for school field trips a handful of times during the time of the fall of Marion True and remember none of it. But a reference to True and a forged statue is setting off bells of another book I read - possibly Malcolm Gladwell?
As far as looting goes, I'm still holding with my original ideas about a jubilee solution. I also think the Met could go a long way with orchestrating the unification of Artemis's head and body in neutral territory. If they are going to split the Elgin Mables for safety's sake, unite what you can so each party has a full set.
Personally, I went to the Getty for school field trips a handful of times during the time of the fall of Marion True and remember none of it. But a reference to True and a forged statue is setting off bells of another book I read - possibly Malcolm Gladwell?
March 4, 2022
I was disappointed that this book didn't discuss much on looted items from the Americas, but I do understand that the author's expertise is in ancient Mediterranean artifacts.
I started the book thinking that ancient artifacts should be returned to the region/country of origin. That didn't change. I did learn a lot about how museums collect things and how vulnerable those collections are. I found the story of Marion True to be very interesting. In the end, long after the book was published, all charges against Ms. True were dropped, and as noted in the book, I wonder if she was scapegoated.
I started the book thinking that ancient artifacts should be returned to the region/country of origin. That didn't change. I did learn a lot about how museums collect things and how vulnerable those collections are. I found the story of Marion True to be very interesting. In the end, long after the book was published, all charges against Ms. True were dropped, and as noted in the book, I wonder if she was scapegoated.
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