scholarly journals Repatriation of Cultural Property–Who Owns the Past? An Introduction to Approaches and to Selected Statutory Instruments

2010 ◽  
Vol 38 (2) ◽  
pp. 185-200 ◽  
Author(s):  
Carol A. Roehrenbeck
Keyword(s):  
New York ◽  
New York City ◽  
Los Angeles ◽  
Cultural Property ◽  
Metropolitan Museum ◽  
Public Television ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
The Past ◽  
The Press

Should cultural property taken by a stronger power or nation remain with that country or should it be returned to the place where it was created? Since the 1990s this question has received growing attention from the press, the public and the international legal community. For example, prestigious institutions such as the J. Paul Getty Museum of Art in Los Angeles and the Metropolitan Museum of Art in New York have agreed to return looted or stolen artwork or antiquities. British smuggler Jonathan Tokeley-Parry was convicted and served three years in prison for his role in removing as many as 2,000 antiquities from Egypt. Getty director Marion True defended herself against charges that she knowingly bought antiquities that had been illegally excavated from Italy and Greece. New books on the issue of repatriation of art and antiquities have captured the attention of the public. A documentary based on one of these books was shown in theaters and aired on public television. The first international academic symposium on the topic was convened in New York City in January 1995.

Theorizing Palimpsests

2021 ◽  
Vol 11 (2) ◽  
pp. 193-208
Author(s):  
Aslı Iğsız
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Metropolitan Museum ◽  
Metropolitan Museum Of Art ◽  
The Past ◽  
Structural Problems ◽  
Structural Nature ◽  
History Of ◽  
The Many

Abstract How do we connect the past with the present to address structural problems? While the pursuit of a cause-and-effect past flowing into the present contributes to the understanding of an event or object, how that past is recalled, represented, related, disconnected, suppressed, and/or obfuscated in any given present matters. This article proposes palimpsests as a critical tool for analyzing the many histories of the present. To illustrate this theoretical practice, the article offers a palimpsestic reading of a museumized object, the Nubian Temple of Dendur, now at the Metropolitan Museum of Art in New York City. The structural nature of a history of the present comes into view only when one is able to discern multiple histories, presents, categories, and objects layered together within the palimpsest of history.

Reframing Islamic Art for the 21st Century

2017 ◽  
Vol 2 (2) ◽  
Author(s):  
Carol Bier
Keyword(s):  
New York ◽  
Los Angeles ◽  
South Asia ◽  
Central Asia ◽  
21St Century ◽  
Metropolitan Museum ◽  
Islamic Art ◽  
Kuala Lumpur ◽  
New Developments ◽  
Metropolitan Museum Of Art

<p>The celebrated Islamic galleries at The Metropolitan Museum of Art in New York reopened in 2011 as “Galleries for the Art of Arab Lands, Turkey, Iran, Central Asia, and Later South Asia.” Other major collections of Islamic art have been reorganized and reinstalled in Berlin, Cairo, Cleveland, Copenhagen, Detroit, Kuwait, London, Los Angeles, Paris, and Singapore, and new museums of Islamic art have been established in Doha, Qatar; Honolulu, Hawaii; Kuala Lumpur, Malaysia, and Sharjah, U.A.E. In addition, the first museum in North America dedicated to Islamic art recently opened in Toronto, Ontario, Canada. This article explores this global phenomenon, identifying it as both a literal and conceptual “reframing of Islamic art for the 21st century,” setting the world stage for new developments in cultural understanding.</p><p><em><strong>Keywords:</strong></em> Islamic art, Metropolitan Museum of Art, “Art of Arab Lands, Turkey, Iran, Central Asia, and Later South Asia”</p>

United States v. Pre-Columbian Artifacts and the Republic of Guatemala: Expansion of National Stolen Property Act in its Application to Illegally Exported Cultural Property

1996 ◽  
Vol 5 (1) ◽  
pp. 185-191
Author(s):  
Jason Eyster
Keyword(s):  
United States ◽  
Cultural Property ◽  
Metropolitan Museum ◽  
Metropolitan Museum Of Art ◽  
The Past ◽  
Sensitive Issue ◽  
The Republic ◽  
Export Restriction

One of the major issues confronting U. S. courts in international cultural property cases is the significance of foreign export restriction violations. This is a particularly sensitive issue for museums in art purchasing nations since aggressive support of the view that export restriction violation is theft could result in the return of much of a museum's collection. In fact, Thomas Hoving, past director of New York's Metropolitan Museum of Art stated, “almost every antiquity that has arrived in America in the past ten to twenty years has broken the laws of the country from which it came.”

The Big Jump

2021 ◽  
pp. 207-216
Author(s):  
Ann L. Buttenwieser
Keyword(s):  
New York ◽  
New York City ◽  
York City ◽  
Storm Water ◽  
State Development ◽  
The Public ◽  
The Press ◽  
Development Corporation ◽  
Press Office

This chapter recounts how the Empire State Development Corporation (ESDC) press office suggested to orchestrate a symbolic jump into the floating pool for the cameras to record. It describes the Floating Pool Lady's many guises, such as an architect's model, as the C500 barge, and as a floating pool in formation. It also explores how the author experienced the Floating Pool Lady in person through her arrival in New York City with storm water from the Atlantic sloshing around in her pool or her trip from Brooklyn piers 2–3 to her summer home between piers 4 and 5. The chapter mentions Lyn Parker, who had decided to introduce the author as the human Floating Pool Lady, making her shed tears of joy as dozens of happy, wet faces turned toward her and said “Thank you!” It points out how the author continued to make visits to the floating pool at odd hours to meet the press and to see her creation in action as it served the public.

scholarly journals Instagram as Digital Communication Tool for the Museums: a Reflection on Prospectives and Opportunities through the Analysis of the Profiles of Louvre Museum and Metropolitan Museum of New York

2019 ◽  
Vol 6 (3) ◽  
pp. 53
Author(s):  
Michela Zingone
Keyword(s):  
New York ◽  
Daily Activity ◽  
Communication Channel ◽  
Digital Communication ◽  
Metropolitan Museum ◽  
Communication Tool ◽  
Communication Plan ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
Louvre Museum

Launched in October 2010, Instagram is nowadays one of the most used social networks. According to the latest data released by the platform in 2018, in fact, the number of active users exceeded one million. From the public to the private sector, several actors have integrated Instagram into their communication plan. Among them, there are also the museum institutions. The object of this article is to look at what types of contents museums usually share and to understand how they are using this innovative communication channel based essentially on images to document, communicate their daily activity, their identity, and get in touch with users. Through the method of the content analysis, we propose a qualitative analysis of the posts published in a period of 30 days on the official profiles of the Louvre Museum in Paris and the Metropolitan Museum of Art in New York.

Conclusion

2020 ◽  
pp. 181-196
Author(s):  
Amy Feinstein
Keyword(s):  
New York ◽  
New York City ◽  
Jewish Identity ◽  
York City ◽  
Popular Media ◽  
Metropolitan Museum ◽  
Popular Press ◽  
Avant Garde ◽  
Metropolitan Museum Of Art ◽  
Head Of State

The conclusion explores the ways that Stein’s identity as a Jewish and modernist writer was a potent symbol of collaboration and resistance in Vichy France and today. The chapter addresses and historicizes concerns over Stein’s Jewish identity and alleged Nazi-collaboration as raised by Alan Dershowitz and others in the popular press in 2012, when the Metropolitan Museum of Art in New York City opened the exhibition, “The Steins Collect: Matisse, Picasso, and the Parisian Avant-Garde.” Although Stein had translated the speeches of Pétain, Vichy’s head of state, her translations were never published and the origins and conclusion of the project remain unknown. In any case, the translation project must be considered alongside Stein’s numerous contributions to publications of the intellectual resistance. Popular claims of Stein’s Nazi collaboration are largely unsubstantiated, historically obtuse, and prone to reading Stein out-of-context, such as a widely-cited passage about being “conservative” in her 1939 memoir Paris France. In their determination to know about Stein’s wartime experiences and writings, the popular media have, nonetheless, affirmed the importance of Jewish identity and modernist style to Stein’s legacy as a writer. This book affirms that too.

scholarly journals Exhibition Review Essay and Reviews

Museum Worlds ◽  
2019 ◽  
Vol 7 (1) ◽  
pp. 238-261
Author(s):  
Emily Stokes-Rees ◽  
Blaire M. Moskowitz ◽  
Moira Sun ◽  
Jordan Wilson
Keyword(s):  
New York ◽  
New York City ◽  
Hong Kong ◽  
Review Essay ◽  
York City ◽  
Metropolitan Museum ◽  
Digital Evolution ◽  
Franz Boas ◽  
Metropolitan Museum Of Art ◽  
Shanghai Museum

Exhibition Review Essay:Exhibition without Boundaries. teamLab Borderless and the Digital Evolution of Gallery Space by Emily Stokes-Rees Exhibition Reviews:The Colmar Treasure: A Medieval Jewish Legacy. The Met Cloisters, The Metropolitan Museum of Art, New York by Blaire M. MoskowitzShanghai Museum of Glass, Shanghai; Suzhou Museum, Suzhou; and PMQ, Hong Kong by Moira SunThe Story Box: Franz Boas, George Hunt and the Making of Anthropology. Exhibition at the Bard Graduate Center Gallery in New York City (14 February–7 July 2019) and the U’mista Cultural Centre in Alert Bay, British Columbia (20 July–24 October 2019) by Jordan Wilson

Totem symbols in decorative traditions of the peoples of pre-Columbian America: conflict or harmony?

2020 ◽  
pp. 1-12
Author(s):  
Boris Vasilievich Kabylinskii
Keyword(s):  
New York ◽  
Natural History ◽  
Mexico City ◽  
National Museum ◽  
Metropolitan Museum ◽  
The Public ◽  
Metropolitan Museum Of Art ◽  
Art Objects ◽  
Fundamental Research ◽  
The Subject

The object of this research is a totem symbol in decorative tradition of the peoples of pre-Columbian America. The subject of this research is the images of jaguar in the art of the Aztecs of Mesoamerica. The images of a human and jaguar are captured on the metal, stone and clay artifacts of pre-Columbian civilizations that are available to the public in Mexico City National Museum of Anthropology, Peruvian Museum of the Nation in Lima, Metropolitan Museum of Art in New York, and Smithsonian National Museum of Natural History in Washington, D. C. The research methodology is based on compilation of the results of fundamental research of the leading scholars of North American School of Anthropology. The article conduct a general systematization and brief analytics of scientific records on the specificity of Mesoamerican decorative tradition of totem symbols throughout an extensive period of time: 1500 BC &ndash; 400 AD (Olmec Civilization), III century BC &ndash; VII century AD (Teotihuacan Civilization), 900 BC &ndash; 200 AD (Chav&iacute;n Civilization), 750 BC &ndash; 100 AD (Paracas Civilization), 2300 &ndash; 1200 BC (Kotosh Civilization), 1250 &ndash; 1470 AD (Chim&uacute; Civilization). The presented materials substantiate the thesis that jaguar as a totem symbol carried out the functions of unification and identification of ethnoses of Mesoamerica, reflecting relevant sociocultural trends at various stages of anthropogenesis. The novelty of this work consists in scientific systematization of the facts that the nuances of fusion of the images of human and jaguar in art objects of Aztec culture reflect a harmonious or turbulent frame of mind in pre-Columbian era.

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