Your search for: berenson AND art AND research

This is the only book by a criminologist to look at the full range of crime involving works of art: forgery, fraud, theft, smuggling, and vandalism. It is up to date, drawing on much material from the "boom years" of the art market in the 1980s and continuing up through the 1990s, and assimilating ...

This is the only book by a criminologist to look at the full range of crime involving works of art: forgery, fraud, theft, smuggling, and vandalism. It is up to date, drawing on much material from the "boom years" of the art market in the 1980s and continuing up through the 1990s, and assimilating information from a variety of sources: art magazines, newspaper accounts, and the relatively small amount of scholarship on art crime by art historians and criminologists. In addition to considering the motives of thieves, the book looks at the way art theft is socially organized: the types of thefts that are committed, the ways thieves locate art to steal and how they gain access to it, their use of insiders and fronts, and the way they launder stolen art. The relationship between art theft and organized crime, especially drug traffickers, is investigated. After looking at explanations of art vandalism and the way vandals explain their behavior, the book concludes with a consideration of policies tocurb art crime. The entire book is written in a highly entertaining way, packed with case studies of numerous crimes and stories of smuggling, grave-robbing, and skullduggery, that will appeal to a general audience as well as professionals and academics in criminology, sociology, and art history.

"A vital addition to the literature on art of the later twentieth century, in which Roy Ascott has played central roles as a major pioneer of interactive, telematic art and as an innovative educator. Ascott's visionary philosophy, grounded in science and technology as well as metaphysical thought ...

"A vital addition to the literature on art of the later twentieth century, in which Roy Ascott has played central roles as a major pioneer of interactive, telematic art and as an innovative educator. Ascott's visionary philosophy, grounded in science and technology as well as metaphysical thought, has profound implications for the digital era. Edward Shanken is the ideal guide through this material, and his lucid and insightful introductory essay will become the standard source on Ascott's work and the larger history of telematic art."--Linda Dalrymple Henderson, David Bruton, Jr., Centennial Professor in Art History and Distinguished Teaching Professor, University of Texas, Austin

"Roy Ascott has unerringly been a step ahead of the cultural shifts of his times. If cybernetics, interactivity, network culture, and telematics have an artistic edge today, it is because Ascott has been there first. This collection, edited and with a brilliant introduction by Edward Shanken, charts the evolution of Ascott's ideas, pedagogy, and artmaking, which continue to be a potent source of ideas for the future of art."--Roger Malina, Executive Editor of "Leonardo

"An admirable survey of the telematic arts and of Roy Ascott's extraordinary contributions to this art form. Thoroughly researched, this readable text is a valuable resource for initiating students into the realm of contemporary electronic arts and sciences by bridging the gap between the visual and media arts."--Peter d'Agostino, Professor of Film and Media Arts and Director of the NewTechLab, Temple University

"Roy Ascott is a leading artist and writer in the field of art and technology, and a collection of his writings is long overdue.Edward Shanken's introduction addresses many issues relevant to contemporary culture, elucidating historical, social, and theoretical aspects of Ascott's work."--Eduardo Kac, Associate Professor of Art and Technology, Schoo

Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano's The Lost Museum and Lynn Nicholas's The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women ...

Nazi art looting has been the subject of enormous international attention in recent years, and the topic of two history bestsellers, Hector Feliciano's The Lost Museum and Lynn Nicholas's The Rape of Europa. But such books leave us wondering: What made thoughtful, educated, artistic men and women decide to put their talents in the service of a brutal and inhuman regime? This question is the starting point for The Faustian Bargain, Jonathan Petropoulos's study of the key figures in the art world of Nazi Germany. Petropoulos follows the careers of these prominent individuals who like Faust, that German archetype, chose to pursue artistic ends through collaboration with diabolical forces. Readers meet Ernst Buchner, the distinguished museum director and expert on Old Master paintings who "repatriated" the Van Eyck brother's Ghent altarpiece to Germany, and Karl Haberstock, an art dealer who filled German museums with works bought virtually at gunpoint from Jewish collectors. Robert Scholz, the leading art critic in the Third Reich, became an officer in the chief art looting unit in France and Kajetan Muhlmann--a leading art historian--was probably the single most prolific art plunderer in the war (and arguably in history). Finally, there is Arno Breker, a gifted artist who exchanged his modernist style for monumental realism and became Hitler's favorite sculptor. If it is striking that these educated men became part of the Nazi machine, it is more remarkable that most of them rehabilitated their careers and lived comfortably after the war. Petropoulos has discovered a network of these rehabilitated experts that flourished in the postwar period, and he argues that this is a key to the tens of thousands of looted artworks that are still "missing" today. Based on previously unreleased information and recently declassified documents, The Faustian Bargain is a gripping read about the art world during this period, and a fascinating examination of the intense relationship between culture and politics in the Third Reich.