Protecting Cultural Objects In The Global Information Society

"Object ID is an international standard for describing art, antiques, and antiquities" (p.7) developed to aid the combat against the illicit trade in cultural objects and to return stolen objects to their owners.

The illicit trade in art and other cultural objects now constitutes one of the most prevalent categories of international crime. Law-enforcement agencies have long recognized that documentation is critical to the protection and recovery of these objects. Standards were needed that would make it possible for information on stolen objects to move easily across electronic networks and, at the same time, that would be intelligible to law enforcement and art communities alike. Developed through the collaboration of museums, police and customs agencies, the art trade, the insurance industry, and appraisers of art and antiques, Object ID is an international standard that defines the minimal information needed to identify art, antiques, and antiquities. Introduction to Object ID summarizes the evolution of Object ID, explains its nine categories, and offers guidelines for using them. The book provides suggestions for writing descriptions of objects and includes a brief discussion of five additional categories that some institutions opt to employ. The second part of the book sets out guidelines for choosing viewpoints, selecting backgrounds, and positioning lighting when documenting cultural objects with photography. The Introduction to series acquaints professionals and students with the complex issues and technologies in the production, management, and dissemination of cultural heritage information resources.

This publication presents three internationally agreed standards for the documentation of the cultural heritage: the Core Data Index to Historic Buildings and Monuments of the Architectural Heritage, the International Core Data Standard for Archaeological Sites and Monuments, and the core data standard for identifying cultural objects—Object ID. The standards have been brought together in a single publication to provide a readily accessible guide for use by those responsible for documenting the archaeological, architectural, and movable heritage.

This invaluable book, for the first time, brings together the international and European Union legal framework on cultural property law and the restitution of cultural property. Drawing on the author's extensive experience of international disputes, it provides a very comprehensive and useful commentary. Theories of cultural nationalism and cultural internationalism and their founding principles are explored. Irini Stamatoudi also draws on soft law sources, ethics, morality, public feeling and the role of international organisations to create a complete picture of the principles and trends emerging today.

Building an Emergency Plan provides a step-by-step guide that a cultural institution can follow to develop its own emergency preparedness and response strategy. This workbook is divided into three parts that address the three groups generally responsible for developing and implementing emergency procedures—institution directors, emergency preparedness managers, and departmental team leaders—and discuss the role each should play in devising and maintaining an effective emergency plan. Several chapters detail the practical aspects of communication, training, and forming teams to handle the safety of staff and visitors, collections, buildings, and records. Emergencies covered include natural events such as earthquakes or floods, as well as human-caused emergencies, such as fires that occur during renovation. Examples from the Barbados Museum and Historical Society, the Museo de Arte Popular Americano in Chile, the Mystic Seaport Museum in Connecticut, and the Seattle Art Museum show how cultural institutions have prepared for emergencies relevant to their sites, collections, and regions.

This book is for art market researchers at all levels. A brief overview of the global art market and its major stakeholders precedes an analysis of the various sales venues (auction, commercial gallery, etc.). Library research skills are reviewed, and advanced methods are explored in a chapter devoted to basic market research. Because the monetary value of artwork cannot be established without reference to the aesthetic qualities and art historical significance of our subject works, two substantial chapters detail the processes involved in researching and documenting the fine and decorative arts, respectively, and provide annotated bibliographies. Methods for assigning values for art objects are explored, and sources of price data, both in print and online, are identified and described in detail. In recent years, art historical scholarship increasingly has addressed issues related to the history of art and its markets: a chapter on resources for the historian of the art market offers a wide range of sources. Finally, provenance and art law are discussed, with particular reference to their relevance to dealers, collectors, artists and other art market stakeholders.

This volume makes accessible a selection of the most significant journal articles dealing with international crimes. The studies collected here will be an invaluable aid to teaching and research.

Improved heritage management and the inclusion of heritage in planning and sustainable development processes necessitate inventory and documentation. More than mere scientific tools recommended in international agreements, inventory and documentation play a strategic role. The complexity of the heritage items that now have to be inventoried and their interaction with our everyday living environment require the clear definition and harmonisation of practices at the European level. Through its work in the 1960s, the Council of Europe helped to lay the methodological bases for inventorying architectural, archaeological and movable heritage. The efforts to systematise the process came in answer to the broadening meaning of heritage, and today new considerations lead us to address such notions as heritage groups. The guidelines proposed in this book reflect the work done so far and provide a basis for future research. It is part of a series produced under the Technical Co-operation and Assistance Programme to present the experience derived from the projects implemented by the Council of Europe.