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Do killers, artists, and terrorists need one another? In Crimes of Art and Terror, Frank Lentricchia and Jody McAuliffe explore the disturbing adjacency of literary creativity to violence and even political terror. Lentricchia and McAuliffe begin by anchoring their penetrating discussions in the events of 9/11 and the scandal provoked by composer Karlheinz Stockhausen's reference to the destruction of the World Trade Center as a great work of art, and they go on to show how political extremism and avant-garde artistic movements have fed upon each other for at least two centuries. Crimes of Art and Terror reveals how the desire beneath many romantic literary visions is that of a terrifying awakening that would undo the West's economic and cultural order. This is also the desire, of course, of what is called terrorism. As the authority of writers and artists recedes, it is criminals and terrorists, Lentricchia and McAuliffe suggest, who inherit this romantic, destructive tradition. Moving freely between the realms of high and popular culture, and fictional and actual criminals, the authors describe a web of impulses that catches an unnerving spirit. Lentricchia and McAuliffe's unorthodox approach pairs Dostoevsky's Crime and Punishment with Martin Scorsese's King of Comedy and connects the real-life Unabomber to the surrealist Joseph Cornell and to the hero of Bret Easton Ellis's bestselling novel American Psycho. They evoke a desperate culture of art through thematic dialogues among authors and filmmakers as varied as Don DeLillo, Joseph Conrad, Francis Ford Coppola, Jean Genet, Frederick Douglass, Hermann Melville, and J. M. Synge, among others. And they conclude provocatively with an imagined conversation between Heinrich von Kleist and Mohamed Atta. The result is a brilliant and unflinching reckoning with the perilous proximity of the impulse to create transgressive art and the impulse to commit violence.
Since the Second World War, art crime has shifted from a relatively innocuous, often ideological crime, into a major international problem, considered by some to be the third-highest grossing criminal trade worldwide. This rich volume features essays on art crime by the most respected and knowledgeable experts in this interdisciplinary subject.
A thrilling, eye-popping look at true crime in the billion-dollar art world. The art world is one of the most secretive of global businesses, and the list of its crimes runs long and deep. Today, with prices in the hundreds of millions for individual artworks, and billionaires' collections among the most conspicuous and liquid of their assets, crime is more rampant than ever in this largely unregulated universe. Increased prices and globalization have introduced new levels of fraud and malfeasance into the art world--everything from "artnapping," in which an artwork is held hostage and only returned for a ransom, to forgery and tax fraud. However, the extent of the economic and cultural damage that results from criminality in the global art scene rarely comes to light. The stories of high-stakes, brazen art crimes told by art experts Stefan Koldehoff and Tobias Timm are by turns thrilling, disturbing, and unbelievable (the imagination for using art to commit crimes seems boundless). The authors also provide a well-founded analysis of what needs to change in the art market and at museums. From the authors of False Pictures, Real Money (about the Beltracchi art forgery case), Art and Crime includes a chapter on art owned by Donald Trump. It is a thoroughly researched, explosive, and highly topical book that uncovers the extraordinary and multifarious thefts of art and cultural objects around the world.
Presenting a frightening fringe of the Underground where art & crime combined. The artists herein did society's dirty work, and society repaid them accordingly ...
When compared to terrorism, drugs and violent crimes that occupy the news today art is not considered as important. But, as it turns out, art and cultural crime is currently ranked as the third-largest criminal enterprise in the world. What exactly is art crime? Why does art matter? And what is law enforcement doing to prevent this crime today? Due to the misleading portrayal of art crime in the entertainment industry people have the flawed belief that art and cultural crime doesn’t damage anyone in a direct way. And the truth of the matter is that this crime results in the loss of billions of dollars annually. Art and cultural crime is not simply focused on museums or private displays, the loss of art directly affects our cultural identity and history. Napoleon moved from one region to the next collecting art and sending as much as possible back to France. The Nazis looted cultural property from every territory they occupied. And there have been various cases of ISIL and ISIS destroying archaeological sites as a method of destroying any evidence of past culture or history that disagree with their own. With the United States being the largest market for both legal and illicit artwork in the world more preventative attention from law enforcement and security is needed for our country to meet international standards and end detrimental art crimes. In Stealing History, Colleen Clarke and Eli J. Szydlo look at the history behind art crime, how these crimes have grown over the last half century, and what law enforcement has been involved in protecting the world from these crimes.
Through the use of case examples and careful examination, this book presents the first interdisciplinary essay collection on the study of art crime, and its effect on all aspects of the art world. Contributors discuss art crime subcategories, including vandalism, iconoclasm, forgery, fraud, peace-time theft, war looting, archaeological looting, smuggling, submarine looting, and ransom. The contributors offer insightful analyses coupled with specific practical suggestions to implement in the future to prevent and address art crime. This work is of critical importance to anyone involved in the art world, its trade, study, and security. Art crime has received relatively little attention from those who study art to those who prosecute crimes. Indeed, the general public is not well-aware of the various forms of art crime and its impact on society at large, to say nothing of museums, history, and cultural affairs. And yet it involves a multi-billion dollar legitimate industry, with a conservatively-estimated $6 billion annual criminal profit. Information about and analysis of art crime is critical to the wide variety of fields involved in the art trade and art preservation, from museums to academia, from auction houses to galleries, from insurance to art law, from policing to security. Since the Second World War, art crime has evolved from a relatively innocuous crime, into the third highest-grossing annual criminal trade worldwide, run primarily by organized crime syndicates, and therefore funding their other enterprises, from the drug and arms trades to terrorism. It is no longer merely the art that is at stake.
This book offers a revealing look at the full scope of criminal activity in the art world—a category of crime that is far more pervasive than is generally realized. Forgeries, fakes, fencing, and felony theft—all are pervasive problems in the world of art, where the stakes are high, the networks wide, and the consequences profound. In recent years, suspicious acquisitions, unreliable provenances, and shady dealers have found their way into the headlines as museums and private collections have been confronted with everything from fake pieces to stolen antiquities to plain old theft and vandalism. Crimes of the Art World captures the full scope of this staggeringly lucrative field of criminal conduct, showing how its impact reaches well beyond the walls of the museum. Filled with fascinating stories of crime and greed, this revealing volume looks at case after case of thefts, forgeries, fakes, and illicit trafficking, as well as the political/religious victimization of art, white-collar art crime, and vandalism. The book examines each type of crime in terms of frequency, losses, and characteristics of victims and criminals. Concluding chapters focus on preventive measures, art crime investigation, and security issues.
This is a print on demand edition of a hard to find publication. Examines terrorists¿ involvement in a variety of crimes ranging from motor vehicle violations, immigration fraud, and mfg. illegal firearms to counterfeiting, armed bank robbery, and smuggling weapons of mass destruction. There are 3 parts: (1) Compares the criminality of internat. jihad groups with domestic right-wing groups. (2) Six case studies of crimes includes trial transcripts, official reports, previous scholarship, and interviews with law enforce. officials and former terrorists are used to explore skills that made crimes possible; or events and lack of skill that the prevented crimes. Includes brief bio. of the terrorists along with descriptions of their org., strategies, and plots. (3) Analysis of the themes in closing arguments of the transcripts in Part 2. Illus.
Publisher Description
"A powerful document of the inner lives and creative visions of men and women rendered invisible by America’s prison system. More than two million people are currently behind bars in the United States. Incarceration not only separates the imprisoned from their families and communities; it also exposes them to shocking levels of deprivation and abuse and subjects them to the arbitrary cruelties of the criminal justice system. Yet, as Nicole Fleetwood reveals, America’s prisons are filled with art. Despite the isolation and degradation they experience, the incarcerated are driven to assert their humanity in the face of a system that dehumanizes them. Based on interviews with currently and formerly incarcerated artists, prison visits, and the author’s own family experiences with the penal system, Marking Time shows how the imprisoned turn ordinary objects into elaborate works of art. Working with meager supplies and in the harshest conditions—including solitary confinement—these artists find ways to resist the brutality and depravity that prisons engender. The impact of their art, Fleetwood observes, can be felt far beyond prison walls. Their bold works, many of which are being published for the first time in this volume, have opened new possibilities in American art. As the movement to transform the country’s criminal justice system grows, art provides the imprisoned with a political voice. Their works testify to the economic and racial injustices that underpin American punishment and offer a new vision of freedom for the twenty-first century."